(Release Info London schedule; June 18th, 2020, Curzon Home Cinema) https://homecinema.curzon.com/film/it-must-be-heaven/ "It Must Be Heaven" Elia Suleiman escapes from 'Palestine' seeking an alternative homeland, only to find that 'Palestine' is trailing behind him. The promise of a new life turns into a comedy of errors; however far he travels, from Paris to New York, something always reminds him of home. Born in Nazareth on July 28th, 1960, Elia Suleiman lived in New York between 1981 and 1993. During this period, he directed his two first short films, 'Introduction To The End Of An Argument' and 'Homage By Assassination', which won him numerous prizes. In 1994, he moved to Jerusalem where 'The European Commission' charged him with establishing a 'Cinema' and 'Media' department at 'Birzeit University'. His feature debut, "Chronicle Of A Disappearance", won 'The Best First Film Award' at 'The 1996 Venice Film Festival'. In 2002, "Divine Intervention" won 'The Jury Prize' at 'The Cannes Film Festival' and 'The Best Foreign Film' prize at 'The European Awards' in Rome. His feature, "The Time That Remains", screened In 'Competition' at 'The 2009 Cannes film Festival'. In 2012, Elia Suleiman directed the short film 'Diary Of A Beginner', part of the portmanteau feature "7 Days In Havana", which screened that year in 'Un Certain Regard' at "The Cannes Film Festival'. The man who finds his homeland sweet is still a tender beginner; he to whom every soil is as his native one is already strong; but he's perfect to whom the entire world is a foreign land. The tender soul has fixed his love on one spot in the world; the strong man has extended his love to all places; the perfect man has extinguished his. Where do the birds fly after the last sky?” The film presents 'Palestine' as a microcosm of the world. "It Must Be Heaven" shows shows ordinary everyday situations of people across the world living in a climate of geopolitical global tension. And the violence erupting in one place is similar to the violence erupting in another. Images and sounds containing this violence or tension are being felt in all the world centers and not, as in the past, just somewhere in the far corners of the world. There are checkpoints in each country at airports and in shopping malls. Police sirens and security alarms are no longer intermittent but constant. Rather than focus on the larger picture constantly bombarded by the mass media, always generalized, masked and falsified, "It Must Be Heaven" depicts the moment in the margin, the trivial, or that which is usually out of focus. Consequently, it approaches what's intimate, tender and touching. It’s the personal and human stories that are based on identification which raise questions and raise hope. There's little dialogue; what's spoken is more like monologue to infuse rhythm and musicality. Otherwise the narrative of the film is knitted from a subliminal montage; scenes that are composed from choreographic movements; burlesque drawn from the world of the absurd; images that open up to the poetry of silence, which is at the heart of cinematic language. "It Must Be Heaven" is a comic saga exploring identity, nationality and belonging, in which Suleiman asks the fundamental question; where is the place we can truly call home? A modern Jacques Tati figure sips wine and witnesses an oddball scene; someone is stealing fruit from his neighbor, taking permission for granted. Yet every day he encroaches a little more, as if he’s actually the owner. Elia Suleiman embodies another silent version of himself, coming up with new subtle and elusive ways to portray Palestinian ghettoization. This time, his alter ego distances himself from his aching homeland, in search of homeliness; yet, Paris and New York will prove hostile and hollow. When faced against the inherent chaos of life, what else is there to do but sit back and stare in bemusement?

What was expected to be one of the years best movies turned out to be one of worst. Having been a fan of Prometheus, I was looking forward to a continuation of that story, which despite flaws was amongst the better sci-fi film contributions we've had recently. There was lot's of scope in Prometheus and a sense it could go anywhere it wanted it to...especially within the Alien film universe. However, Covenant does away with that and we get what feels like a stand-alone story and a generic one. Without spoiling the plot, it ties up the Prometheus conclusion very quickly within the opening 20 minutes....and what follows is a very by the numbers storyline (you're counting the numbers) primarilly focused on David (Michael Fassbender) the synthetic from the first film. Fassbender is on top form and provides one of the films few strengths. This focus on David dominates the first hour of the film, and then after providing scope for the character it quickly goes off the edge of a cliff and trancends into a generic slap- dash last half. Both undermining the character development it's created and further moving away from Prometheus. The last half provides some sub- par special effects, some bad dialogue and a re-run of set pieces evocative of Alien and Aliens that just don't work. Before Covenant was released it went through many script re-writes and I think this shows in the film. Especially between the first and second half. One part of the film is fairly fluid during David's scenes, and the other, feels like it's from another movie. Overall, Covenant feels like history repeating itself in relation to Aliens and Alien 3, one film provided a vision of a franchise, the other did away with it (although it did away with it well).

