Change Your Image
CinemaSerf
Ratings
Most Recently Rated
Reviews
The Revolving Door (1969)
The Revolving Door
There are some quite startling statistics used to underpin the thread of the narration here. The routine dispensation of justice onto minor offenders who's defence has had about five minutes to prepare, who's prosecutors have had just about the same amount of time to proceed and the judge (probably with repetitive strain injury) who can deal with over 25,000 of these misdemeanours in one calendar year. It's an hand-held camera job for the most part exposing the audience to a wide variety of people who have fallen foul of the law. Some for the first time, some who are clearly hoping for a place to sleep and a decent meal as it's conceivably safer (and warmer) for them inside one of the basic, and ageing, correctional facilities. The writing is pretty cynical about the relative merits of this production-line process and after about ten minutes, it's not hard to see why. Resources are relentlessly tied up in a vicious circle that offers little hope to anyone. It's an aptly named documentary that is dry as a bone, but worth a watch.
A Space to Grow (1968)
A Space to Grow
Henry Fonda narrated this really quite dry documentary looking at the state of opportunity for young people from less privileged backgrounds in the American Mid-West. Centred around a group of curious and aware students in their late teens, it follows their educational processes, their debates with each other, their politics - inducing reason and anger in equal measure, before rounding off with some well-intentioned, if a little earnest, commentary from educators about how education can and will improve the lot of just about everyone in an American society that is still rife with segregation. Time has really left this behind, and it is now little better than a group of opinionated kids performing to camera offering - as we all did - the gospel according to me.
A Way Out of the Wilderness (1968)
A Way Out of the Wilderness
Some of the language here is a bit on the pejorative side, but the underlying message contained in this documentary is quite effective at illustrating the problems of the profoundly handicapped people for whom society really only has one solution. Institutionalising them. A single camera follows the daily trials and tribulations of people struggling with disabilities that affect everything from their brain function to their mobility. What's a little more distinctive here is that the focus is more on able-bodied people learning to adapt to their world, not the other way round. Can we find common ground, but more on terms easily accessible and acceptable to people who cannot (or will not) understand? Belligerence is rife and the skills of the professionals here is to peacefully mitigate tha,t keeping tempers down, options open and allowing for all to retain their dignity. The production is basic, but that's fine - it allows the focus to fall squarely on the "patients" and the patience. It's dated, but it's still an useful retrospective on just how scared we were of stigma and the unknown.
La maison de Jean-Jacques (1967)
The House That Jack Built
This has a cumulative narration a little like the "12 Days of Christmas" as each sentence evolves then repeats the preceding one. That makes for quite an entertaining appraisal of the life of "Jack" as he lives in an house just like everyone else's and goes to work to pay the bills day in, day out. Then his car blows up and he trades in the wreck for some beans! His wife goes potty and he's relegated to the floor that night. In the morning, yep, there's a beanstalk that "Jack" climbs and his encounter with the "giant" sends him scurrying back down with a mirror that he's pinched. This gives him self confidence, a belief that he can achieve anything and next thing, well his house is a bit different from his neighbours - but is he fulfilled? The animation is a bit limited, I felt, but the pace of the thing; the fun narration and the underlying story of grass always being greener and the futile search for perfection is quite well delivered.
Rise (2014)
Rise
Will (Nathan Wilson) is a young nurse imprisoned for rape after a drunken one night stand. Protesting his innocence, he must adapt to the harsh realities of prison life while his barristers try to organise an appeal. Fortunately, he falls in with Jimmy (Martin Sacks) who, after a bit of hostility, becomes his pal and protector. He also discovers God, or the Christian faith at any rate, whilst incarcerated and we watch his personality and maturity develop over the next 1¾ hours. Somehow it doesn't quite work, though. It is oddly sterile. Why do the pair bond? The religious undertones are so subtle as to be almost irrelevant and though it does deal with serious issues - bullying, mental health and suicide, it does so with an almost soap-style of storytelling. The acting is fine, the drama is fine, the writing is fine - but that's about the height of it, really as it builds predictably to an ending that is hardly a ringing endorsement of the Australian justice system. It's a decent debut effort from director Mack Lindon, but in itself, nothing very remarkable.
