Film Shapes

I'll begin this write-up with a little peek behind my waffle curtain. Sometimes I find it tricky to unearth the theme or underlying meaning of certain films, which often leads to a straight-up documentation of the movie and my feelings on it. Occasionally, it might lead to unfocussed word vomit, where I'm madly clutching at straws (or apples - I remember that blind alley). Sometimes it's just pointless to search. Then there are films like Thomas Cailley's The Animal Kingdom , where there are clearly perceptible nuggets in the loam. So as not to be confused with David Michod's seminal Animal Kingdom , maybe we need to go with the French title, Le Règne Animal . Whatever the language, this is a wonderful little film. The topics touched on here include otherisation, palliative care, and kicking against the political system. There's so much going on here but it's mostly about the pain of letting someone go. At least, that's what I got from it. That's not...

Matteo Garrone directs this migrant drama about two lads trying to make their way from Senegal to Europe. Considering the bleak shit they go through on the trek, their life in Dakar doesn't seem as grim as might be expected. Garrone and co-writers Massimo Ceccherini, Massimo Gaudioso and Andrea Tagliaferri (along with a whole swag of collaborating writers) are posing a less stereotyped position here - what if a couple of young guys simply want to follow their dream and work in Europe? Do they necessarily have to be escaping a life of hardship and/or persecution? This premise shines a light on the broken system that forces people, for many reasons, to risk their lives in pursuit of a better option. Not being sure of legal standpoints here, I did a bit of reading on Amnesty International's website. The following explains the distinction between migrants, like the guys in this film, and refugees or asylum seekers: It is important to understand that, just because migrants do not fl...

I caught this second episode a couple of days after the first one, while the world of Dumas' Musketeers was still fresh in my mind. It picks up very close to the cliffhanger ending of the first, with D'Artagnan (François Civil) in a spot of bother after watching his fancy, Constance (Lyna Khoudri) possibly being abducted, and then taking a club to the head. As with the first episode, this is a fairly dense film, full of 'script' events and a near exhaustive roll call of characters to facilitate. Martin Bourboulon and his writers, Mathieu Delaporte and Alexandre de le Patellière pay their due respects to Dumas by trying to squeeze as much in as possible in a relatively short runtime. And mostly, it works. It's as entertaining as the previous film, albeit with a markedly different tone. The story continues as King Louis XIII (Louis Garrel) has finally declared war on the Protestant terrorists, camped in La Rochelle on the west coast of France. The Musketeers make thei...

It's been eight years since the release of Kung Fu Panda 3 , and that film may have felt like a nice way to wrap the series, what with Po, the Dragon Warrior, finding his 'pandas' and reuniting with his old pop. But when there's cash to be made, and a new crop of teeny tots to tweens (?) to be harvested for it, then here we are, at the fourth installment. This might sound cynical, and it is, but actually, I favour this 'franchise' (ugly word, I know) over any of the other DreamWorks fare. The film starts with Po (Jack Black) opening his dads' new noodle shop, fresh from a scrap with a massive stingray. The Dragon Warrior fame sits well with him but Master Shifu (Dustin Hoffman) is on his case to choose a successor and head 'upstairs' to a more exalted position as spiritual leader of the valley. The news of a burgeoning threat in far-off Juniper City gives Po an excuse to avoid this duty, and so off he trots with a reluctant partner in miscreant Zhen ...

Here's another version of the Alexandre Dumas classic, the latest in a long line of adaptations, possibly starting in 1903, but probably most famously directed by Richard Lester in the 70s (or the Douglas Fairbanks film in the 20s, if you want to go back that far). This one, directed by Martin Bourboulon, is given all bells and whistles - it was filmed together with its second part, The Three Musketeers: Milady  and they had a pretty sizeable budget, apparently. I'm guessing a lot of those Euros went on the stellar cast - Vincent Cassel as Athos, Romain Duris as Aramis, Eva Green as Milady, and Vicki Krieps and Loius Garrel as the Queen and King. All on sterling form, though it's François Civil as the lead, D'Artagnan and Lyna Khoudri as Constance who must take the plaudits. The innocence of their burgeoning romance is the heart within the film that all the religious and political arteries feed into.  The story is slightly convoluted but it all spins around the affairs ...

This harrowing documentary follows a group of war correspondents in the besieged city of Mariupol in south-east Ukraine. It starts as the Russian invasion gets underway and creeps towards devastation as the frontline gets ever closer. It's an extremely tough watch. The writer/director, Mstyslav Chernov, doesn't shy away from showing us children dead from shelling, parents absolutely bereft from grief, and the complete loss of hope that's riddled through the doctors and nurses. It almost feels redundant to talk about technique here but this film holds a straightforward doco structure that opens with a hint of the 'big moment', then a diary style unfolds (the 20 days), before returning to the beginning to show us how it all panned out. That focal point is an impending attack on a hospital that the crew are holed up in, followed by a frantic dash to find a Red Cross convoy rumoured to be leaving the city. Some of the most striking detail in the film is that if you'...

Dune: Part Two picks up very close to the end of the first film - Paul Atreides (Timothée Chalamet) and his mother, Jessica (Rebecca Ferguson) are embedded with the Fremen following the attack on house Atreides from Dune: Part One . The first scene of some Harkonnen foot soldiers getting dealt with is neatly done but not quite the opener that I was expecting. This ties into my major issue with the film - it takes an awfully long time to get going. I'd say the whole first hour is spent developing Paul's relationship with Chani (Zendaya) and Jessica's rise to Reverend Mother of the Fremen, blue worm juice ingesting and all. There's also an extended 'rites of passage' angle where Paul must show his mettle to be accepted by the tribes. All important stuff, granted, but I'd have preferred a bit more back and forth with the other camps - Harkonnen, Emperor & Bene Gesserit. When this does eventually happen, the film really finds its groove. Christopher Nolan s...

Mads Mikkelsen stars in this 18th century historical drama with epic overtones. He plays Ludvig Kahlen, an ex-soldier with a strong urge to cultivate the Jutland heath in Denmark. The Royal Treasury toffs think he's mad but, as the King wants the heath developed, Kahlen is given permission to try (and probably fail). So, unto the wild. It sets out its stall early when Kahlen musket balls an outlaw's chin. The bloodlust doesn't return for a while, but when it does, it's pretty shocking. In the meantime, Kahlen has to deal with farming a virtually barren landscape with very little help. A local priest, Anton (Gutsav Lindh) leads him to a couple, Ann Barbara and Johannes (Morten Hee Andersen and Amanda Collin), who will work for next to nothing, as they are on the run from a malicious land-owner. We meet said richo, Frederik de Schinkel (Simon Bennebjerg) soon enough when he invites Kahlen to dinner to dissuade him from his attempts to settle - more folk on the land would ...