THE DEVIL WEARS PRADA 2 : Tuesday 5th May 2026

I saw the M Rated 'THE DEVIL WEARS PRADA 2' earlier this week, and this eagerly awaited and much hyped American comedy drama film is Directed by David Frankel, who made his feature film debut with 'Miami Rhapsody' in 1995, and would follow this up with the likes of 'The Devil Wears Prada' in 2006, 'Marley & Me' in 2008, 'Hope Springs' in 2012, 'Collateral Beauty' in 2016, and 'Jerry & Marge Go Large' in 2022. This film is a direct sequel to the 2006 film 'The Devil Wears Prada' and saw its World Premiere screening in New York City on 20th April, and was released in all major territories from last week. The film has generated largely positive critical acclaim and has so far grossed US$254M from a production budget of US$100M. The 2006 film grossed worldwide US$327M from a production budget of US$40M. 

The film opens up on a beautiful sunny day in New York City, and its now been twenty years since Andrea 'Andy' Sachs (Anne Hathaway)  left her position as Second Assistant to Miranda Priestly (Meryl Streep) at Runway magazine. In the intervening years she has become a respected journalist and reporter for New York newspaper 'Vanguard'. We join Andy as she and her colleagues sit around a table at a New York awards gala luncheon, just as Andy is called out as the recipient of a prestigious journalism award. Before she can stand up and walk to the lectern to collect her award and say a few words all of the mobile phones at her table receive the same text message - they have all been fired with immediate effect, and Vanguard has gone into receivership. 

Meanwhile, Miranda, Andy's former boss, is seemingly under attack from all sides for her failure to short circuit an on-line news piece about a fashion brand heavily promoted by Runway that uses Asian sweatshop labour. The news breaks just as Miranda arrives at a high-end fashion event and is greeted by her right-hand man Nigel (Stanley Tucci), and they both put on a brave face and carry on regardless. In an attempt to make the magazine respectable again Irv Ravitz (Tibor Feldman), the owner of Runway's parent company Elias-Clarke and Miranda's boss, calls Andy out of the blue and offers her a job as Features Editor at Runway without Miranda's knowledge or approval, much to her chagrin.

In a meeting with her team, a listless Miranda has trouble navigating modern fashion media. Although some of her autocratic office behaviours remain, complaints to Human Resources have blunted her almost trademark pretentiousness. Nigel explains to Andy over lunch in the office cafeteria that nobody reads Runway's print edition anymore and the brand has been forced to embrace online clickbait and cheaply-made short-form content that most people read while sat on the toilet, to maintain profit and relationships with advertisers. One key advertiser is Dior, which employs Andy's former co-worker and Miranda's First Assistant Emily Charlton (Emily Blunt). Emily leverages the controversy over the Runway scandal piece to secure her own advertising terms, key Editorial content and a one on one interview, which Miranda handballs straight to Andy. During the interview, Emily and Andy argue about how modern fashion raises prices and shuts out middle-class consumers, with Emily saying that super high-end luxury fashion is the only fashion that makes money these days.

After penning serious articles that receive praise for the writing and content, yet gain minimal traction, and after getting shut down by Miranda in a team meeting, Andy rescues her flagging reputation at Runway by brokering a coveted interview with Sasha Barnes (Lucy Liu), the reclusive divorcee of Silicon Valley billionaire Benji Barnes (Justin Theroux). Irv promises to make Miranda Elias-Clarke's global head of content, but before he can make the promotion official, he dies from a heart attack during his lavish 75th birthday party. His son, Jay (B.J. Novak), lacks Irv's sentimental attachment to both any sense of fashion or Runway. Jay puts Miranda's promotion on hold while engaging management consultants to recommend cost cuts and business efficiencies. Much to Andy's surprise, Miranda seems to go with the flow. Meanwhile, Andy's relationship with her new boyfriend Peter (Patrick Brammall) sours when she unintentionally insults his job as an apartment renovator while sat in an apartment she purchased from the same renovator, while also fretting she may lose her own position, as part of the major shake-up at Runway. Considering her options, Andy explores writing a tell-all book about Miranda with a publisher, who offers her a lucrative US$350K advance, but Andy is torn by this prospect, and ultimately declines the offer.