Hi Guys, Just wanted to share the official trailer for my upcoming short charity film, I am Sherlock Holmes, let me know what you think! https://vimeo.com/284323662 Also please give us a follow on Twitter if you like what you see! We'll follow back! https://twitter.com/sherlock_short

(Release Info London schedule; December 26th, 2019, Vue Cinéma, O2 Centre, 255 Finchley Rd, London NW3 6LU, United Kingdom, 2:00 pm) "Spies In Disguise" Super spy Lance Sterling (Will Smith) and scientist Walter Beckett (Tom Holland) are almost exact opposites. Lance is smooth, suave and debonair. Walter is not. But when events take an unexpected turn, this unlikely duo is forced to team up for the ultimate mission that will require an almost impossible disguise; transforming Lance into the brave, fierce, majestic pigeon. Walter and Lance suddenly have to work as a team, or the whole world is in peril. Brimming with confidence and swagger, Lance is the world’s greatest spy, the best of the best of international espionage agents, Lance is all sharp angles, tall, elegantly attired, exuding coolness. Everyone knows his name, and he's often greeted by his fans with applause. He’s also used to being armed with the most state-of-the-art, cool spy gadgetry, including his cutting-edge two-seater sports vehicle, 'The Audi RSQ E-tron'. In this way, Lance and all the other agents are dependent on the technical wizards behind-the-scenes who design these gadgets for 'The Agency'. One of these tekkies is awkward yet lovable Walter Beckett. Walter is the opposite of Lance, short and appealingly geeky, dressed more for comfort and practicality than style; a genius, not an athlete. Where most of these gadgets designed by 'The Agency' are intentionally destructive and deadly, Walter, who graduated 'MIT' at age 15, has a different point of view, and designs gadgets that are completely effective, but cause no harm. For example, when tasked to create a grenade, he invents a device that explodes with glitter and creates a visual of an adorable kitten. Walter understands that seeing a kitten releases serotonin, causing the viewer to feel happy, reduce aggression and become distracted from the situation. Much safer than a grenade that blows things up. While Lance believes in fighting fire with fire, Walter believes that type of thinking just gets everyone burned. If Walter could save the world with a hug, he would. Friendless save for his faithful pet pigeon 'Lovey' (Karen Gillan), Walter’s co-workers at 'The Agency' refer to him as a weirdo, but he was raised by his late police officer mother to believe in himself and his unconventional ideas. Together, Walter and his Mom Wendy (Rachel Brosnahan), proudly called themselves 'Team Weird'. Lance and Walter both work at 'The Agency', headed by Joy Jenkins (Reba McEntire) who Lance affectionately calls 'Joyless'. She’s a pretty tough nut. Harsh and demanding, she doesn’t have many soft spots, but one of them is for Lance. Her devotion is tested when 'Internal Affairs' agent Marcy Kappel (Rashida Jones) reveals evidence that shows Lance has stolen a cataclysmically deadly drone from 'The Agency’s' covert weapons lab. The truth is that the weapon, 'The M-9 Assassin', is really in the hands of supervillain Keller 'Robohand' Killian (Ben Mendelsohn), disguised as Lance. A criminal whose real identity is unknown to global authorities, Killian’s missing right hand has been replaced by a robotic claw, hence his nickname. Joy can’t believe that Lance would turn, but Marcy, aided by her video surveillance and analysis agent Eyes (Karen Gillan) and audio analysis expert Ears (DJ Khaled), is determined to have him arrested. Lance, knowing there's a bad guy out there, needs to go rogue to stop him. Eluding capture by 'Internal Affairs', Lance is able to escape from 'The Agency' headquarters and, remembering Walter saying that he could make someone disappear, heads to Walter’s house seeking this new technology. Walter has been working on an invention called bio-dynamic concealment, an elixir that will make whoever ingests it turn into something that most people ignore, allowing them to disappear in plain sight. When Lance unintentionally drinks the formula, he's transformed into a pigeon. Lance, who always viewed pigeons as rats with wings, is horrified and demands that Walter unbird him immediately. But Walter hasn’t yet cracked a formula to reverse his concealment invention. Trapped in the body of a pigeon, our super suave spy struggles to adjust to his new body. What’s more, this guy who’s always flied solo finds himself suddenly part of a flock, surrounded by a trio of other pigeons. And Walter, who may not be built for action in the field, ends up out there, while he desperately tries to find the antidote to the elixir. As they learn to work together in order to stop 'Robohand' from turning the Assassin on mankind, Lance slowly begins to open himself up to a whole new, weird approach to saving the world from Walter.   In addition to being a spy movie, “Spies In Disguise" is a buddy comedy that derives much of it's humor from the differences between it's two main characters. Lance and Walter are a classic odd couple. Lance is a pretty straightforward character. He’s self-confident, he likes being in the spotlight, he likes being the hero, and he likes the accolades. But he’s pretty full of himself, so there’s definitely a balance to be struck there. It’s a special kind of charisma that can carry that off, and you look up chqarisma in the dictionary. Lance is built for the world of espionage: He’s 6 ft. 5 in., 230 lbs. of pure muscle, with broad shoulders, a narrow core and extremely long legs. He’s sleek, sophisticated, strong and athletic and he looks like he could take on anything. That means straight lines, broad shapes, clean. He's better than the best, he’s cool, he’s suave, he’s got swagger, he’s got all the great one-liners, and he’s the good guy. And then you’ve got the guy with the robot hand who’s leering and stands in the shadows and says horrible things and is violent. So you know he’s bad. Then as the movie goes on, the balance walks a delicate line, is to blur those edges, so that the hero’s flawed, he lacks empathy and employs violence. Walter is a hard character to discover because the film wants to make sure the character is sincere. So it's really important that he's affirmational, so kids will go to see the film initially wanting to be like a Lance Sterling, but realizing that the hero is really inside them, like Walter Beckett. Walter’s a really smart dude so you never want him to feel goofy. But he's definitely out of his element in being out in the real world. He’s an academic, but he’s also very committed to those ideas and forceful but not aggressive the way Lance is. Walter is a really happy go lucky kid. He’s really positive, he’s really excited about using his brain for good and to make a difference in his workplace. And then he’s really excited by the idea of a challenge and a mission and going into the field.  But what’s most endearing about him is that he’s trying to change 'The Agency’s' way of thinking and instead of blowing people up and killing people he’s trying to make everyone be happy and positive and safe. So it’s quite nice. Walter has a smaller build, 5 ft. 4 in. and is very wiry. He works hard and feels unappreciated and underestimated, so his posture is somewhat slumped. But he’s full of naïve optimism. He's a dreamer that thinks if you can just come up with the right sort of ways, we can do things differently. A man turns into a pigeon, which is insane. What's genius about the conceit of the script, is that pigeons are actually amazing creatures, and they're the perfect disguise! They’re in every city around the world. No one pays attention to them. Nobody even knows that they’re there. So they’re hiding in plain sight. Because they've eyes on the side of their head, they can see in 360 degrees, which means that at any given time, they can see your face and their butt. And you can’t sneak up on them. They’re one of the fastest birds in the world. But because they’re so fast, they see at a faster rate of speed than we do, so everything to them feels slow motion. We would always refer to that as 'Pigeon Bullet Time'. They see 'UV' light, bands of light that we can’t see with the human eye. On the surface, it seems like a joke, but really this is the best cover for a spy.  