Gran Torino (2008)
Gran Torino
It's curious that the main English language awards largely ignored this, yet it won both a David and a César in Europe and is definately one of Clint Eastwood's more characterful efforts. He is the curmudgeonly "Walt" who has recently lost his wife, has an arms-length relationship with his son and looks disapprovingly as his neighbourhood ceases to be the home of "Americans"! His prize possession is his Gran Tornino car and he doesn't take to kindly to Bee Vang's "Thao" (or "Toad") trying to pinch it. Quickly, though, he sees that this young man and his sister "Sue" (Ahney Her) are being bullied by their thuggish extended family - a gang of obnoxious would-be gangsters who drive the streets picking fights and taunting people. He decides to intervene and the rest of the story sees a bond develop between him and his new "family" based on a degree of mutual understanding, trust, and "Toad" becoming his slave for a fortnight by way of penance! We are given some clues along the way as to the grand designs of "Walt" as he sets up a denouement, after a brutal assault on "Sue", that will satisfy not just himself, but keep his neighbours safe too. It's not the most naturally written dialogue, indeed at times it's quite forced but the underlying premiss of bigotry and the attitudes of intolerance and bullying are well addressed. The characterisation of the distant and prejudiced "Walt" is delivered engagingly, and with some dark humour, by a star/director who has a point to make. There's also quite a gently potent effort from Christopher Carley as the local priest. He is trying to offer the perfunctory words of hope and comfort to this veteran and he perseveres despite the dog's abuse he receives from a man who no longer feels it necessary to commit to the niceties of society. Clearly, 'Walt" cares little for what is left of his life nor for any of his sins to be forgiven. It's about grief, relevance, community and I think it works. Give it a go.
Greyfriars Bobby: The True Story of a Dog (1961)
Greyfriars Bobby: The True Story of a Dog
There's a statue of this wee Skye terrier in Edinburgh as testament to the loyalty and tenaciousness of this dog that couldn't care less about the civic rules that banned him from the graveyards of the city. It's the shepherd "Old Jock" (Alex Mackenzie) who has passed away and it's his grave that "Bobby" sleeps on each evening, doing a bit of useful ratting at the same time! Quickly he befriends the local tea-room owning "Traill" (Laurence Naismith) who knew his late master, but he has a harder task convincing the caretaker of the cemetery. "Brown" (Donald Crisp) is a bit of a stickler for (his own) rules, but the intervention of the police (Duncan Macrae) over who owns the dog soon sees a court hearing in front of none other than the Lord Provost (Andrew Cruickshank). It is he who must decide the fate of "Bobby" in the face of these two bickering old men whose initial stubbornness about not owning the dog has completely reversed itself! It does take a little while to get going; there are a few too many scenes of the dog running about the place, but once we get into gear this is a charmingly scored and depicted story that puts together a solid cast of familiar faces to support the on form Crisp, Naismith and the young Jameson Clark who's "Tammy" was a little like Dickens' "Tiny Tim" only not quite so earnest! It's a simple family story of loyalty, devotion and curmudgeonliness that's held up well.
Shi mian mai fu (2004)
House of Flying Daggers
Though the story isn't really very strong here the combination of beautiful visual effects and precision martial arts makes for an enjoyable depiction of Chinese mystical intrigue. "Mei" (Ziyi Zhang) is a mute dancer who attracts the attention of police captain "Jin" (Takeshi Kaneshiro) after she is very nearly raped at the "Peony Palace". She is also arrested but he helps her escape and into the dense forest they head, pursued by the police and fearful of the eponymous freedom fighters who are rumoured to dwell deep amongst the tall bamboo. Of course, as they travel they begin to fall in love but he's not quite ready for the surprise she delivers nor for his response as he must make a choice between his heart and his loyalty. Meantime, there's the jealous "Leo" (Andy Lau) on the scene who is determined to see his love stays with him or nobody! It's the stylish and vibrant look of this adventure that helps it stand out. The perfect choreography of the dances and the combat scenes couples well with some impressive imagery that tests and provokes just about all of our senses as the mystery unravels as easily as the folds in her intricately woven gown. I was slightly disappointed by the denouement which I think might be testament to the performances from the two travellers who managed to ensure I cared what happened to them as they twisted and twirled their way through the imaginatively photographed trees. It certainly benefits from a big screen and from it's big audio, too.