And so Miranda, Nigel, Andy and Miranda's current First Assistant Amari Mari (Simone Ashley) jet off to Milan Fashion Week, where Nigel throws what may be his last big Runway gala, starring Lady Gaga (Lady Gaga). Andy devises a plan to save Runway by convincing a wealthy patron to buy it outright from Jay. That patron is Benji Barnes, Sasha's ex-husband and Emily’s current boyfriend. When Andy and Emily reveal the plan, Miranda is furious, because she knows Emily is going to take over Runway and fire her, which Emily openly admits. Miranda admits that she pushed Emily out of fashion journalism because Emily lacks creative vision, and is just a 'vendor'. Miranda tries to take the loss with grace, but while having a private conversation with Benji, she is alarmed by his vision of an AI-driven world.

To prevent Benji and Emily from ultimately destroying Runway, Miranda instructs Andy to find a competing buyer. Andy convinces Sasha to buy not just Runway but all of Elias-Clarke, and Jay accepts her offer, pulling out of his deal with Benji while he, Benji and Emily are sat around a table at Benji's private villa on the edge of Lake Como. Needless to say Benji and Emily are left completely gobsmacked by this sudden turn of events having come so close to finalising the deal. Later that evening Miranda realises she has taken Nigel for granted for almost the whole time they have worked side by side. To make amends, she invites him to deliver the gala's keynote speech instead of her, so she and Andy can fly back to the US to finalise the deal in person with Sasha. At first he is very reluctant, but Miranda responds saying that he wrote the speech anyway, so he'll know it, and he nails it.

After the Runway team return to New York, Sasha gives Miranda the promotion Irv had previously promised her. Andy reconciles with Peter, and a defeated Emily who has subsequently been ditched by Benji and lost her job at Dior, and now has a job at Coach. Nigel reveals he was the one who prompted Irv to rehire Andy, as he has always liked her. Miranda admits to Andy that the latter's idealism inspired her to dig in, grit her teeth and fight back. She also reveals that she knew about Andy's proposed tell-all book, but encourages Andy to write it, and include the negative aspects of Miranda's life, saying that she loves her career, but there is a cost, and people should know that. Miranda gives Andy a nicer office and returns to work with a renewed smugness. The film also stars Kenneth Branagh as Miranda's new husband Stuart Simmons.

With 'The Devil Wears Prada 2' here returning Director David Frankel has reassembled the core team from the 2006 movie and added a whole bunch of other A-list talent from the cinema and fashion worlds, and adorned them all in the most stunning haute couture outfits seen possibly in any film since the original graced our screens twenty years ago. Whilst this film doesn't reach the lofty heights that the first instalment did, it is nonetheless a respectable sequel that has some pointed messages about fast fashion, the decline in print media, the reliance we have on social media and emerging AI, career dynamics, and the cut throat world of big business. Streep, Tucci, Hathaway and Blunt are all on top form and its good to see them all back together riffing off each other and delivering some notable one liners along the way. The production values are also top notch, and its easy to see where the US$100M budget went as both New York City and Milan are presented in all their sun drenched glistening city tower blocks and ancient buildings will attest to. All that said, an enjoyable time at the Odeon, but please, lets end on a high note and we don't need 'The Devil Wears Prada 3'. 

'The Devil Wears Prada 2' merits four claps of the Odeon Online clapperboard from a possible five claps.

-Steve, at Odeon Online-

CONCLAVE : Monday 3rd February 2025

I saw the PG Rated 'CONCLAVE' at the Open Air Cinema at Mrs. Macquarie's Chair this week, overlooking the Sydney Opera House, the Sydney Harbour Bridge and the CBD. This UK and US Co-Produced film is Directed by Edward Berger and is based on the 2016 novel of the same name by Robert Harris. Edward Berger's previous film credits take in 'Jack' in 2014, 'All My Loving' in 2019 and the critically acclaimed and multi award winning 'All Quiet on the Western Front' in 2022. This film had its World Premiere screening at last years Telluride Film Festival in late August, was released in the US in late October, in the UK in late November, cost US$20M to produce, and has so far grossed US$92M. It has received generally positive critical reviews and has so far collected 59 award wins and another 294 nominations, many of which are still pending a final determination, from around the awards and festival circuit, including eight Academy Award nods. 

The films opens with the dead body of the pope lying peacefully in his bed where he passed away several hours before. It is the early hours of the morning and already sitting beside the late pope's bedside are Aldo Bellini (Stanley Tucci) and Joseph Tremblay (John Lithgow) - two of his closest Cardinals. Into the room in the early hours of the morning comes dean Thomas Lawrence (Ralph Fiennes), and shortly thereafter the body is prepared before being removed (rather unceremoniously) by a pair of Ambulance men. Under the leadership of Lawrence, the College of Cardinals must convene in a Conclave, to elect the next pope. 

