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Every once in a while, nature makes a mistake. The beginning explains a lot. First, footage of an adorable-looking 2-year-old, growing up and having one injury after the other. And again and again, you get this emotionless stare because he turns out to be numb to pain. In addition, there’s an increasingly desperate-looking mother. And finally, that picture of a little boy in plaster staring sadly ahead while in the background children enjoy themselves in a playground. Perhaps this little boy realizes at that moment that his life will be very different from that of an average person. And that’s how you’ll see the grown-up Henry (Joey Klein) afterward. A person who lives completely isolated and who moves carefully through society every day. Taking with him a backpack stuffed with attributes to take care of injuries. The only thing he’s trying to produce in his as a lab equipped apartment is a medicinal product. Not to treat pain. But something so he finally can feel pain. A vital signal that the human body passes on to indicate that something isn’t right physically. A medicine so Henry has the feeling he’s really alive. It feels like watching a science programme. “Painless” is not SF, even though I don’t know whether there are people in the world who suffer from the same condition as Henry or not. I’d rather call this film a drama with a scientific undertone. Because believe me, a lot of Chinese sounding medical terms will be fired at you. Technical terms about chemical compounds and genetic stuff are used throughout the whole movie. No idea what education Henry has followed. But it’s clear he’s a genius in the field of science. He also appears to have an unprecedented gift that allows him to diagnose a person’s condition with a single glance. This all makes this film rather boring sometimes and too intellectual. It feels as if you are looking at some scientific program. Something only real nerds like to watch. And they get excited about every scientific term that’s being used. Yet there’s something else to be enjoyed for ordinary people without a master degree. Someone like me for instance. And that’s the wonderful acting. The acting is absolutely superb. Joey Klein delivers a great performance. The way he shapes Henry is simply brilliant. The unworldly loner who looks shyly around and who avoids any contact with other individuals. The only one he has regular contact with is his doctor Dr. Raymond Parks (Kip Gilman). Probably someone who took care of Henry countless times after yet another incident. He’s also Henry’s confidant. So regularly Henry storms into his office without asking, just to argue about a new theory. In my opinion, it’s also the only one who fully understands Henry. And then one day Henry meets the graceful Shani (Evalena Marie). A painful encounter (there’s hot coffee involved) after which he comes to the realization that there’s more to life than his eternal search for a cure. It’s painful to see how clumsy he is when interacting with others who don’t have a medical background. A scientific drama with a romantic twist. “Painless” is about the absence of physical pain. It’s also about the numbing effect this had on the emotional part of Henry. He’s just as insensitive when it’s about emotions. The way he responds to certain situations shows a social ignorance and a lack of experience in the field of human interaction. For him, everything is a distraction that prevents him from finding a solution for his ailment. “Painless” is certainly not an action-packed and adventurous blockbuster but still an interesting film. It shows how persons with a disorder still can function in our society. And even though you usually don’t understand what they’re talking about (thanks to the frequent use of medical and scientific terms), you can understand Henry at the end. “Painless” is about perseverance and determination. But at the same time, it is also about loneliness and sorrow. In short, a scientific drama with a romantic touch that surprised me. My rating 7/10 More reviews here