Cloverfield (2008)
Cloverfield
I suppose the first thing to warn of is - it is shot entirely POV, and for many (including me) that can prove to be really quite annoying at times (and particularly difficult to light effectively). The premiss is that "Jason" (Mike Vogel) and girlfriend "Lily" (Jessica Lucas) are living the happy lives of a young couple. When one night they set off to attend a leaving do for their pal "Rob" (Michael Stahl-David) their party is shattered by what seems like an earthquake, followed by a desperate hunt for his girlfriend "Beth" (Odette Annable) as something ginormous is stalking the streets of New York. The camera passes from person to person, so that does give us a different perspective of the ensuing mania - but actually I didn't find them a particularly engaging bunch of panic-stricken folks so I can't say I was very concerned for their safety. Some of the decisions they make - admittedly under a fair degree of duress - seem staggeringly risky and/or stupid; the sound editing overdoes the screeching and wailing to such an extent that the dialogue can be barely audible at times, and though well paced eventually, it still takes just a bit too long to actually get going. It is certainly an interesting concept, and if the style of cinematography doesn't drive you mad after twenty minutes, then I reckon you will quite enjoy the intimacy of the thing - at times, it is actually quite scary.
Hoard (2023)
Hoard
The young "Maria" (Lily-Beau Leach) lives with her loving mum (Hayley Squires) in an home full to the brim of junk. Some of it just bric-a-brac, some of it more distasteful and unhealthy, but the pair rub along well enough scavenging their way through skips and bins. "Maria" has a tough time at school and doesn't really fit in, so when an accident at home sees her put into foster care, she has quite a bit of adjusting to do under the care of the savvy "Michelle" (Samantha Spiro). Now we scoot forward to her late teens where she (now Saura Lightfoot-Leon) is still living with "Michelle" and seemingly quite a content. One morning it's announced that "Michael" (Joseph Quinn), who was a former charge, is coming to stay for a while whilst his housing is sorted out. He's a decent cove with a girlfriend expecting a baby. Almost immediately he arrives, the two click. Not quite in any conventional sense, but there does seem to be something between them, and understanding. It's this that starts "Maria" thinking of her past, pining for it even - especially when a delivery man presents her with something entirely unexpected in a small package! With the two of them living increasingly closely, how might their relationship develop? Now this isn't for the squeamish. Right from the start we experience the rather sticky downsides of their quite grubby way of life, and as the story moves to it's second phase it becomes a potent, if shallow, character study of two people that just don't conform. The problem for me here is that the drama goes nowhere. It's a sequence of observations of the life of a woman that I didn't feel I knew on any level at all. Her behaviour is unsettling but it seemed to me that was so that the audience could feel unsettled, squirm in our chairs a bit, rather than because the character of "Maria" was evolving in any way. Indeed she seems to retrogress as the film just becomes increasingly tasteless and contrived. It's rare to see people leave an arthouse cinema mid-film, but they did during this. I didn't, but I am not at all sure what the point was, or to whom this is aimed. It has it's moments and at times is really visceral, but sorry - by the end I found it all just a bit too introspective and dull.