There are four leading candidates, all of whom have their sights set on the next papacy. These are Bellini of the US, Tremblay of Canada, Goffredo Tedesco (Sergio Castellitto) of Italy and Joshua Adeyemi (Lucian Msamati) of Nigeria. Janusz Wozniak (Jacek Koman), the prefect of the papal household, has information for Lawrence that the late pope demanded Tremblay's resignation on the night he died. Lawrence confronts Tremblay with this news, which he vehemently denies. Bellini tells his supporters his goal is to prevent Tedesco from becoming pope, because he is way too traditional in his views of the role of the pope. 

Meanwhile, Lawrence is taken aback by the last-minute arrival of Archbishop Vincent Benitez (Carlos Diehz) of Kabul, whom the late pope named cardinal the previous year in secret. None of the one hundred or so Cardinals had any prior knowledge of Benitez existence up that point, and Lawrence had no reason to doubt his claims as genuine.

After the first ballot is counted, no one obtains the required two-thirds majority, though Adeyemi has a slight edge and Bellini and Lawrence split the liberal vote. Raymond O'Malley (Brian F. O'Byrne), Lawrence's assistant, does some background digging on Benitez, where he learns the late pope paid for his plane ticket to Geneva for a canceled medical appointment. On the second day, while the Cardinals were gathered for lunch, the college witnesses a confrontation between Adeyemi, who leads in the votes, and Sister Shanumi (Balkissa Maiga), a nun recently transferred from Nigeria to Vatican City. After Adeyemi storms out of the lunch room, Lawrence privately speaks with Shanumi, who confesses to an illicit relationship that led to the birth of a son, albeit some twenty years ago. Lawrence then confronts Adeyemi with this news, and asks him is he wishes to confess. Though Lawrence is bound to secrecy by order of the Confession, a whisper campaign puts an end to Adeyemi's candidacy. Bellini thereafter, reluctantly decides to back Tremblay.

Working with Sister Agnes (Isabella Rossellini), the nun overseeing the cardinals' catering and housekeeping arrangements, Lawrence learns that Tremblay arranged for Shanumi's transfer. When confronted, Tremblay claims that he did so at the late pope's request. Lawrence then breaks into the late pope's quarters and discovers documents that implicate Tremblay did so, but without the pope's consent. He shows the documents to Bellini, whose plea not to reveal their existence sparks an argument. Lawrence has Sister Agnes copy the document for every member of the college.

On the third day, following the revelation of Tremblay's actions, Lawrence reconciles with Bellini and agrees to oppose Tedesco. Lawrence votes for himself during the sixth ballot, which is interrupted by an explosion that knocks him to the floor and damages the Sistine Chapel, covering many of the Cardinal's in dust and debris, and none are seriously injured. 

The college learns the explosion was caused by a suicide bomber who detonated himself near the Vatican, killing about a dozen in the crowd, and injuring many more. Tedesco calls for a religious war, while Benitez says that violence should not be met with violence. The college overwhelmingly elects Benitez in the seventh ballot, and he chooses the papal name of 'Innocent'.

Lawrence is initially enthusiastic and relieved, until O'Malley pulls him aside to discuss the nature of Benitez's canceled medical appointment . . . and I'll leave it there, for to tell of the twist in this tale will likely spoil it for those who have yet to see 'Conclave'. Needless to say, you won't have seen that one coming!

With 'Conclave' Director Edward Berger has here crafted a film aimed squarely at a more mature audience, looking for good old fashioned high stakes drama underscored by a first rate all on their A-game cast, top notch cinematography, and a taut riveting story that will maintain your unwavering interest right up until the end. This film has political intrigue, some real laugh out loud moments, and all the plot twists and turns that you could possibly hope for all wrapped up in a neat entertaining package that is well worth the price of your movie ticket and will keep you enthralled for its two hour run time. 

'Conclave' merits five claps of the Odeon Online clapperboard from a possible five claps.

-Steve, at Odeon Online-

WORTH : Monday 6th September 2021.