No one knows you’re there. You’ve got all these built-in gadgets. It’s actually genius, as are all of Walter’s other gadgets. For example, Walter develops a personal protection device called the 'Inflatable Hug'. It envelopes whoever is holding it in a cushy bubble to avoid harm. Another is the multi-pen. While it looks like a traditional multi-colored pen, it actually has functions such as the ability to shoot serious string like 'Silly String' but only serious to tie up bad guys. It can spray a serum, complete with a hint of lavender that will make even the biggest baddy reveal the truth. It can even shoot a non-lethal electrical pulse that causes whoever is on the receiving end to lose all muscle control and collapse into a rubbery mess.  One of the cool differences about the two characters is that Lance is obviously so into action and beating people up and fighting and being a super spy. Whereas Walter is very much more the guy who wants to help people and, yes, get the job done, but do it in a way with no casualties and he has this one device called 'The Kitty Glitter' which basically explodes glitter everywhere and calms people down to the point where they don’t want to do bad stuff anymore. Whereas Lance just wants a grenade. One of the major differences between Lance and Walter is their approach to the job. Lance flies alone, but the main reason for his desire to stay solo is his concern that anyone else around him might get hurt. Walter, on the other hand, is a firm believer in teamwork, something Lance is forced to accept when he finds himself transformed into a pigeon and is surrounded by three other pigeons known as 'The Flock'. Lovey, Walter’s faithful pet and the smartest of the three, is instantly taken by Lance’s pigeon magnetism, and can’t resist the urge to constantly try to get closer to him. Fanboy’s awkward movements set him apart from the other birds, but nothing will stop him from trying to imitate the suave stylings of his hero, Lance. Walter believes that if we’re the good guys, we have to hold ourselves to a higher standard and do things a good way. In Lance’s world, at first, that seems weird. But then Lance starts to realize that maybe his uncompromising version of good and bad in the world isn’t the only version. As in all classic spy films, there needed to be a formidable villain, an antagonist to set the plot in motion and challenge, but it's important that there be real world motivations for his actions. 'Robohand' is a mysterious and terrifying villain, and it's important to hold back a lot of who he's and why he's. There’s definitely a history with our hero, Lance Sterling. There’s a revenge plot that he’s taking on. The film wants it to feel scary and menacing, so that when we reveal who he's, it’s not just revealing his plan, but a reason for what he does. In order for there to be a Lance Sterling you’ve got to have a Killian. And Killian is the other end of the spectrum of good guys/bad guys. Killian is a super villain. He’s a guy that can and will take down enormous body counts and damage. These are the old paradigms of what good guys and bad guys look like, and they’re very pervasive and they have a great influence in the way that we think about ourselves, and crucially in the way we think about others. That’s all sort of 'Cold War' and 'Pre-Cold War' ideas and notions, and they worked for a long time. Underworld hacker Katsu Kimura (Masi Oka) is the shady character responsible for stealing 'The Assassin' and selling it to Killian. Katsu and Lance have a history together. So he’s not surprised when Lance invades his hideout when he’s doing his deal with Killian, he's probably him. Even though Lance always wins, Katsu has always been able to get away and keep on doing what he does. Physically, Katsu’s a massive giant, very imposing. But he doesn’t use force. He doesn’t have to, he has his Yakuza minions that do it for him. He uses his clever intelligence and his wits and technological skills to do his dirty work. Another obstacle for Lance and Walter is Marcy, "The Internal Affairs' agent on their trail. Marcy’s strong, she’s capable and throughout most of the movie, she’s very definite about what she thinks is right or wrong, but then that strict viewpoint starts to soften a little bit. She realizes she has to open herself up to all the shades of gray in between right and wrong. Marcy’s a very by-the-book, no-nonsense woman. She’s like Tommy Lee Jones in "The Fugitive": on a mission, straightforward, persevering, with only one thing important to her, which is to get Lance Sterling and solve this case. Whereas Lance is all about sports cars and tuxedos and flashy, she’s all about getting the job done and doing it efficiently. She’s not into him from the beginning. At the same time, Marcy’s a very skilled negotiator. And when she needs to be, she can be empathetic and calm and communicate in a way that’s actually going to help the situation. She isn’t hot-headed. Joy Jenkins (Reba McEntire) is Lance and Walter’s boss at 'The Agency'. She’s tough. And to have a name like Joy, you would think she’d be bubbly and animated and not, not at all.  She’s very deadpan. Not much melody in her voice. So her nickname 'Joyless' fits her really well. She's such an effervescent personality that even in a character who’s supposed to be dour at times, you still really feel this fun connection to her. She really brought that sort of undercurrent of charisma to a character who could be pretty flat otherwise. Wendy Beckett, Walter's mom, is a police officer who’s out there facing the hard realities of the world that we live in on a daily basis. At the same time, she needs to appreciate how special Walter is and how important it's that he stay optimistic and true to his beliefs, no matter what other people say. Wendy obviously loves Walter very, very much. And Walter’s kind of a weird kid. He’s into stuff that other kids his age aren’t, and sometimes that’s hard for him. And while Wendy is sometimes annoyed by his inventions and how they interfere with their everyday life, she supports him wholeheartedly, and encourages him to be himself all the time, in all of his weirdness. Even if that means that other kids make fun of him, she tells him that the things that make him weird right now are going to be his superpower as he grows. That's one of the most important lessons that she teaches him that carries through the film. Everyone’s weirdness is their superpower. Everyone’s weird in their own way. There’s no such thing as normal. And it can be so hard when you’re growing up and, and everyone’s striving for this idea of normalcy that just doesn’t exist, to let your freak flag fly, to be yourself in the face of everything else. She only gets screen-time at the beginning, but we feel the effect of her character throughout the whole movie. "Spies In Disguise" is a film that has it's own unique style, design and color palette. In paying homage to classic spy movies, the film creates all exotic globe-spanning locations from 'Washington, D.C.' to Japan to 'The Mayan Riviera' to 'The North Sea' while evoking a world that's very contemporary. The film’s cool spy base, in keeping with the whole idea of espionage where things are hidden before your eyes, is concealed under the reflection pool of 'The Washington Monument'. So it’s in sight, but never seen. The film developes a color language where warmer oranges and yellows represent teamwork and community. A warm shade of turquoise represents 'The Agency', whereas a cool shade of blue is isolating, which is why Lance’s tux is that color, he’s a man who flies solo. Red is an indicator for danger, so the first time we meet Kimura, he’s wearing a big silk red shirt and he’s in a red environment. Killian’s got an eye that goes red; 'The Assassin’s' drone has a red eye. Lance, who prefers to work alone, wants to be isolated, so he’s seen in single shots, carved out by light, or in focus with everything else in the frame out of focus. This way, the audience can see and feel the isolation he’s chosen. Whereas Walter is kept more engaged in the broader focus range and warmer, brighter light. It's an animated spy comedy adventure set in the slick, high-octane, globe-trotting world of international espionage. The film has all the familiar elements of the genre; exotic international locales, dazzling cinematography, big action set pieces, futuristic gadgetry and a great score with a memorable theme. So if the film wants you to feel sad, you might not even notice that the clouds are overhead and it’s a little gray and the characters are a little glum and distant from each other. But when they’re happy, they’re together and they’re in the same frame and it’s a little sunnier out. "Spies In Disguise" teaches a good message to kids that violence isn’t the answer and friendship is more important than anything really.