IF (2024)
IF
"Bea" (Cailey Fleming) arrives to stay with her grandmother (Fiona Shaw) so she can be near her father (John Krasinski) who is having cancer treatment at a nearby hospital. It's a fairly traumatic time for everyone, but it also becomes quite puzzling for the youngster when she encounters "Blosson", "Blue" (who's actually purple) and their handler "Cal" (Ryan Reynolds) living in the apartment upstairs. She quickly discovers what an "IF" is, and is introduced to loads of them, now adrift in a world where their original partners have grown up and forgotten them. "Cal" and his friends are trying to re-home these friendly and creative critters, and so "Bea" takes an hand helping out. Their first target for a new friend is the friendly "Benjamin". He's a patient in the same hospital as her dad, prone to breaking his bones and though outwardly cheery and good-natured, cuts a rather lonely sight in his room. As the story continues we begin to suspect that it's not just him that needs an "IF". Sure, it's derivative at times, but there's an engaging effort from the young Fleming and the sparing use of the colourful and well integrated visual effects along with some cheery scripting and a few amiable supporting characters that could easily inhabit any toy-box (I liked the bear and the tasting marshmallow) wired well. Also, Reynolds takes enough of a back seat not to impose his presence too firmly on the proceedings. It's an amiable story about family, loneliness and growing up that encourages folks to use and enjoy their imagination. I wasn't really expecting to, but I did quite enjoy this.
The Garfield Movie (2024)
The Garfield Movie
Seemingly abandoned by his dad in an alleyway in the rain, poor little "Garfield" espies the unsuspecting and lonely looking "Jon" having a pizza across the road. In a shot he's looking all sad and bedraggled at the windows, next he's demolished the man's dinner and finally coaxed him from his comfortable flat to a new house that they share with the dog "Odie". His life is just one idyllic round of snoozing, eating and watching "Catflix" until he and "Odie" are kidnapped. Why? Well it's only when they are rescued by a caped hero - who turns out to be his dad "Vic", and we then are introduced to the criminal mastermind that is "Jinx" who has an axe to grind, that we start to get to the bottom things. She spent ages in the pound and is looking for her pint of milk! Now "Garfield", "Odie" and "Vic" have to come up with plan to rob a well defended dairy to settle scores. Even if they succeed, can they trust the duplicitous "Jinx" and her two sinister hench-creatures? It's an amiable enough adventure movie, this, with plenty of daft escapades for the cats, a menacing security officer and even an old lovelorn bull ("Otto") who's seen better days. I found the story reminded me a bit of the "Wallace and Gromit" kind of mishap-ridden narrative and though it's probably twenty minutes too long to sustain a film that doesn't seem to ever want to end, it's got the usual messages to team-playing, family and loyalty and has some quite witty one-liners now and again.
The Good Shepherd (2006)
The Good Shepherd
So rather than spend a fortune on special disguises, plastic surgery and prosthetics, the secret of being a successful counter-intelligence agent is loads of Bryclream, a pair of thick-set spectacles and a fawn, knee-length, mac. That's what puts the c into overt! That theory sort works for Matt Damon here with this lacklustre drama set around the time in world history when the American government realised they needed to gather intelligence about whom their potential 20th century foes might be. He is "Edward Wilson", who after being sworn into some top secret masonic style of society at school finds himself learning the arts of espionage in a wartorn London, then to Berlin, the back to Uncle Sam where his accrued skills leave him well placed to root out Nazi sympathisers and Soviet agents and defectors. Initially he is full of the joys of spring, his task a patriotic duty. Increasingly, though, as his hastily arranged marriage to "Margaret" (the sparingly used Angelina Jolie) starts to suffer, cynicism creeps in and what semblance of decency he had begins to become subsumed into a determination to get results - regardless of the methods frequently employed by his sidekick "Ray" (John Turturro). Robert De Niro clearly has pulling power with his directorial promise, but most of the supporting cast add little to this muddling drama that trips over it's own cloak way too often looking for the dagger. Quite where Billy Crudup's accent came from is anyone's guess and the plodding nature of this rather wearisome, if stylishly filmed, drama makes it quite a slog to sit through. It's all just a bit too self-indulgent and presents us with a rather ungracious and arrogant side to an American superiority complex that I found a bit dull.