With Greater Sydney still in COVID lockdown now until the end of September at least, and as a result all cinema's closed until sometime after this date, I've been reviewing recently some the latest feature films released onto Netflix. One such film that I watched from the comfort of my own sofa at home this week is the American biographical drama film 'WORTH' which is Directed by Sara Colangelo in her third feature film outing following her debut in 2014 with 'Little Accidents' with Boyd Holbrook, Chloe Sevigny and Elizabeth Banks, and then 'The Kindergarten Teacher' in 2018 with Maggie Gyllenhaal and Gael Garcia Bernal. Based on the 2005 book 'What is Life Worth?' by Kenneth Feinberg, the film saw its World Premier screening back in January 2020 at the Sundance Film Festival, and went out on a limited release in the US and simultaneously on Netflix on 3rd September having generated largely favourable Reviews. 

The film opens up with acclaimed lawyer Kenneth Feinberg (Michael Keaton) teaching to his his class of law students at Georgetown 'What is Life Worth'? ultimately saying that its a legal question, not a philosophical one, and that life is worth a number! Next we cut to Feinberg at home with his wife Dianne Shaff (Talia Balsam) overlooking the plans for his soon to be built new absolute ocean front home. The next morning on September 11th 2001 Feinberg is on the train heading into New York City for another day at his company offices, Sony Discman playing a classical music track into his Sony earphones, when he is interrupted by a cacophony of other passengers all gawping out of the window to see a huge plume of smoke rising up out of the city in the distance. Then comes all the news coverage beamed around the world of the terrorist attacks on the World Trade Centre towers and the Pentagon, the cost in human life, and the reaction to the attacks. 

Shortly after the attacks, Feinberg offers to head up the commission to compensate the victims, on a no fee for service basis saying that he has a moral and emotional imperative to do the right thing by those victims. He is subsequently appointed by Attorney General John Ashcroft (Victor Siezak), because no one else was prepared to step up and take on the case, and so becomes the Special Master of the September 11th Victim Compensation Fund created by an Act of Congress, to compensate the victims of the attack (or their families) in exchange for their agreement not to sue the airline corporations involved. He developed the regulations governing the administration of the fund and administered all aspects of the programme, which had a deadline of 3rd December 2003 by which time 80% of all claimants had to sign a document stating that they were satisfied with the compensation payment being offered and that they would not take out any future legal action against the airlines. Failure to reach that 80% would tie up this act for potentially years to come and could cripple the airlines.

Feinberg was responsible for making the decisions on how much each family of a victim would receive, and had to estimate how much each victim would have earned in a full lifetime. His first stumbling block comes one night while at home musing over his calculations when he deduces that a CFO earning US$750K a year would be compensated north of US$4.5M but a dishwasher working at Windows on the World earning US$60K a year would be compensated just US$250K or thereabouts. Is the loss of that dishwasher to his/her family anything less than the loss of that CFO? This very issue raises its head in an initial packed out public meeting with those impacted family members when tempers and emotions very quickly begin to run high. This meeting is also attended by Charles Wolf (Stanley Tucci) - a pilot and activist against Feinberg's plan, who lost his wife in the attacks on the WTC, and who had set up a website called 'Fix the Fund' which garnered much following by those disgruntled victims family members. 

And so Feinberg and his trusted business partner Camille Biros (Amy Ryan) together with two specially recruited graduates Priya Khundi (Shunori Ramanathan) and Darryl Barnes (Ato Blankson-Wood) set about individually interviewing each one of the victims family members over the course of the next two years. At first Feinberg prefers to keep his distance from any direct interview involvement preferring his associates to do that ground work. This begins to alienate him from his colleagues - especially Priya Khundi, and Charles Wolf too. However, Feinberg does take an interest in one particular family of a fireman who lost his life and their three young boys aged 8, 6 and 4. His widow Karen Donato (Laura Benanti) refuses to take a single cent in compensation preferring to let the memory of a loving husband and father look over them. A fact that Frank Donato (Chris Tardio), Karen's brother-in-law, respects and wants to uphold. Feinberg attempts on several occasions to convince her otherwise, saying that it's a tax free payment for the kids education, upbringing and well being. Another case involves Biros talking to a man whose male partner was burned to death in an elevator and he was the last person that victim spoke to, instead of calling his estranged parents in Virginia who were in denial over their sons gay relationship. The turning point for Feinberg comes when he is face to face with a fireman who has no hair, no eyebrows, and the side of his face and ear are badly scarred by burns when another burning fireman fell on top of him. This convinces the attorney to turn tack and adopt a more humanistic stance on an individual case by case basis. 