The third instalment of the Johnny English franchise started back in 2003 with Johnny English. A brilliant film. Funny, witty and good fun. In case you’ve forgotten, here is the plot for the 2003 Johnny English. A stupid secret agent is called up because the current spies can no longer be used. He fumbles his way through missions whilst doing a good job. He believes that the bad guy is a friend to the British establishment. He meets a beautiful young women. She turns out to spy working against said bad guy. Johnny English accuses the bad guy of being the bad guy in front of the British establishment and they kick him off the job. The bad guy then turns out to be the bad guy. Johnny English, through national pride captures the bad guy in an old, famous British building for the world to see, whilst fumbling along at the same time. Here is the plot for Johnny English: Strikes Again, 15 years after the original.  A stupid secret agent is called up because the current spies can no longer be used. He fumbles his way through missions whilst doing a good job. He believes that the bad guy is a friend to the British establishment. He meets a beautiful young women. She turns out to spy working against said bad guy. Johnny English accuses the bad guy of being the bad guy in front of the British establishment and they kick him off the job. The bad guy then turns out to be the bad guy. Johnny English, through national pride captures the bad guy in an old, famous British building for the world to see, whilst fumbling along at the same time. 📷Originally posted by pawnee-scranton Sounds familiar right? Right. Unfortunately the whole plot is exactly the same as the original film but with just a few things changed. Different nationalities. Different scenery. On the whole it is the same. You know how The Force Awakens is the same as A New Hope. It seriously lets it down because it is so obvious that you cannot see it. The jokes as well are also very similar to stunts performed in previous Johnny English films or Rowan Atkinson related comedy sketches like Mr Bean.  The film itself is very poor. The jokes fall flat. The dance floor sequence is so cringy it started to become impossible to watch. Rowan Atkinson is a good actor but it looked like he just wanted this movie to be over so he could collect his pay cheque and go. So much of Johnny English is down to its physical humour. Atkinson is at an age now where that is become harder to do. If that is the key to a films humour, it’s probably best to stop. The VR sequence was funny however and that was it’s only positive throughout this re-hashed and unoriginal film. 1/5 It’s what we have all seen before. Literally. Apart from the Virtual Reality scene the jokes and plot are the same as the original film. Hopefully this will be the last we see of Johnny English. 

"The Tale Of King Crab" Luciano (Gabriele Silli) is a wandering outcast in a remote, late 19th-century Italian village. His life becomes undone by alcohol, forbidden love, and a bitter conflict with the prince of the region over the right of passage through an ancient gateway. When the quarrel escalates, Luciano is exiled to the distant Argentine province of Tierra del Fuego where, with the help of ruthless gold-diggers, he searches for a mythical treasure, paving his way toward redemption. However, in these barren lands, only greed and insanity can prevail. "The Tale Of King Crab" starts in a tiny place, an inn where hunters meet. But to get to the bottom of the story, you need to travel to the other end of the world, to Tierra del Fuego. Luciano’s (Gabriele Silli) story starts in Vejano and ends in South America, in Tierra del Fuego. Luciano is a stranger. The film nourishing the character as an outcast. Besides, we've very little information on his character, the exact timeframe of the events. For traces of the travel Luciano goes on between the end of the 19th century and the beginning of the 20th. Even less did we know about what happened to him in South America. This may be how the script progressively moved from a documentary to fiction. Emma (Maria Alexandra Lungu) is Luciano’s lover. She has a strong personality. She stands up to Luciano, and in a way tame his own savagery. This really is a key role. She might even be the film’s actual protagonist. Luciano’s the hero, no doubt, but the whole movie is kind of about her, in the end. The film avoids the typical scorched landscapes of an Italian summer and on the contrary show lush nature. The part in Argentina is much more traditional, though not without it's own challenges. And there’s always been a crab in this one. There’s no real explanation to the choice of a crab. The crab Luciano uses to get around Tierra del Fuego is not one of them. To us, it’s nothing more than a surreal, magical element. It's a place full of stories and unbelievable adventures of Italian immigrants. It's a story in Argentina to reflect all those myths drawn from this culture of immigration. You can hear different kinds of music in "The Tale Of King Crab", and each has a specific role to play. First of all, there’s vocal music that conveys the narrative content. The film choses popular folk songs. And folk songs mostly consist of a melody, often very similar to one another, and of a text that can on the contrary vary very much, depending on the region or even the village. References to characters of popular folk tales are very common in these texts. Some villagers for instance remember a song or part of a song about Luciano. Is it true? Who knows? Just like legends, we all have our own version, and all versions have common elements and variations. And that’s clearly what fascinates us in movies, catching these arborescences. And what’s even more important to us is to maintain and transmit them. Cultural tradition is not something that's fixed, nor completed. Same goes for music, the film wants to engage in a dialogue with tradition, to contribute to it's evolution. Then there's instrumental music, that engages into a dialogue with the images. The film usually avoids the Hollywood-style that consists in highlighting or amplifying the scene’s emotion through music. On the contrary, 'King Crab' seeks a counterpoint to the narrative. Let’s say we share the idea that auteur cinema is not a film genre per se. In the Italian part as well as in the Argentinian part, we've fun revisiting western figures and scenes. What we like in western movies is for example the idea that a very isolated location, a village, can become the scenery of a mystical story. This makes the strength of the narrative. Written by Gregory Mann https://www.ica.art/films/the-tale-of-king-crab

(Release Info London schedule; November 28th, 2018, Picturehouse Central, 18:30) "Three Identical Strangers" "Three Identical Strangers" tells the astonishing true story of three men who make the chance discovery, at the age of 19, that they're identical triplets, separated at birth and adopted to different parents. The trio’s joyous reunion in 1980 catapults them to fame but it also sets in motion a chain of events that unearths an extraordinary and disturbing secret that goes far beyond their own lives; a secret that goes to very heart of all human behavior. In 1980, through a series of coincidences, two complete strangers, Robert Shafran and Edward Galland, made the astonishing discovery that they're identical twins. They had been separated at birth, adopted and raised by different families. Even more incredibly, when their story ran in 'The New York Post', another 19 year-old, David Kellman, realized he was their triplet, adopted to yet another family. After an overwhelmingly joyful reunion, they became instant media sensation sensations, interviewed by Tom Brokaw, clubbing at 'Studio 54', even appearing in a movie with 'Madonna'. But the brother's discovery set in motion a chain of events that, decades later, unearthed an extraordinary and disturbing secret. 