(Release Info London schedule; July 24th, 2020, Curzon Home Cinema) https://www.curzonhomecinema.com/film/watch-the-traitor-film-online "The Traitor" In the early 1980’s, an all out war rages between 'Sicilian' mafia bosses over the heroin trade. Tommaso Buscetta (Pierfrancesco Favino), a made man, flees to hide out in Brazil. Back home, scores are being settled and Buscetta watches from afar as his sons and brother are killed in Palermo, knowing he may be next. Arrested and extradited to Italy by 'The Brazilian' police, Buscetta makes a decision that will change everything for 'The Mafia'. He decides to meet with Judge Giovanni Falcone (Fausto Russo Alesi) and betray the eternal vow he made to 'The Cosa Nostra'. Tommaso Buscetta is fickle and constantly on the move, both in his life and in personal relationships. He’s out of the ordinary, intelligent, charming, effective and endowed with natural authority. A mafioso loyal to 'The Cosa Nostra', but also to his own personal principles, he’s not afraid of challenging authority. From the end of 'The 1970s' to the start of 'The 1980s', he faces the growing strength of 'The Corleonesi', headed by the uncompromising Totò Riina (Nicola Calì). This new small group has no mercy and flouts the basic principles of 'The Cosa Nostra'; they kill women and children and eliminate whatever gets in their way. This group holds no place for Tommaso Buscetta. When in 1982 he moves to Rio de Janeiro with his beloved wife and children, he aims to end his involvement with 'The Mafia'. But there’s no such thing as leaving 'The Mafia', the organization hunts him down. However, 'The Brazilian' police beat them to it and extradite him to Italy. Buscetta then proposes a deal to 'The Italian' judiciary. He’ll cooperate and dismantle 'The Mafia' in exchange for his own protection and survival. He’s soon confronted with the imposing, inflexible and tenacious Judge Giovanni Falcone, and we’re plunged into the depths of 'The Sicilian' organization; murders, shoot-outs and scams. All this provides the backdrop to Buscetta’s account, who turns out to be 'The Cosa Nostra’s' biggest mystery; no one knows why he’s collaborating. He seems motivated by revenge and the desire to dismantle a mafia no longer in line with his values. Buscetta is a traitor for deserting to the enemy, but he doesn’t see himself that way. In the course of his confessions, he highlights the gulf that exists between his mafia and that of 'The Corleonesi'. He intends to do justice to the true 'Cosa Nostra' in this way. Tommaso Buscetta, also known as 'Don Masino', is a fascinating character who left an indelible mark on the history of the fight against 'The Mafia'. Born in Palermo in 1921, the youngest of a poor family with 17 children, he marries early and has two sons by the age of 16. He embarks on a career of crime in 1945 and soon demonstrated his skills, rapidly climbing the hierarchy of 'The Cosa Nostra'. In 1963, pursued by 'The Italian' judiciary, he flees first to 'The United States', then to Brazil. This earns him the nickname 'The Boss Of Two Worlds'. But Buscetta’s empire is to collapse. He's arrested by 'The Brazilian' police, then imprisoned and tortured in Italy. In 1980, he manages to escape from prison and returns to Brazil in order to flee from 'The Mafia War'. After marrying his third wife, Cristina (Maria Fernanda Candido), a young Brazilian with whom he has two children, Buscetta is again arrested by 'The Brazilian' police. Deeply affected by the executions of those close to him, and in particular by the brutal murder of his two eldest sons, he tries to commit suicide by poisoning himself. But his life is narrowly saved and he's extradited to Italy. Once back in Italy, he makes a decision that would change both his life and 'The Mafia". He meets Judge Falcone and collaborates with the judiciary. The information which Buscetta provides 'The Italian' authorities is the most important ever obtained. For the first time, it's possible to weaken 'The Cosa Nostra'. 475 people are charged and 'The Maxi Trial' takes place in Palermo. Buscetta is the key witness and takes the stand at considerable risk. He makes 'The Cosa Nostra' his enemy and, despite the danger, held firm to his course of action. The criminal organization murdered two of his children, further members of his family and friends. The trial ends with 360 convictions. Buscetta then goes further and denounces the links between 'The Mafia' and Italian politicians. Don Masino’s revelations incriminated powerful men like Giulio Andreotti (Bruno Cariello), a former prime minister. To secure his own peace and anonymity, he moves first to Brazil, then to 'The United States', where he spent the rest of his life under 'The US Witness Protection Program'. Buscetta’s greatest victory, however, lay in his demise: after a life full of murder and the settling of scores, he's able to live his final days in peace, finally dying of cancer in 2000. Maria Cristina De Almeida Guimaraes is Buscetta’s third and final wife, as