Time is marching on, a year has past and they have less than 20% of the committed papers signed. As the deadline moves ever closer throughout 2003 we see the whiteboard tally slowly nudge upwards to 35%, then 51% to the point when they are three weeks out and they have 65% committed. Then sometime in or around September 2003 Feinberg attends a 9/11 memorial concert at The Lincoln Centre. Feeling agitated he leaves before the end and in the foyer meets Charles Wolf unexpectedly. Wolf gives Feinberg a pep talk telling him he's 'not the bridge' and recounting a long story about his futile attempts to save a historic bridge while serving on the city council in Ithaca. This conversation serves to reinforce in Feinberg's mind the need to make more of an emotional connection with the families left behind. 

As the team sit around the office each morning waiting for the mail delivery with more committed papers to arrive, the team look increasingly depressed as only sixty or seventy are delivered. Three days out and Feinberg is at a lunch meeting with Lee Quinn (Tate Donovan), another attorney who is attempting to get money for wealthier clients who lost high-income victims in the 9/11 attacks, and is leading the group suing airline companies. He is seeking to pressurise Feinberg to increase the amount of money he is granting to his clients, and with the deadline fast approaching and the magical 80% looking remote, wants Feinberg to sign a deed of release granting Quinn the go ahead to take out a class action. But as Quinn hands Feinberg a fountain pen to sign his papers, Feinberg squeezes the ink out of the cartridge onto the document, gets up and leaves. 

Walking into his office later on that evening, Feinberg is greeted by a plethora of individuals and family members all wanting to talk about the fund payment or handover their duly signed commitment documents. Charles Wolf is there too, and says that he changed the wording on his website from 'Fix the Fund' to 'The Fund is Fixed' and this had the desired effect, having seen too that Feinbergs's interests in every single case was genuine and that he can be trusted to deliver on the undertakings. The next morning the mail men deliver crate loads of signed documents taking the tally to 95%. Karen Donato comes into the office later that evening and personally hands Feinberg her signed commitment papers. At the end of the process a total 97% of the families shared in a US$7B payout from the fund out of a maximum US$7.375B fund including administrative and operational costs as legislated. In the closing scene Feinberg is seen down at the waters edge along the ocean front on an overcast day with his newly built house in the background. 

This film couldn't be more appropriate for the time we're living in given that this week marks the 20th anniversary of the September 11th attacks, and just days out from the end of the 'War on Terror' as America finally pulled out of Afghanistan. That said 'Worth' is a timely reminder of those ghosts that now harbour in the annals of world altering history, and a fitting testimonial to the courage, conviction and determination of a handful of people to ensure that the lives of those victims and their families left behind could carry on beyond the enduring pain and suffering. This is Michael Keaton's film who carries the weight of Kenneth Feinberg squarely on his shoulders and puts in a nuanced, conflicted and redemptive performance as the accomplished New York lawyer prepared to go out on a limb and ultimately do the right thing. Stanley Tucci and Amy Ryan are equally stoic in their reliable supporting roles, and Director Colangelo delivers a nuanced and emotionally resonant film that adds another dimension to the growing list of 9/11 feature films and documentaries out there that is a reflective and rewarding memorial to those almost three thousand victims and their families. My only criticism is that the film gets a little repetitive in places, but this in only a minor gripe.

'Worth' merits four claps of the Odeon Online clapperboard from a potential five claps. 

-Steve, at Odeon Online-

What's new in Odeon's this week : Thursday 5th October 2017.

In September, the world bid a fond farewell to a number of stars of the silver screen. Most notably these were Richard Anderson, Frank Vincent and Harry Dean Stanton, may you Rest In Peace.