'Louise Wise Services', an adoption agency focusing on placing Jewish children with Jewish families, is founded in New York City. Dr Peter Neubauer arrives in New York and begins training at 'The New York Psychoanalytic Institute'. 1951 Neubauer is appointed 'Director Of The Child Development Center' in Manhattan, where he studies the emotional health and development of prepubescent children. He begins 'The Twin Study', working with 'Louise Wise Services'. The study design involves splitting up identical twins and triplets, placing them with different families in different home environments, and studying the children’s development. No one from the families is told about 'The Twin Study' or that the babies they're adopting have identical siblings. The Kellman, Shafran and Galland families each adopt a baby girl via 'Louise Wise Services'. The triplets are born at 'Hillside Hospital', Long Island, the psychiatric wing of 'Long Island Jewish Medical Center'. Before they adopt, the families are informed that the child in question is part of a routine child development study. According to the families, it's strongly implied that the child continuing in this study is a condition of the adoption. None of the families are told that their child has two brothers. The families name the boys Robert, Edward and David. The triplets and their families are visited at home by researchers who test the boys and make videos and audio recordings. Robert enrols at 'Sullivan County Community College' in upstate New York. The first day of school people come up to him and call him Eddy. Eddy’s friend Michael Domnitz realizes Robert must be Eddy’s brother. The pair drives to Long Island and Robert and Eddy are reunited. Local and national papers run articles with pictures of the newly reunited twins. David is at 'Queen’s College' in New York. He sees the article, makes a call and the triplets are reunited shortly afterwards at David’s Aunt Hedy’s house. Records indicate that 'The Twin Study' officially ends, though Neubauer and his team continue to analyze and discuss the study data until the late 1980s. According to Lawrence Perlman, in 1980 Walter Cronkite’s TV show approaches Neubauer about a proposed TV report. Neubauer convinces Cronkite to drop the story, arguing that it would be psychologically damaging to the remaining twins to reveal their identities. Neubauer later fends off a more determined effort to report the story by 60 Minutes. The State of New York begins to require adoption agencies to keep identical siblings together. The triplets open 'Triplets Roumanian Steakhouse' in lower Manhattan, a diner with over 200 seats and a singing wait staff. Journalist Lawrence Wright discovers an article in a Yale journal that references 'The Twin Study'. Wright contacts the triplets and their families. It's the first time that any of them have heard of the study or Neubauer’s name. In summer 1995 Eddy Galland commits suicide. Lawrence Wright publishes 'Twins And What They Tell Us About Who We're'. The book includes interviews with Robert and David and their parents as well as with Neubauer. In February 2003, 'Louise Wise Adoption Services' officially closes. Same month Peter Neubauer dies. All records related to 'The Twin Study' are placed with 'Yale University'. The records are restricted until 2066. This is the most extraordinary stories ever come actoss. Robert and David, two of the three identical strangers, are engaging, natural storytellers, they've real charisma, but they're also guarded and not particularly trusting of anyone. When you see what’s happened to them over the course of their lives, it’s not surprising that they don’t trust people easily. One of the advantages of the project taking five years to get off the ground is that it enabled us to build a degree of trust with them. Lots of people have tried to tell their story before, and for a variety of reasons it’s never happened. When they first became famous in 1980, there was a lot of hype around them and people saying, we're going to make your story into a film and it never happened. They’d been promised a lot that never materialized, so while they're interested in doing the film, They're also quite cynical about it. The triplet's unique backstory threw up all kinds of interesting dilemmas for us. For example, normally with this kind of film where people are delving into really difficult things from the past, you would put them in touch with a psychologist before filming starts to ensure that they're emotionally robust enough to deal with it. But at the same time we're also acutely aware that the brothers don’t have a very high opinion of psychologists because of what happened to them. Ultimately we did make the offer to them and they chose not to take it up, and after careful consideration we decided to press ahead without it. It's also the reality of the triplet's lives; they're manipulated and lied to over decades and decades. In the 80’s and 90’s they're conspiracy theories about the political and media connections that some of the people and organizations involved in the study may have had. A lot of powerful people who would like to have this story silenced. A lot of time has passed since the study started, many of those involved have passed away though some are still alive and very reticent to talk about it so there were fewer people actively trying to stop us than there might have been in the past. This film is also abouy Psychology, particularly what happened in the 50s and 60s when interest in the subject first really boomed, and there were a lot of experiments that were ethically dubious by today’s standards. It's oversimplifying to say the people who conducted 'The Twin Study' were evil, although we can certainly understand the feeling. Why do good people with the best intentions sometimes bad things? These scientists were genuinely trying to further human knowledge by answering the nature-nurture question, and in the process lost perspective on the human cost. There was probably a significant element of ego and ambition involved as well, but that just makes it a more interesting story. The film doesn't want to demonize the scientists, but it's important, because the film tells it from the triplet's perspective and their families perspective, to acknowledge that what the study did was hugely damaging on a personal level. You can still see the damage today. The film also emphasizes the importance of the historical context In 1950s and 60s this was not something that seemed to be wrong’. Lawrence Wright admits that from today’s perspective it was undoubtedly ethically wrong. It's something that still bothers him even though he was only involved for a relatively short period of time. It was known about in very small circles within the twin research community, where it was regarded as highly controversial and something of an embarrassment. In 1995, Wright was writing a New Yorker piece about separated twins, and after speaking to a number of leading twin researchers, he was pointed to this obscure paper by one of the people who worked on the study. It’s mentioned briefly in his New Yorker article, and then he did more research and included a chapter on it in his later book, 'Twins: And What They Tell Us About Who We're'. There are elements to their story that play out like a psychological thriller, a Bourne-style film with questions of identity. It's really important to do justice to that story. And to do justice to the triplets story you really have to think, When were they discovering information? You want the audience to be in the same position that they're and to go through it with them. To align audiences with the triplet's point of view, you've to keep audiences in the dark just as they're. Not in terms of CNN Films or any of the other funders pulling the plug, but every time something would happen or we’d lose access to someone or something, we’d think, who’s pulling the strings here? Your genetics give you a tendency to move in certain directions and your environment can overcome that gravitational force.