well as the mother of his youngest children. She's Brazilian and much younger than him. Passionate, strong, clear-headed and always present, she's very different from the regular mafiosi wives who lived in their husband's shadows. Cristina is active, intelligent and autonomous, she's a keystone in Buscetta’s life and played a crucial role in his decision to betray 'The Mafia'. Salvatore Riina, born on November 16th, 1930, in Corleone, also known as 'Totò Riina', is nicknamed 'Totò u Curtu' in 'Sicilian' dialect because of his shortness (158 cm) and 'La Belva' ('The Beast') due to his ferocity. Totò is one of the most influential members of 'The Sicilian Mafia'. In the course of his criminal career, he personally murdered approximately 40 people and is suspected of having ordered the killing of 110 others. During 'The 1980s' and in the early 1990s, Riina and his mafioso family, 'The Corleonesi', led a merciless campaign of violence against both rival mobsters and 'The Italian State'. 'The Mafia’s' terror spread within the population and caused the authorities to introduce strict measures, which led to the arrest and imprisonment of Riina and several of his associates in 1993. Sentenced to life in prison, he dies of cancer in 2017 after word of his possible release on health grounds provoked public outrage. Salvatore Contorno (Luigi London Cascio), known as 'Totuccio Contorno' is a former mafia soldier under the command of Stefano Bontade (Goffredo Bruno). He later becomes a witness in 'The Maxi Trial'. Contorno is initiated into 'The Cosa Nostra' in 1975. He's one of Bontade’s favorite hitmen and is also associated with Tommaso Buscetta. During 'The Mafia War', 'The Corleonesi' want to eliminate Contorno, but he's able to escape and protect his family. He decides to collaborate with 'The Italian' authorities, following Buscetta’s example. 'Pippo Calò' (Fabrizio Ferracane), whose real name is Giuseppe Calò, is born on September 30th, 1931, in Palermo, Sicily. He's a very influential member of 'The Cosa Nostra' and is nicknamed 'The Mafia’s Cashier' because of his involvement in a number of money laundering cases. A very close friend of Tommaso Buscetta, he nevertheless chose to support the latter’s principle rival Totò Riina at the start of 'The 1980s'. After several years on the run, he's arrested on March 30th, 1985, and tries in 'Palermo’s Maxi Trial' for money laundering, associating with 'The Mafia', murder and racketeering. He receives two life sentences. He remains an active member of 'The Cosa Nostra' even in jail, where he lives a life of luxury and less influential inmates are his servants. Pippo Calò’s crimes include the bombing of 'The Naples-Milan' train in 1984, which killed 15 people and injured 116. Giovanni Salvatore Augusto Falcone, born in Palermo May 18th, 1939, and murdered May 23rd, 1992, in Capaci, is an Italian judge committed to fighting 'The Mafia'. His assassination is ordered by Totò Riina, head of 'The Corleonesi' clan. Falcone comes to prominence in 1984 when he takes the testimony of one of 'The Cosa Nostra’s' most important informers, Tommaso Buscetta, known as 'Don Masino'. On the basis of this testimony, Falcone opens 'The Maxi Trial' in Palermo in 1986. Palermo’s criminal court isn’t large enough to accommodate the 475 accused who are to stand trial, so a courtroom known as 'The bunker' is created. Falcone asks for additional resources to pursue the fight against 'The Mafia', but decisions aren't immediately forthcoming. Giovanni Falcone becomes a hero and an icon throughout Italy. He also becomes the number one enemy and main target of 'The Cosa Nostra'. The police escort provision isn’t enough to protect Giovanni Falcone. On May 23rd, 1992, he's murdered by 'The Cosa Nostra' in what's known as 'The Capaci Massacre'. "The Traitor" is more the story of Tommaso Buscetta than of 'The Cosa Nostra". Betrayal is a recurrent theme tirelessly explored in film, precisely because it makes us reflect on change. Can a man truly and profoundly change in the course of his life or is it just a pretense? Is change a way of healing, of repenting? Did Buscetta, who refuses the label of informer all his life, embark on this process of healing, of redemption, to become a new man? Or did he create his own justice? In the past, 'The Cosa Nostra' had nothing to do with the perverse entity that it's today. Buscetta collaborates with 'The State' to prevent others from believing in the dignity and honor of 'Fhe Cosa Nostra'. These values have been buried under a mountain of innocent victims.