Goodbye, Mr. Chips (1939)
Goodbye, Mr. Chips
What a gorgeous, gentle, film about the end of empire and of an era that showed a culture of respect and deference that has now long since vanished. Robert Donat always managed to portray the quintessential Englishman well - if, at times, in a little overly stilted fashion; and with Greer Garson's beautiful representation of a lady of the times this leaves us with a slightly warm feeling. Certainly, it doesn't not promote any equality amongst the sexes, but the "Blue Danube" scene has to be amongst the most romantic ever committed to film and it brings home the horrors of two wars poignantly, too.
Green Lantern (2011)
Green Lantern
It's an whole twenty year old, this - and I still like it. OK, perhaps it is Ryan Reynolds wandering about in his tiny whities, and he is most certainly at his most easy on the eye for just shy of two hours. He is "Hal" a pretty flaky test pilot who manages to cost his employer - mainly the equally gorgeous "Carol" (Blake Lively) a lucrative government contract. Meantime, this shapeless baddie to end all baddies - who feeds on fear - has escaped from his remote prison at the far end of the universe, and the eponymous "Corps" must mobilise to defeat him. One of their best falls foul of this menace and his ring - the symbol of the power of the Order - passes to the unlikely "Hal". What now ensues involves our Ryan in spray on leather clothing and wearing goggles that wouldn't conceal his identity from a blind person in some fun adventures as he learns all about willpower, discipline and the power of green! Meantime, there are some shenanigans going on with "Hector" (Peter Sarsgaard), the hapless son of the powerful "Sen. Hammond" (Tim Robbins) that sees "Hal" and "Carol" with just a little more on their plates than they need. The special effects are fine; Mark Strong hams up perfectly as "Sinestro" and the wise guys in the impractically long capes add a bit of fun too. No, it's not "Star Wars" and the script is pretty diabolical, but, still - what's not to like...?
Drive (2011)
Drive
If it's got wheels, then Ryan Gosling's nameless character can use it. When he is not doing triple rolls as a movie stunt-man, he is being the freelance getaway driver for criminals who need a reliable man to get them out of trouble. His friend "Shannon" (Bryan Cranston) fancies himself as a bit of a motor sport aficionado and suggests to his wealthy (and pretty crooked) pal "Bernie" (Albert Brooks) that he chip in $300k so they can start a team. Just as that's all getting on track, the driver starts to get the hots for a neighbour "Irene" (Carey Mulligan) and so engineers a meeting with her and her young son. She's not without her own baggage - but he (Oscar Isaac) is incarcerated for the moment and so their relationship burgeons. When he gets out of jail her boyfriend needs help with a petty robbery at a pawn shop. That goes pear-shaped and next he knows he has a corpse, a bag of mob money and just about everyone on his tail. He needs to keep her safe and stay on his toes for quite an exciting and action packed last half hour that sees this meticulous man fighting for survival. It's all about Gosling this film, and he owns the screen. His charismatic effort as the wheels works well throughout and as the thing stealthily gathers pace, he delivers confidently. Mulligan doesn't really feature so often to make that much of a difference, but essentially it's a one-man show and that weaves the threads of greed, corruption and romance entertainingly.
Goldfinger (1964)
Goldfinger
This has got to be my favourite "007" outing. Shirley Bassey gets the ball rolling as our secret agent enters the murky world of bullion smuggling. It's end-to-end stuff with Sean Connery crossing swords with the best Bond baddie of all - "Auric Goldfinger" stylishly portrayed by Gert Fröbe. Honor Blackman has got to be the best Bond girl, she has oodles of sex appeal and panache, but is also much more sophisticated than the pretty "bimbo" character usually associated with this role. Harold Sakata must have done wonders for the sale of bowler hats and I'm sure we all wanted an Aston Martin (ideally with a passenger ejector seat) by the end of this cracking adventure film.