This is not about politics. It’s about your children. This is about our children. We will find a cure and we will save our precious sons and daughters. If you want to form a sentence with the words “monotony”, “mediocrity”, “clichéd sameness” and “corny”, you can do that without any problems along with the movie title “The Darkest Minds“. Well, I’m getting sick of the concept of dystopian teen films. Even though they mixed it this time with a kind of “X-men” mood. Apart from some crackling electrical flashes, a storm with trees crashing down and flying containers, there’s not much more to see here. And don’t expect impressive special effects either. Actually, I already had the feeling while watching “The 5th Wave” that after the successful franchises of “Divergent” and “The Hunger Games” we would be flooded with weak duplicates of this genre for years. Duplicates of which they hoped it could be the start of again some successful sequels. However, I’m afraid this is yet again another feeble attempt that will fail. Simply because “The Darkest Minds” is really embarrassingly bad. Watch out for the orange and red ones. This time it’s not a devastating war or an alien invasion that makes our planet a place where survival is priority number one. No, it’s a sudden emerging disease (Idiopathic Adolescent Acute Neurodegeneration) that actually kills about 95% of young people. I suppose this is a kind of childhood disease of a higher level. And those who survive suddenly have supernatural powers. They are locked up straight away in youth camps by the adult world. Allegedly to examine them and to find a cure. Ultimately it’s because these adults, like with the X-men, are afraid of mutants and secondly because they are afraid to lose power. There, on the basis of their acquired powers, those kids are divided into groups. Each with a specific color, whereby those from the orange and red camp are considered to be the most dangerous. In other words, persons who’re allocated to these two groups, simply are going to be eliminated. Likewise, the lovely girl Ruby (Amandla Stenberg) who appears to be part of the orange team after being tested. It’s kind of predictable. For the umpteenth time, we see how moronic and stupid adults are portrayed in these kinds of films. Orange means that a person has the ability to manipulate someone else’s thoughts. You don’t need to be an Einstein to know how Ruby manages to save herself from this life-threatening situation. The moment Ruby escapes from this concentration camp and joins a group of teenagers, you can get ready for the most sugar-coated and predictable storyline ever. Let’s meet “The slip kid”. The group of teenagers, consisting of Liam (Harris Dickinson), Chubs (Skylan Brooks) and Zu (Miya Cech), are looking for a kind of youth camp where children are safe. It’s led by a legendary figure with the name “The Slip Kid “. And before you know it, love is in the air and Ruby finds the ultimate hint to find out where the camp is located. And finally, there’s also a mandatory plot twist. Only viewers who have fallen asleep above their popcorn, haven’t seen that one coming. The only thing I could appreciate was the end. I can’t say it was really original. But it’s kind of daring. But I came real quick to my senses when I realized that sequels with similar nonsense are likely to be released in the future. Uninspired and mediocre. To be honest, you can’t blame the film studios to release such films. After all, the profit is the most important thing for them. And when a specific genre is already a hype for a number of years, you have to continue with it until the subject has been completely milked dry. And as long as the theaters fill up with teenage girls (With helmets on because they run into walls while being constantly focused on their smartphones) who dream away while watching a film full of female heroism and who swoon when looking at a handsome Boyband-like wuss, the studios continue to produce these type of movies. Till one day when those youngsters themselves exclaim in disgust (the age of reason probably) that they’ve had enough. And despite the political correctness in this film and the moral of equality (an “It doesn’t matter what color you are”-like message), it still remains mediocre crap with superheroes in it. So even though colors play an important role in “The Darkest Minds“, it’s just a colorless (and also uninspired) teenage film. My rating 2/10 Links: IMDB More reviews here

(TIMES & TICKETS, London Central, FRI 1 JUL, BFI London Southbank, 0 Belvedere Rd, London SE1 8XT, United Kingdom, 6:20 PM) https://www.flicks.co.uk/movie/wayfinder/ "Wayfinder" Set during a pandemic, The Wanderer (Perside Rodrigues), a young girl, undertakes an intrepid journey across England. The film tracks the movements of it's central protagonist, The Wanderer, on an intrepid journey across England. Presented across six chapters, including The North, The Land of Smoke and The Kingdom of the East, this film builds a dialogue around the themes of class and economic exclusion, belonging and displacement, cultural heritage and the meaning of home. Travelling from North to South, The Wanderer passes through different regions, towns and landscapes, encountering people, stories and situations on her way. With the film set during an unknown point in the not-too-distant-future during a discursive moment in time. The Wanderer acts as a witness to accounts, conversations, places and histories, both known and dormant. Setting out from Bowness-on-Solway, a village that separates England from Scotland, the film follows the Wanderer’s journey across the ancient paths of Hadrian’s Wall and other significant environments thereafter. From Hemmingwell housing estate in Wellingborough to the National Gallery deserted at night, through the international port London Gateway (in Essex), eventually reaching the sea at Margate. The film’s cast includes former athlete Anita Neil Oly (herself) who's Britain’s first Black female Olympian and we see The Griot (Mataio Austin Dean) in a trippy dialogue-driven scene set within East London Café E. Pellicci in Bethnal Green. A road movie of sorts, "Wayfinder" draws on British traditions of travel and exploration of the sublime landscape and the sea, reflecting on division and crisis in this nation today. Addressing an unreconciled history of empire and inequality, it asks, who's allowed to feel that they belong? The film combines sweeping shots with poetic voice-over narratives, melded with real vox pop testimonies, field recordings and an original orchestral score. This project feels like a poignant moment. It feels important and necessary, especially at this point in time to be able to bring this range of subject matter and conversations to the table at what is increasingly becoming a contentious moment of our times. This expansive vision marks a new and exciting stage in art practice. The film employs still imagery, aural and visual archives, live performance, objects and sound to explore ideas surrounding class, gender, cross-cultural and post-digital identity. With works that examine communal and personal heritage, in particular, the intersection between Popular culture and the post-colonial position, the film crate-digs the vaults of history. These investigations examine constructions of the self by splicing the audible and visual materials of personal and interpersonal archives, offering multiple perspectives that reveal the deeply entrenched inequalities in contemporary society. Written by Gregory Mann