"Daliland" (UK Release: /10/13/23/)     Salvador Dalí (Ben Kingsley) is one of the most world-renowned artists of the 20th century. The film focuses on the later years of the strange and fascinating marriage between Dalí and his wife, Gala (Barbara Sukowa), as their seemingly unshakable bond begins to stress and fracture. Set in New York and Spain in 1974, the film is told through the eyes of James (Christopher Briney), a young assistant keen to make his name in the art world, who helps the eccentric and mercurial Dalí prepare for a big gallery show.   The character of James is the audience’s perspective. It's the story of Salvador Dali and his wife Gala and how both of them are trying to hold onto their youth and the things that get in the way of that. It’s about the sort of people they surround themselves with and this whole world that James gets taken into that, falls in love with it and gets spat back out of. James also falls in love with Ginesta (Suki Waterhouse). But, Ginesta and James are definitely on different pages. James sees that this girl is interested in him and he falls in love. It’s really sweet, but that’s so far from how she sees it and that causes a lot of pain for James. If only he’d looked ahead, he’d have realised he’d set himself up for that one! Dali and Gala lived in a New York hotel for much of the late 1960s and early 1970s, so the film is primarily set in New York. New York in the 1970s is a place of great discovery. An exciting period, pre-disco and the beginning of punk, which was portrayed in a very different way in the US compared to the UK. Dali is surrounding himself with the movers and shakers of that time so his entourage consisted of people who were there for a purpose, they all have something interesting about them, whether they're musicians, artists, beatniks, poets, aristocrats or art buyers.   The film is primarily about Dali’s fear of death. Even though he's a remarkable genius he's also very much like us. Dali’s life and career spanned six decades. The other element the film wants to explore is Dali as an older man in New York in the 1970s, hanging out at Studio 54: He's living this very modern 70s life, yet we all think of him as a surrealist from the 1930s. Dali was quite a crazy guy when Gala met him. At that time, she was in a relationship with Paul Éluard, the writer and she had lived in a menage a trois with Max Ernst and Éluard. When she met Dali, something really extreme happened in her life. She really is very fascinated by him and she fell in love with him and she knew that this is the man to whom she would dedicate her life. Dali is a voyeur and Gala stimulated him very much artistically. He likes her passion and she completely gave her life to him, although she has other relationships, especially later in her life. She was criticized and condemned for sexual relationships with men who were much younger than she was. Gala is in her 70s in the period in which the film takes place and she didn’t like to be photographed as much as Dali. The script throws them together in this very uneasy chemistry. She's a lady who has a very strict image, she loves couture and the big designers of the time and she loves jewelry. She did more than anyone else to foster Dali’s career and more than anyone else to damage it. That’s an interesting paradox. In Púbal, in Figueres where Gala’s castle is, there’s still a lot of her jewelry, including pieces designed by Dali.   The story of Dali’s house at Portlligat, is that it's a fisherman’s hut that Dali and Gala first bought together in 1930. It was their first house. It didn’t have any electricity or utilities. They then bought the one next door which was a bit higher up and they started knocking walls down, hence the different levels which made it very quirky and recognizable. Dali’s personality really comes through, so it’s almost like the house is another part of his character. He finished work on it in 1972 so it’s like another piece of his art. The film deals mainly with the time when they're older and they've this very successful artistic life and they've built this whole world around them. They surrounded themselves with much younger people in an attempt to recapture their youth. People like Alice Cooper (Mark McKenna) and Amanda Lear (Andreja Pejic) are in their lives because both Gala and Dali loved beauty so they wanted to have beautiful people around them. Maybe the realization he has at the end is not in a sad or depressing way, it’s just reflecting on this moment in his life where he lived in this dream of a world. It's a façade as were the people he met and the life that he lived for that time. James just ends up in a moment of reflection and sort of nostalgia and it’s a moment of appreciation for the time that he had in that world.   Amanda is this fabulous woman who has this great relationship with Dali and she's in the center of that art world in Paris and London. She dated David Bowie and she was the ’It’ girl of the 1970s and 1980s",  before she becomes this sort of disco queen of Europe, like Grace Jones or Donna Summer. Captain Peter Moore (Rupert Graves) is Salvador Dali’s secretary, he did pretty much everything for him, including being an agent for his lithographs. He works on a commission basis and basically, he's part of Dali’s entourage. It’s very difficult to find out the truth about Moore because Dali is fabricator of reality, in his paintings and his life, and a lot of his entourage are also kind of fantasists we suppose. Moore wasn’t quite who he said he's, the English army Captain with the stiff upper lip. He's playing a part and we think that kind of pleased Dali who's happier with that rather than somebody who's authentic. Moore presents himself very well and is very charming, but he did some dodgy dealings, but a lot of people in the art world did dodgy dealings.   