Godzilla (2014)
Godzilla
"Godzilla" is the sort of cinematic gift that keeps on giving, and the hunkily beefed-up Aaron Taylor-Johnson is always worth looking at - but sadly, neither of these features do enough to rescue this from a sort of disappointingly derivative mediocrity. This iteration of the plot picks up the story many years after a nuclear disaster in Japan. "Ford" (ATJ) is the son of the plant supervisor "Joe" (Bryan Cranston). They are not exactly close, but when they discover evidence near the ruins that the destruction was not accidental - and that a giant trapped, flying, "MUTO" - which feeds on radiation - might well be coming for more lunch, they can only hope that "Godzilla" might become aware and come to the rescue of a totally out-gunned mankind. It's a bit of a sprawler, this film. It takes far too long to get going, with characterisations that offer little of substance and a dialogue that borders on the inane - especially when the military are involved. The supporting cast features a sparingly used Juliette Binoche and Elisabeth Olsen, but they aren't really on screen long enough to add much value. On the plus side, the photography and visual effects are good - they flow with a realism that is quite convincing, but that's standard fayre nowadays for this kind of adventure. The rest of the photography really could have done with some more wattage. Darkness can add eeriness to a scenario, but after a while I do want to recalibrate my eyes! The ending is certainly effective, but I'm just not sure it was worth the wait - the whole film just needed something to bring it to life more.
Oisin (1970)
Oisín
Aside from a slide at the top of this short documentary, there is no visible contribution from mankind as we watch the wildlife of Ireland thrive. That slide invites us to consider the delights of nature rather than those man made (or reilgious!) and for quarter of an hour or so we see things gambolling, flying, swimming, foraging and nesting whilst all is accompanied by a buzzing and flapping natural soundtrack. The photography just lets the creatures get on with their lives, undisturbed and free to roam. Turn the sound down and it's a remarkably soothing film to watch, ideal to put on the television to fall asleep to whilst reminding us to consider our own place in the grand scheme of things.
Is It Always Right to Be Right? (1970)
Is it Always Right to be Right?
Fifty years on from this admittedly lacklustre animation, it's still worth listening to the words of Warren H. Schmidt's narrative (from Orson Welles) about the repetitive and fruitless nature of human belligerence. All the vested interests convinced that they, and they alone, are correct. No-one prepared to even hint that there might be room for manoeuvre or compromise as chasms begin to exist in society based on things like age, politics, race, sex, faith - and even chasms within chasms. Until, that is, someone somewhere has the courage to say that everything isn't just a case of black and white or right or wrong. Maybe bridges can and should be built if tolerance and understanding can be found amidst the hitherto bloody-minded and opinionated. Social media "influencers" in 2024 take note!
The Further Adventures of Uncle Sam (1971)
The Further Adventures of Uncle Sam
"Uncle Sam" is running a gas station in the middle of nowhere amidst his patriotically sculptured cacti and with his bald eagle for company. Then a mysterious car shows up and he is kidnapped! Perplexed and alone, the bird sets off to investigate - on foot for some reason, whilst we are whisked to a dastardly scenario for "Uncle" as he has been strapped to a barrel of TNT by some ruthless folks bent on stealing a distinctly curvaceous and operatic version of the Statue of Liberty. Can the eagle arrive, set his fellow icon free and then thwart the evil scheme? The animation is drab and not my favourite, and the pace is sluggishly accompanied by a confused soundtrack that complements a story that seems to want to take a ping at pretty much all things American - even to the point of mutually assured self destruction, before a denouement of epically bland proportions in ancient Rome! The socio-political message is clear but it's unoriginal and reminiscent of a 1920s cartoon that I'd no need to recall.