(Release Info London schedule, May 11th, 2018, Cineworld, Leicester Square) "How To Talk To Girls At Parties" From the visionary minds of director John Cameron Mitchell comes a story of the birth of punk, the exuberance of first love, and the universe’s greatest mystery of all. It’s London, 1977 and our teenage hero Henry (Alex Sharp) and his two friends John (Ethan Lawrence) and Vic (Abraham Lewis) are in search of a night to remember, uninterested in 'The Silver Jubilee' celebrations that are going on behind the privet hedges and lace-curtained windows of quiet suburbia. Desperate to be taken seriously by local punk matriarch Queen Boadicea (Nicole Kidman) and her coterie of followers they hear of a party not far away and decide to gatecrash. On arrival, nothing is quite as they expected; the house seems to be full of teenage students: exotic, foreign, unbelievably gorgeous. Know-it-all ladies man Vic identifies them as American; what else could they be? Soon Henry is in way over his head with the beautiful, enigmatic Zan (Elle Fanning), an outsider just like him. As Henry becomes her ambassador to a brave new world of punk, partying and music, he learns that Zen has a new world of her own to share and over the course of twenty four hours the two will go on an adventure that's truly out of this world. Zan, the rebellious alien drawn to the punk life, and Henry, the shy punk rocker who falls for her; and have an appealing on-screen chemistry. Zan is a tourist although she would resent that description as she wants to be more than just a tourist. She's there to see earth and what she sees is Croydon in 1977. She wants to see more and she's frustrated. Zan is part of 'The Fourth Colony' whose motto is 'Fourth Colony Manifests Individuality'. The colony is all about being unique and self-confident but PT Waldo (Tom Brooke), the father of the colony, is very protective and doesn’t allow to be individual. Zan is very frustrated because the colony have been touring many different places now we’re humans and in London, an amazing city, and we can‘t do anything, we can’t meet locals, we can’t dance, we can’t drink, all we‘re allowed to see is coal. How exciting! And then she meets Henry and she rebels. Zan comes from a sterile world where everything is strictly regulated, even the food we’re allowed to eat, so when she meets Henry, she wants to know everything about the punk world because he’s this fascinating thing, wearing interesting clothes and safety pins and she wants to be a part of it and experience something new. Punk is nasty and gritty and exciting! Zan is fascinated with every little detail, and every little vein on a person’s face. We see the story through Henry’s eyes. He's a budding graphic novelist, doesn't quite fit in, smarter than his own good. He's not a full on punk but has something of a punk in him. Henry is a great cartoonist, a great visual artist and a wannabe punk. He's quiet and introverted but loves cartoons and creating them. One night when he’s out with his two best mates, he ends up at a party where he meets Zan who turns out to be extraordinary in a lot of unpredictable and bizarre ways and he falls in love. He’s not the archetypal nerd; he’s got a lot going on. He's got that teenage confusion and lack of self-confidence, in some ways he knows exactly who he's and what he wants. He's in that period of his life, coming of age, where he wants more than what he’s got so far and feels frustrated by it. As Henry gets to know Zan, he becomes aware of her very different ways of expressing herself and showing her affection. Queen Boadicea is the outlandish owner of the local punk club. Matt Lucas plays PT Wain (Matt Lucas) is a grumpy alien in a purple outfit. He's a bit of a killjoy and is quite stern which is a bit of a stretch. He likes to do things by the book and of course this film is about people thinking for themselves and following a new path, and this character is a barrier to that. "How To Talk To Girl At Parties" based on a short story by Neil Gaiman from his collection 'Fragile Things'. A funny and delightful genre mash-up, the film focuses on Henry, a shy teenage punk rocker in 70s suburban England, and his two closest friends, Vic and John. One night they all sneak into a party where they meet a group of seemingly otherworldly girls; at first they think it’s a cult, but eventually come to realise the girls are actually from another world, outer space. The leaders of these alien colonies have an ominous plan in mind, but that doesn’t stop Henry from falling madly in love with Zan, one of the colonies key members. Their burgeoning romance sets in motion a series of increasingly sensational events that will lead to the ultimate showdown of punks versus aliens, and test the bonds of friendship, family, and true love. The adventures of Henry and his friends are autobiographical-ish. The film takes those fragments and makes it about the gulf between boys and girls at that age; and girls might as well be aliens. Based on the short story by renowned author and graphic artist Neil Gaiman, the film‘s tone, spirit and period setting chimed perfectly with gleeful love of the alternative. It draws on Neil Gaiman's youth as a punk in Croydon and in some ways we need a punk spirit more now than perhaps we did in the 70's because of a feeling of darkness, harshness and doom that's suffusing everyone now. The juxtaposition of worlds represented in the story also struck a chord. It's also a real romance between a punk and alien, it's a mixture of cultures and subcultures. Both the aliens and punks are tribes on the fringe in the normal grey 70's world of Croydon. What's lovely about the story is that it has a first act and then it stops and it's just what happens if one of the girl’s from the story follows Henry home. It starts as a very short story, that's in effect the first scene in the film. The film loves the idea of exploring punk and pop, like 'The Damned' and 'The Ramones'. The thrill of the unknown, the way the music you loved is the most important thing on earth, the mysteries of the human and alien heart, all set in a world where the line between the everyday and fantastic is blurred. This is a film about waking up and maybe it's time to wake up again because culturally everything’s become a bit homogenous. Maybe it's time for another punk explosion. While whipping them into shape you really want to keep that punk energy of freedom, laughter, spontaneity and improvisation. The story is set in 1977 but the film is not slavishly faithful to the period. The sci-fi aspects to the story allows to let our imaginations run free. The story embraces grit-Brit naturalism as well as unbridled fantasy and the design echos that combination. Although it's set in 1977 it doesn't try too hard to be 1977. It's a mash up between now and then. It's definitely the world of punk as seen from the early 21st Century. “How To Talk To Girls At Parties" is a British film about a British subject matter, directed by a US director. As a result there's always a danger the film can feel disconnected from reality, but that’s not the case here. "How To Talk To Girls At Parties" has an authentic spirit. Key to the look is the spirit of punk and it's effects on popular culture both in the UK and around the world. It’s difficult to understand now but when the 'Sex Pistols' appeared on early evening television in 1976, the shockwaves were seismic. If their surly attitude, scruffy clothes and hair and swastika armbands weren‘t alarming enough, it was as though civilisation had crumbled and the four horsemen were coming into view over the hilltops. Swearing on TV was just one of the barriers broken down by punk. From music to fashion, art to politics, punk represented a breaking away from the past and a dismantling of tradition. Old ways of doing things were out and the new way was whichever way you wanted. Punk means what it always meant which is that you do it. The joy of punk was that famous poster; here’s a chord, here’s another, now form a band. Just do it, find out how to do it on the way, but start doing it. It’s for the original punks and the generations whom they’ve transformed from the inside out since. It’s a wild ride and big-screen punk-show and the belief that different worlds can combine in unexpected ways to create something exhilerating and urgent and new.