Dali is to the art world, what Almos Famous was to the rock and roll world. The glittering excesses of Dali’s fantastic circus, as seen through the young eyes of James, and the way he’s swept up into this opulent world, chewed up and spat out, until he realizes that the world’s quite a bit different than he dreamt it to be. There are many volumes where Dali is unkindly or dismissively judged. A distance that’s thrilling and terrifying, rather like a trapeze artist swinging back and forth, then suddenly the trapeze artist lets go and spins in mid-air and catches the other trapeze. It’s difficult to regulate the art world, because you’re selling people’s squiggles. Nobody knows how much they’re worth until somebody decides to pay that much for it. There’s a crossover between good and bad business practice in the art world and it’s very difficult to know where the edges are and that area can and has been exploited, even more so since Dali. It’s one of those things where you know it’s going to be special and then it happens, one of those times you’ll remember for the rest of your life.   Written by Gregory Mann

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. 

(Release Info London schedule; December 16th, 2018, Electric Cinema, 10:00) "Papillon" Based on the books 'Papillon' and 'Banco', "Papillon" follows the epic story of Henri 'Papillon' Charrière (Charlie Hunnam), a safecracker from the Parisian underworld who's framed for murder and condemned to life in the notorious penal colony on 'Devil’s Island'. Determined to regain his freedom, 'Papillon' forms an unlikely alliance with quirky convicted counterfeiter Louis Dega (Rami Malek), who in exchange for protection, agrees to finance 'Papillon’s' escape. In the glamorous world of Paris in 1931, safecracker Henri 'Papillon' Charrière (Charlie Hunnam) steals a small fortune in diamonds for local gangster Castili (Christopher Fairbank). Though he avoids detection, 'Papillon', whose nickname refers to the butterfly tattoo on his chest, makes one critical mistake; he withholds a jeweled necklace from the unforgiving crime boss and gives it to his girlfriend Nenette (Eve Hewson) instead. In retaliation, Castili frames 'Papillon' for murder, earning him a life sentence at the infamous penal colony in 'French Guiana'. On a ship bound for the remote South American prison, 'Papillon' meets meek currency forger Louis Dega (Rami Malek), who's sentenced to life for producing counterfeit bonds. There, amid thousands of violent convicts awaiting their fate, the two men reach an agreement; 'Papillon' will protect Dega and the stash of money he has hidden. In exchange, Dega will finance 'Papillon’s' eventual escape plan. Upon arrival, the shackled prisoners are met by Warden Barrot (Yorick van Wageningen), who explains the prison’s draconian rules; solitary confinement for anyone who attempts to escape; the guillotine for murderers. As they struggle to survive the nightmarish conditions, which include tropical illness, savage beatings, forced labor and public beheadings, 'Papillon' and Dega enlist the help of inmates Celier (Roland Møller) and Maturette (Joel Basman) to stage a daring escape during a torrential rainstorm. Despite their best efforts, the plan results in 'Papillon' being sent to solitary confinement for five grueling years. Emerging as a mere shadow of his former self, 'Papillon' is transferred to 'Devil’s Island', where he finds Dega waiting for him. Surrounded by prisoners who’ve been driven mad by their time in solitary, the two friends contemplate the hopelessness of their situation. But 'Papillon’s' relentless desire for freedom will not be denied. Louis Dega is arguably the most colorful role in the film. Louis is a character almost everyone will identify with because he’s someone who’s finds himself in a surprising place he knows nothing about. He’s been thrown into one of the most deplorable and miserable circumstances on earth, and has to fight his way through to survive. One of the coolest things about 'Papillon' and Dega is the way they push and pull at each other. In some ways they’re true polar opposites, and that's what helped their relationship grow into what you see in the film. The character's relationship is extremely significant to the story. If that chemistry doesn’t work, the film won’t come off the way it needs to. 'Papillon' allows the audience to see exactly how someone can snap. Not only how they can physically break, but how their mind can deteriorate as well. These two unlikely friends become so reliant on each other that a genuine love evolves between them. And that love allows them to understand not only the other person, but themselves as well. But it’s about the relationship that’s created between 'Papillon' and Dega, who initially hate each other, but who become entirely dependent on each other by the end. 