Met het oog op avontuur (1972)
Adventures in Perception
Whilst we do see a little of the man at work here, this isn't really a film at all. It's more of a documentary that extols the virtues of some fine rostrum camerawork used to great effect showing us a catalogue of Escher's animations. Initially examples of more straightforward imagery, but gradually many of them seem to defy just about all of the laws of physics and perception as shapes fold into and out of themselves; stairways go up and down or is that down and up. There are images within images, like watching a complex and puzzling series of eye tests - some in colour some monochrome. Geometry, gravity and symmetry feature heavily as his imagination assumes quite an astonish degree of three-dimensional thinking. There's a little rather dry narration and a nondescript score to accompany this creatively assembled montage that offers us a sense of the skill of this man at layering and giving depth and detail to his quirkily conceived works.
Two Cars, One Night (2003)
Two Cars, One Night
This reminds me of the times we were left outside the pub whilst our folks were inside boozing. The time, it's nine year old Romeo (Rangi Ngamoki) and his young bookworm brother "Ed" (Te Ahiwaru Ngamoki-Richards) who are waiting when they spy "Polly" (Hutini Wakiato) in the car next to their's. A bit of teasing goes on before a chat that might just see the embryo of undying love born? How many of us had our first crush in a car park whilst bored to distraction? It's a simple story with the younger, entirely indifferent, lad stealing the show as he refuses to fib for his brother trying to impress the girl. It's an honest and amusingly light-hearted observation that does raise a smile now and again.
Victoria (2016)
In Bed with Victoria
"Victoria" (Virginie Efira) hasn't her problems to seek! She's a divorced lawyer with custody of two children and a messy and fairly fluid love life. She manages to fall out with her baby sitter and so is even more stretched when the tousled young "Sam" (Vincent Lacoste) - an aspiring lawyer himself, offers to help her out. He will be her cook and bottle washer, mind the children and work with her - all for free! Suspicious, she gives him a week but soon he proves his worth and becomes a bit of an anchor for her increasingly complicated life. These complications emanate from her decision to sue her ex (the father of the children) for using her career as a template for his popular and salacious blog, and also from defending a friend and potential murderer (Melvil Poupaud) in a criminal trial that also involves another friend, too. The scene now set, this could have been quite a good scenario for Efira and the charismatic Lacoste, but the writing really lets it down. The story lurches from frying pan to not very humorous fire just once too often, the romantic melodrama is all just a bit passé and were it not for an outstanding effort from a Dalmatian with taste and a chimp adept with an iPhone, the humour would be distinctly lacking. The odd calamity in the plot would have been welcome, but here there are just too many implausibles and not enough comedy. Laure Calamy has a bit of fun as her defending counsel - French law courts are always so much more flamboyant and lively than British ones, but sadly she's not on screen often enough to make much difference. It's watchable enough, but just not that special.
Mies vailla menneisyyttä (2002)
The Man Without a Past
Probably not since Wendy Hiller in "Major Barbara" (1941) has the Salvation Army featured so prominently in a drama. That's lucky as a visitor (Markku Peltola) to Helsinki arrives and is promptly beaten to near death by three hoodlums. He manages to stumble to the railway station and next thing the machine in the hospital says he is dead. Well, he's not that easy to kill and next thing he is wandering about, bandaged and with a different pair of shoes trying to find a place to stay. He has no memory of anything, just a load of broken bones and bruises. He has no money either, and finds himself in the vicious circle of no ID, no help. That's where "Irma" (Kati Outinen) comes in. She works for the aforementioned charity and takes pity on his plight. She manages to get him some clothes and finding, thanks to security guard "Anttila" (Sakari Kuosmanen,) what looks like a converted storage container to live in, he begins to rebuild his life in a gritty and unforgiving city. His relationship with "Irma" strengthens and maybe he has turned a corner? An incident that brings him to the attention of the cops delivers him an unexpected degree of closure for his past life, but will it help? Peltola is on good form here and his characterisation of the man lost in a strange world, but not bamboozled by it, is strong and quite engaging - especially when the hint of gentle romance creeps in with the equally robust character of 'Irma" who has seen a great deal in her charitable role. I probably shouldn't have, but I did rather like the denouement. It offers us a bit of hope and a bit of retribution and there's some very dark comedy along the way.