Jonas said something attacked them. Something big enough to destroy a new submarine. I’m happy I’ve watched this movie on the big screen. On the silver screen, the Megalodon (hence the title “The Meg“) was even more impressive. But that’s the only thing that can be said about this film. Every film with a shark as the main subject that suddenly transforms into a psychopathic, bloodthirsty hunter, is of course mercilessly compared to the film of all films “Jaws“. A milestone in this genre and unbeatable. Give “The Shallows” and “47 Meters down” a chance and you’ll notice that you watch it rather apathetic without any sense of tension. If you want to stand out in the shark genre, you can throw in some tornadoes so sharks move around in a strange way. By air that is. In case of “The Meg“, they brought in a prehistoric shark who managed to swim through a sort of natural barrier in the ocean. If you want to exceed “Jaws“, you make it all even bigger and more impressive. But apart from the gigantic dimensions of “The Meg“, this film was nowhere truly gigantic. No fun, Statham no fun. I was looking forward to seeing “The Meg“, even though I knew it would be a fiercely exaggerated and brainless spectacle. The fact that Jason Statham plays in it was good enough for me to give it a try. You never get bored with Statham. And it’s always fun to see him kick someone’s ass. I was curious to see how he would handle this giant shark. That was the first thing I was disappointed with. It looked as if they had made a serious Statham out of him. No dry humor and witty one-liners. All the familiar humor gone. And probably they also threatened to wash his mouth out with soap every time he would start to swear and say the “F” word. Statham the deep-sea diver who’s pining away somewhere in an Asian bar because he’s feeling guilty about abandoning his former crew on the bottom of the ocean. And afterward, there’s also something romantic between him and the Chinese oceanographer Suyin (Bingbing Li). And he also takes care of the lovely daughter Meiying (Sophia Cai). Can it be cornier? This shark ignores all the tasty snacks. Yes, it can be even cornier when the giant shark also starts to behave civilized. Admit it. Don’t you think such a mega-shark is constantly hungry? So when he ends up near an overcrowded beach with an immense amount of young people splashing in the salty water, wouldn’t you expect a bloodbath with an unprecedented number of torn teenage bodies? It’s not that I look forward to such a scene, but you expect that a little bit anyway. Again this was a disappointing feature. I even began to doubt the proper functioning of the natural radar system of this giant shark. And furthermore, there was only one moment I almost jumped out of my skin when an innocent young whale bumped into a window. That says a lot about the eeriness of this movie. Show no mercy, sharky. Isn’t that what you want to see while watching a movie like this? The increasing tension and the redeeming end in which the endangered characters kill that vicious animal. You sigh with relief as you see the dismembered carcass of the shark sink to the bottom of the ocean. And you feel sorry for the attacked victims. In this film, it’s the other way around. I almost cheered the moment the most annoying character in the film saw the giant, razor-sharp teeth of the shark in close-up. In fact, I hoped that “The Meg” could somehow return to its natural habitat, after which mankind would finally realize not to break the rules of Mother Nature every time. And that final fight was like the battle between Achab and Moby-Dick. The popcorn was for free. All in all, this wasn’t really worth a visit to the cinema. I’m already glad they made a mistake at the candy stand and gave back too much cash, so the candy me and my wife bought was almost for free. The popcorn tasted twice as good during this popcorn film. And mind you, not because of the movie. It had nothing to do with that. In retrospect, “The meg” was a mega disappointment. My rating 4/10 Links: IMDB More reviews here

The thing about getting older is looking back, it doesn’t matter how old you are, life always feels the same length. Like both forever and not very long. You’ve just seen “Uncut Gems” and you feel the nerves raging through your body after watching this ultra-nervous film? Well, I recommend you to watch the film “Colewell“. Believe me. After watching this film, you’ll feel completely relaxed again. There are no situations full of agitated behavior. No feverish activity. Everything is calm and peaceful. This cozy and pleasant film progresses at a leisurely pace. Like the gently rippling water in a quiet stream. Just about the pace of someone in old age who performs the same ritual every day and eagerly awaits his well-deserved retirement. Only Nora (Karen Allen) was not yet ready for that well-deserved rest that is now being forced upon her. The same routine every morning. Nora is an older lady who runs a local post office in the small village of Colewell, somewhere in Pennsylvania. And trust me on this, when I say you can admire her morning routine several times. A morning where she will check the chicken coop for freshly laid eggs. And every time she checks the state of one of the laying hens because it’s upset because of newly added fellow hens and thus refuses to squeeze such a fragile object through her poopybutthole. Then it’s time for breakfast (with a firm omelet made with fresh eggs) and a getting dressed ritual before she opens the door of the post office (located at her place) to welcome the villagers. Everything is performed dutifully and meticulously. And I’m sure she did this from day one. A changing world. “Colewell” is about aging and the preservation of certain values of life. At the same time, it’s also about the fear of losing these certain values. And the rapidly changing world around us. When a decision is made to forget about certain post offices and integrate them into the larger whole, Nora sees those values disappearing like snow in the sun. The day after she’s being confronted with this terrible decision at the US Postal Service headquarters, she sinks into an emotional pit and consciously skips her daily rituals. As if it all no longer matters. The choices that were proposed to her are both not adequate solutions for her. Relocating to a larger city to work there at the post office. Or retire. Both are alternatives that Nora disregards. The post office has a social function. The post office in Colewell has an additional function. It’s the meeting place for the local population. There’s gossiping, stockings are knitted, food is exchanged and life stories shared. In short, it’s the heart of a community. And the members of this community are heartbroken when they are told that their beloved assembly point is about to disappear. Initiatives are being taken to turn the tide and efforts are being made to safeguard Nora’s workplace. But as soon as they realize that this is a futile effort, everyone accepts the situation and the social contacts move to other locations. To the dismay of Nora. Do you want an action-rich movie? Skip this one. “Colewell” is endearing, serene and melancholic at the same time. A subdued drama about how it feels to grow older and then suddenly realize that your functional role has been played out and two arrogant younger people say this without hesitation in your face. Or you’ll be flexible or you pack it up and make room for the future generation. A realistic character study, without frills. But not entirely. The moment Ella (Hannah Gross) shows up at Nora’s place, realism turns into vagueness. It’s not really clear whether this is Nora’s free-spirited daughter or a figment of Nora’s imagination representing the younger Nora. Anyway. Do you like action-rich movies that are nervewracking exciting? Well, I suggest skipping this one. The easy-going nature of the film may well get on your nerves. My rating 5/10 Links: IMDB