'Papillon' starts as this young, ambitious, egotistical man, and he ends up a completely different person. The film’s emotional journey of self-discovery expects moviegoers around the world. Nenette (Eve Hewson) is an enigmatic French prostitute who romances 'Papillon' before he’s sentenced to life in prison. Nenette is a tragic soul beaten down by life in the Parisian underworld, She’s a smart, interesting person in the way she approaches her ambitions and dreams. She’s not a delicate flower. She’s a fighter. Although Nenette isn’t sentenced for any of her crimes in the film, the character exists in her own personal prison. Nenette and 'Papillon' are partners in crime, like 'Bonnie and Clyde'. She’s desperate to escape Paris because she doesn’t want to be a prostitute anymore. Her ambition is simply to survive, which is in keeping with the theme of the film. For 'Papillon', survival means getting out of prison. But for Nenette, her prison is a life of prostitution. One of the most important characters in the film is 'The French Guiana Penal Colony' itself. Vividly described by Charrière in his novels, the location’s nightmarish qualities needed to be abundantly clear to audiences if the film is going to have the desired effect. Remarkably, there’s a fair amount of documentary footage on the subject. A great deal of history has been written about the penal colonies. In many ways, the penal colony described in Charrière’s novel resembles a Dante-esque version of 'Hell On Earth'. This isn't a summer camp in the jungle. This is a very rough place that stood for more than 80 years. So to tell the story convincingly, the film creates something that's as terrifying as the one that actually existed. For example, the jail that 'Papillon' is sent to in Paris is very different than the prison ship that takes him to 'French Guiana'. And the prison ship is very different than the penal colony in the jungle. Each one has it's own style and personality. The film captures a sense of compression, like the belly of a beast. There’s an element of rebirth when Papillon and the others are spat out onto the beach at the end of their sea journey. The prison ship has so much texture everywhere. It's dark and greasy, and there are fires burning in the background. It gives an intensely claustrophobic feeling. Although it's cold on set, you’d still sweat inside that ship somehow. Few topics have made for more gripping cinematic drama than true tales of incarceration. From the 1932 classic "I Am A Fugitive" to the 1962 biopic "Birdman Of Alcatraz", moviegoers have thrilled to stories that depict real-life prisoners struggling to survive the brutality of institutional confinement. Filled with shocking details about life in one of the world’s most hellish environments, Charrière’s autobiographical novel became a global bestseller when it was first published in 1969 and remains a modern classic in the genre of prison literature. Amid so many acclaimed titles, perhaps none has captured audience's imaginations the way the 1973 prison adventure "Papillon" has. A box-office hit starring Steve McQueen and Dustin Hoffman, the film was based on the critically-hailed memoirs of Henri Charrière, a French thief who was wrongfully convicted of murder and sentenced to life at the notorious 'French Guiana' penal colony in 1931. Based on the epic true story, "Papillon" is a thrilling adventure and a powerful portrait of the resilience of the human spirit, even in the face of utter inhumanity. The story of "Papillon" is set between the years of 1931 and 1945. Whenever you tackle a remake or a reimagining of a classic, one of the biggest hurdles is trying to differentiate it from the original without losing the integrity of the story. The solutithe idea of this film is really to capture an overarching life story rather than to just focus on the escape. The focus is not just about the prison and wrongful incarceration. It goes much deeper than that. Although Charrière’s tale is widely regarded as one of the most exciting prison stories of all time, the new adaptation of "Papillon" transcends it's genre. This film is about much more than trying to escape 'Devil’s Island'. It’s about trying to escape yourself and your past. That's the true appeal of "Papillon". Essentially, it’s a story about understanding one’s true self. The result is a stark portrait of unimaginable pain that will likely move many viewers to tears. "Papillon" contains all the elements necessary for a gritty prison thriller set in one of the world’s deadliest places, but it also includes something else; humanity. There’s plenty of visceral action and compelling drama, but it’s mainly a story of friendship. It’s about people being kind to each other in a very difficult and violent place, and it’s a testament to man’s will to endure. Sadly, much of "Papillon" is still relevant today because many men and women are incarcerated under horrific conditions, and isolation is used as a way to torment them. It’s happening all around the world at this very moment. The emotional depth is one of the favorite aspects of the film. "Papillon" is the chance to revisit the topic in a historical context, while focusing on what makes it relevant to today’s world. On the surface, it’s a thrilling adventure film.