* Richard Anderson, died on August 31st, aged 91. With 189 Acting credits to his name and two Co-Producer credits. Anderson was an American film and television Actor, who made his big screen debut back in 1947. He starred in such noted television series as 'Zorro', 'Bus Stop', 'The Rifleman', 'Perry Mason', 'The Man from U.N.C.L.E.', '12 o'clock High', 'The Fugitive', 'Dan August', 'The F.B.I.', 'Gunsmoke', 'Ironside', 'The Six Million Dollar Man', 'The Bionic Woman', 'Knight Rider', 'Fantasy Island', and 'Dynasty'. His feature film credits included 'Across the Wide Missouri', 'Forbidden Planet', 'Paths of Glory', 'Tora, Tora, Tora', 'The Night Strangler', 'Kane and Abel', 'The Player' and 'Gettysburg'.
* Frank Vincent, died on September 13th, aged 80. With 89 Acting credits, two Co-Producer credits, three award wins and two nominations, Vincent was an American Actor of Italian decent, often being typecast in gangster and Mafia oriented roles. He starred in films such as 'Raging Bull', 'The Pope of Greenwich Village', 'Wise Guys', 'Do The Right Thing', 'Goodfellas', 'Jungle Fever', 'Casino', 'Night Falls on Manhattan' and 'Cop Land' as well as being a regular on the highly acclaimed television series 'The Sopranos' and others including 'NYPD Blue' and 'Law and Order' and lending his voice talents to a number of 'Grand Theft Auto' video games.
* Harry Dean Stanton, died on September 15th, aged 91. With 199 Acting credits to his name, and two award wins and six nominations, Stanton was an American Actor, Singer and Musician who made his television debut back in 1954 and subsequently played in numerous Westerns, particularly in his early career days. He starred in such noted television series as 'The Untouchables', 'The Lawless Years', 'Laramie', 'Bonanza', 'Rawhide', 'Gunsmoke' and more recently 'Big Love', 'Getting On' and the 2017 reboot of 'Twin Peaks'. He also had an impressive line up of feature film credits including 'How The West Was Won', 'In the Heat of the Night', 'Cool Hand Luke', 'Kelly's Heroes', 'Dillinger', 'The Godfather, Part II', 'Alien', 'Private Benjamin', 'Escape from New York', 'Christine', 'Repo Man', 'Paris, Texas', 'Pretty in Pink', 'The Last Temptation of Christ', 'Wild at Heart', 'Twin Peaks : Fire Walk With Me', 'Fear and Loathing in Las Vegas', 'The Green Mile', 'Inland Empire', 'Rango', 'The Avengers' and 'Lucky' just released.

This week, there are four new filmic offerings to tease you out to your local independent picture house or your multiplex cinema that kick start with an already lauded Sci-Fi sequel that has been eagerly awaited and much talked about for over three decades since the original now cult classic burst onto our screens. Then we tone down the pace and head into the past with a biographical telling of an acclaimed Italian painter and sculptor; before a romantic drama with the back drop of the Rock 'n' Roll industry; and ending up with a zombie horror offering that seemingly offers something fresh and original to the genre.

Whatever your taste in big screen film entertainment is this week - be it any of the four new release films as Previewed below, or those doing the rounds currently on general release and as Reviewed and Previewed in previous Blog Posts here at Odeon Online, you are here warmly invited to share your movie going thoughts, opinions and observations by leaving your relevant, succinct and appropriate views in the Comments section below this or any other Post. We'd love to hear from you, and meanwhile, enjoy your big screen Odeon experience during the coming week.

'BLADE RUNNER : 2049' (Rated MA15+) - and so 35 years after the original neo-noir Sci-Fi film 'Blade Runner' as Directed by Ridley Scott was released to polarised critical opinion and lacklustre Box Office taking just US$34M from its US$28M production budget, here we have the long awaited, eagerly anticipated, much hyped sequel. The intervening years have been kind to that original film, now elevated to cult status with many Critics hailing the film as one of the best all time Science Fiction movies, also bringing to prominence the work of Philip K. Dick upon whose book 'Do Androids Dream of Electric Sheep?' the film is loosely based. Starring Harrison Ford as Rick Deckard, Rutger Hauer as Roy Batty, Sean Young, Edward James Olmos, Daryl Hannah and M. Emmet Walsh, the film was nominated for two Academy Awards, one Golden Globe, won three BAFTA's and was nominated for a further five amongst its total haul of eleven wins and eighteen nominations. Set in a dystopian Los Angeles in 2019, 'Blade Runner' depicts a future in which bioengineered androids known as 'Replicants' are manufactured by a powerful company to work on off-world colonies. When a renegade group of replicants led by Roy Batty escape back to Earth in an attempt to prolong their lives, burnt-out LA cop Rick Deckard reluctantly agrees to one last assignment to hunt them down and 'retire' them.