"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.

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 Royal Hotel" (Saturday 21 October, 2023, ARTS 20:35)     Americans Hanna (Julia Garner), and Liv (Jessica Henwick), are best friends backpacking in Australia. After they run out of money, Liv, looking for an adventure, convinces Hanna to take a temporary live-in job behind the bar of a pub called ’The Royal Hotel’ in a remote Outback mining town. Bar owner Billy and a host of locals give the girls a riotous introduction to Down Under drinking culture but soon Hanna and Liv find themselves trapped in an unnerving situation that grows rapidly out of their control.   The film is inspired by the feature documentary 'Hotel Coolgardie'. It's the story of two young Scandinavian women trapped in an Australian mining town. This clash of cultures feels like a way into a broader discussion about drinking culture and gender dynamics. There’s a part of us that understands that pub world and a part of us that's terrified by it. "The Royal Hotel" feels like an opportunity to do that by putting the two lead characters into a remote community, exploring how these two women navigate an unfamiliar and antagonistic environment, far removed from the urban existence they're used to. "The Royal Hotel" explores Hanna and Liv's experiences within the intense and volatile setting they find themselves in, while also delving into the underlying factors that contribute to its hostility. Hanna doesn't want to be there in the first place and she's feeling vulnerable most of the time, while Liv is more inclined to say ‘lighten up, it's not that bad…it’s just the culture'. With these two characters the film shows the subtleties in the way that women respond in these kinds of circumstances. The film wants to tell this outback story, through a female gaze, to turn the tables on a genre that's traditionally been very male, and to use the masculinity of that world as the fuel for the story, and to be able to examine some of the complications around male culture, but it feels reductive.   The central dramatic question of this film is not will they get out? It’s ‘should they?’ It's a much more subtle question, because it goes to the heart of this very masculine culture and what's unacceptable within that culture. It's a film that builds slowly and inexorably to the question of should they leave. It's about the way people respond to trauma. There's one way where you can be very on high alert, very fearful, or the other way, where you just dive in and drink it all away. The ending is a provocation. It generates conversation around what's acceptable within our culture and when we should stand up for ourselves and take a stand. And it’s a situation that's all too common for young women going into environments where they've little power; where they can start doubting whether their version of reality is the real version and start being co-opted into a culture that is making them feel like they're the ones who are crazy.   "The Royal Hotel" is set in a mining town and not a farming community so we were quite specific about what the landscape should look like. Mining towns are set up to support industry and are mostly filled with fly-in fly-out workers from interstate. The film wants the set to feel normal and inviting in the way that pubs quite often do, but it feels cold or menacing. This place is a threat. While the film has nods to thriller and Western genres, it cannot be readily characterised as a genre piece. Certainly, it's like a nightmare and at times we're almost verging towards horror, but you can not describe this as a genre film. The trick of it and the balancing act within it's that you're observing real behaviours, but you're coming at it from a particular perspective and by ramping up certain key moments you're heightening tensions within it.   Written by Gregory Mann