And so this film, which has been in development for approaching twenty years with Ridley Scott on again off again and various storylines coming and going, has finally landed with Director Denis Villeneuve at the helm, Roger Deakins on Cinematographer duty and Harrison Ford reprising his role as Rick Deckard all for a production budget of US$185M. Released in the US and Australia this week, in short Officer K (Ryan Gosling), is a new Blade Runner working for the Los Angeles Police Department, who discovers a long-buried secret that potentially could bring an end to humanity as we know it. His discovery leads him on a journey to find Rick Deckard (Harrison Ford), a former Blade Runner who's been missing for 30 years, and who might just be able to help him. Early Reviews of the film have met with widespread universal acclaim, with many Critics gushing about the production values, cinematography, CGI, music score, and performances of the principal cast. Also starring Jared Leto, Robin Wright, Dave Bautista and Barkhad Abdi.

'FINAL PORTRAIT' (Rated M) - Written and Directed by Stanley Tucci in his fifth Directoral outing, this film was screened as part of this years Sydney Film Festival where it had its Australian Premier on 10th June, and I posted my Review having seen the film on 17th June. Telling the story of a three week or so period, during 1964, in the life of Alberto Giacometti (Geoffrey Rush), who was a Swiss sculptor, painter, draughtsman and printmaker who lived from 1901 until 1966, when he died in Paris, France from heart disease and chronic bronchitis. During the period in question, the world renowned artist asked his American art critic and biographer friend James Lord (Armie Hammer) to sit for him for what turns out to be his final portrait. What should have been a 24 hour sitting for Lord, turns into three weeks of continued posing for the artist dogged by flight delays after flight delays; visits to the local Bistro to eat, drink and socialise; leisurely strolls in the park to contemplate his work and the world around them; marital disruptions and disagreements; and Giacometti's mood swings. It had its World Premier at the Berlin International Film Festival in February this year, was released in the UK in early August, and only now gets its general release in Australia. The film is based on the biography by James Lord 'A Giacometti Portrait', and has received generally positive Reviews, and Rush gives his usual compelling immersive performance.

'SONG TO SONG' (Rated M) - this Written and Directed Terrence Malick romantic drama film has been a long time in gestation before finally arriving at our screens. Filming took place way back in 2012 and features an ensemble cast and a whole bunch of cameo's, and once filming wrapped it sat in post-production for over three years as Malick ordered numerous voice overs by the principle cast and had to edit down his eight hour long first cut into something more reasonable requiring the Director to go cap in hand to the financiers in order to complete his project. The film was released Stateside back in March this year to mixed critical acclaim and tells the story of the music scene set in Austin, Texas of two entwined couples — struggling lyricists Faye (Rooney Mara) and BV (Ryan Gosling), and music mogul Cook (Michael Fassbender) and the waitress whom he ensnares (Natalie Portman) as they chase down fame and fortune through a Rock ‘n’ Roll landscape of seduction and betrayal. Also starring Cate Blanchett, Val Kilmer, Holly Hunter and various music personalities.


'THE GIRL WITH ALL THE GIFTS' (Rated MA15+) - here we have a post-apocalyptic zombie horror film that Premiered in the UK over year ago in September 2016, had its US release in February this year and is only now released in limited theatres in Australia. In his second feature film after 2010's 'Outcast', here Colm McCarthy whose has a notable career so far Directing numerous episodes of television shows including 'Black Mirror', 'Peaky Blinders', 'Ripper Street, 'Injustice' and 'Spooks' here tells this story based on the novel of the same name by Mike Carey. The film tells of a dystopian future following the breakdown of society after most of humankind are wiped out by a fungal infection that has changed the global populace into mindless flesh eating zombies, and focuses on the struggle of a scientist, Dr. Caroline Caldwell (Glenn Close), a teacher, Helen Justineau (Gemma Arterton) and a soldier, Sergeant Eddie Parks (Paddy Considine) who embark on a journey of survival with a special young girl named Melanie (Sennia Nanua) who appears to be immune to the fungus, as they strive to find a cure. The film cost US$5M to make and has so far recovered less than US$3M but has garnered generally positive Reviews because of its strong and original story, it's lead cast, and its fresh approach to the well overcooked zombie genre.

With four new release films this week to tempt you out to your local Odeon, taking in a sequel to a cult classic Sci-Fi film that has been 35 years in the making; a historical biographical film about an Italian painter and sculptor; a music industry romantic drama and an English based zombie horror offering. Remember to share your movie going thoughts with your other like minded cinephiles afterwards here at Odeon Online, and the meantime, I'll see you sometime somewhere in the week ahead at your local Odeon.

-Steve, at Odeon Online-

FINAL PORTRAIT : Saturday 17th June 2017.

Alberto Giacometti was a Swiss sculptor, painter, draughtsman and printmaker who lived from 1901 until 1966, when he died in Paris, France from heart disease and chronic bronchitis. This film 'Final Portrait' by Director, Writer and Actor Stanley Tucci (in his fifth Directorial outing) tells the story of Giacometti over a three week or so period in 1964, when the world renowned artist asked his American art critic and biographer friend James Lord to sit for him for what turns out to be his final portrait. I saw this film as part of the Sydney Film Festival last weekend, having had its Australian Premier at the Festival on 10th June. It had its World Premier at the Berlin International Film Festival in February this year, is due for release in the UK in early August, and not until early October for its general release in Australia. The film is based on the biography by James Lord 'A Giacometti Portrait', adapted for the screen by Stanley Tucci.

Set in Paris in 1964 we are told in voiceover by American biographer and art critic James Lord (Armie Hammer) of Alberto Giacometti (Geoffrey Rush) and his work as a celebrated world renowned sculptor, painter and artist, and that the famed Giacometti has asked him to pose for him, in order that he can paint his portrait. Of course, this is a great honour for Lord, and he can only but oblige his old friend by agreeing, even though he has a flight scheduled back home to the US in 48 hours.

After the first sitting, Giacometti says that his sitting may take a little longer than expected and if he could put his flight back 24 hours. Of course, easily done responds Lord - well, really what else can he say? However, Lord soon comes to realise that the work of a genius cannot be hurried, and it is Giacometti who decides on a whim when it is time for work, drink, food, doubt, destruction, flirtation or laughter in his studio. After the first three days have lapsed, Lord again is asked to delay his flight, but only for a few more days. 

Giacometti is an established artist whose works fetch record prices. When he is paid for his work he hides huge bundles of cash in his studio, fearing the banks as being untrustworthy. He often forgets where he has hidden his wads of cash. He is a man of modest means living in your average Parisian two up two down terrace house with a ramshackle studio. His nonchalant attitude to money is just one of the causes of many an altercation with his wife Annette (Sylvie Testud), another being that his young attractive prostitute mistress and quasi-muse Caroline (Clemence Poesy) receives all his attention. She is his reason for being, his motivation and his incentive to carry on with his life and his work, and she too is mid-way sitting for him for a portrait in progress. His brother Diego (Tony Shalhoub), is also an artist and working in an adjacent studio, is more than familiar with his idiosyncrasies, his mood swings, and his at times unpredictable temperament. 

As another week goes by, Lord is asked to postpone his flight home again due to slow progress with the painting, or it not being upto Giacometti's standard. Often, the artist will start to paint, and then interrupt proceedings with the desire to go for a walk to talk, or to visit the local bistro for something to eat, or drink, or to take rides in the car, or to meet with Caroline. Lord puts on a brave face but becomes increasingly frustrated by the slow progress his artist friend is taking - but what can he do, other than play along, and pacify those in the US who seek his return home. 

Meanwhile Lord has to postpone his flight once more, asking 'how long can this go on for'. By now we are two weeks in, and Diego who overhears Lords rhetorical question says months, years, perhaps for ever, as Alberto seeks perfection in his work, which he knows is in reality unattainable. As three weeks almost clock up and yet more flight postponements, the day comes when Lord has to bite the bullet and leave. Giacometti bids him farewell, Caroline has disappeared off somewhere else with her pimps, leaving the artist and his wife Annette to go about their business, and Giacometti to consider his unfinished portrait.

Here Rush inhibits the character of Giacometti, much as he did with his portrayal of pianist David Helfgott in 1996's 'Shine', and he makes his character study intricate, grounded and nuanced as we laugh at his jokes, relish at his idle gossip, his habits and his foibles, his inconsistent work routine, his preferred watering holes, his insistent chain smoking, his dishevelled appearance, the razor sharp wit of his conversation and his sarcasm and his down beaten studio where everything is presented to us looking in in various shades of black, white and grey. Armie Hammer puts in a subdued but nonetheless commendable performance as the subject of the artist, showing restraint, politeness and conservatism  even as time marches on and repeated postponements to his schedule. As for Stanley Tucci in his fifth turn as Director he here depicts Giacometti as a genius showing us his strengths and weaknesses of his chaotic work life, his self-doubt, and his inner strength to destroy that which he is not completely satisfied with and start over again. A comical, entertaining and engaging study of one of the great artists of the 20th Century, that has been highly praised by Critics.

-Steve, at Odeon Online-