THE BURNT ORANGE HERESY : Tuesday 28th July 2020.

'THE BURNT ORANGE HERESY' which I saw earlier in the week is an MA15+ Rated drama thriller Directed by Giuseppe Capotondi who has helmed numerous music videos over the years, television commercials and a small number of TV series and feature films. This film adaptation is based on the 1971 book of the same name by Charles Willeford and was chosen as the closing film for last years Venice International Film Festival and went on release in the US on 6th March and was then pulled when the world went into COVID-19 lockdown. It was re-released a couple of weeks ago now in Australia and is scheduled for a re-run in US theatres from 7th August, has generated mixed or average Reviews and has so far grossed US$208K.

The film opens up with ambitious and charming art critic, James Figueras (Claes Bang) who has fallen from grace somewhat and now spends his time lecturing rich American tourists into the why's and wherefore's of the art world around many Italian cities famed for their artworks.  He's happy to bend the truth by incorporating a series of convincingly told fabrications to demonstrate the power that art critics can have upon the unsuspecting admirer or purchaser, but comes clean in the end with his rouse when the lecture is over and his American customers are bidding their thanks and farewells.

All except Berenice Hollis (Elizabeth Debicki) who hangs back because of the free chips on offer, and because they seem to share a chemistry. That chemistry soon lands the pair in the sack together in Figueras' Milan apartment. Having learnt that Figueras was a failed art student who was advised to go into art journalism by his teacher, and that Hollis hails from a small town south of Duluth, Minnesota where an indiscretion with a married teacher has meant she is on forced leave for an extended period, there is little else we know about their back stories.

Following their night of passion Figueras invites his new love interest to the Lake Como home of wealthy art dealer Joseph Cassidy (Mick Jagger), who has contacted Figueras and extended an invitation for him to spend the weekend, for reasons that are as yet unclear. Upon arrival at the palatial home, the pair are escorted up to their room and told to make themselves available in one hour for lunch. Over lunch the three get acquainted, and taking coffee out on the verandah overlooking Lake Como, Cassidy announces that residing in a small cottage on the edge of the estate is renowned and very reclusive artist Jerome Debney (Donald Sutherland) who has not been interviewed for the past fifty years. Cassidy invites Figueras to break that drought, on one condition.

And that one condition, is that Figueras 'procures' a Debney artwork for his own collection, no questions asked, otherwise Figueras goes home empty handed and Cassidy will expose some dirt he has on the art critic from his past. Figueras reluctantly agrees although has no idea how is going to get his hands on a Debney painting without paying a princely sum for, or without the artist knowing about it. The first hurdle however, is getting the reclusive artist to agree to an interview.

The next morning while idling by the pool, along saunters Debney and the three strike up a conversation. By now Cassidy has had to fly out of town leaving Figueras and Hollis to make the most of the weekend and have the run of the estate. Debney is instantly taken with Hollis, and he agrees to let Figueras interview him if he can swim two lengths of the swimming pool under water, which he does, of course. Debney then sets out his agenda for the day which includes a boat ride later that afternoon and dinner that evening in his cottage, during which time they will engage in conversation rather than a formal interview.

For the boat ride across the lake Figueras makes his apologies saying that he needs to rest up, so deputising to Hollis to accompany Debney. Figueras has an ulterior motive naturally, and while the pair are away enjoying each others company, he attempts to break in to Debney's very secure cottage, albeit unsuccessfully. We have also learned subsequently that Debney has no surviving art works from his earlier years as these were all destroyed in two fires - the first at his home, and the second years later at a gallery which housed his collection. He then went into self imposed hiding and barely no one has seen him, or his paintings, for the past fifty years.

Later that evening having talked and eaten Figueras asks Debney if he can see his art work collection. Debney at first is offended by the request stating that it is his choice not to show the world his paintings and they are private works, but Figueras counters this with better the world to see his collection while he is still alive, than to have free rein when he is dead and ransack his work when he is no longer around to defend it. Reluctantly Debney agrees and takes them into a secure locked studio fitted out with unopened tubes of paint, brushes, blank canvases, easels, more blank canvases and more still. There is not a single painting in the whole room. Figueras, who was hoping to 'procure' a painting in an unguarded moment when on cue Hollis would drop her drink glass, is left dumbfounded and astounded by this revelation. Hollis happens to notice on the reverse side of a canvas the title of the supposed painting 'The Burnt Orange Heresy', and upon enquiring Debney responds that the title is just meant to fool anyone who comes looking. Figueras goes outside to catch his breath, and is joined by Hollis and Debney moments later. Debney takes his leave saying that he has a date with an older lady and he cannot leave her waiting and so bids them both farewell.

In walking back to the villa Figueras realises that he has left his laptop and satchel back at the cottage. He tells Hollis to pack their bags as they are leaving immediately. He walks back to the cottage to retrieve his laptop and satchel alone. There he forcibly breaks in, and re-enters Debney's studio. He bundles a whole bunch of paint tubes into his satchel, together with some brushes. He then takes the blank canvas with the inscription 'The Burnt Orange Heresy' written on the reverse and wraps this inside a towel. Next he upturns all the blank canvases, easels, rips up sheets of paper and then squirts a flammable paint thinner all around the room and then sets light to the room. He makes a quick exit as the cottage is very quickly engulfed in flames. He arrives back at the villa before Hollis appears with their bags, by which time he has bundled the blank canvas into the boot of his Range Rover out of sight. They then drive through the night back to Milan.

Hollis slumps exhausted on the bed, while Figueras says he going to start work on his interview notes while its still fresh in his memory. While Hollis sleeps Figueras retrieves the paints, brushes and blank canvas from his car, and sets them up in his office. The phone rings and it is Cassidy enquiring about the fire at his property and whether he was successful in securing a Debney painting before the place burnt to the ground. Figueras answers in the affirmative and Cassidy responds asking him to describe the painting to him which is called 'The Burnt Orange Heresy'. Cassidy much to his joy further adds that he is now the owner of the only Debney painting anywhere in existence since all of his other works burnt in the fire. When Cassidy hangs up, Figueras begins painting his own interpretation of 'The Burnt Orange Heresy' duly signing it with Debney's signature once complete.

Hollis wakes up later and ventures into the office and sees the still wet painting, touching the wet paint with her fingertip. She goes into the bathroom and confronts Figueras. Running a bath, the pair argue, and needless to say it doesn't end well for Hollis. Shortly after the fire, the art world mourns the loss of Debney who died of a heart attack. Sometime later, Figueras has written a book - a retrospective of Debney which is selling like hot cakes, and in New York at Cassidy's Gallery, the pair are seen schmoozing with the who's who of the art world and celebrating 'The Burnt Orange Heresy' which is there on display for all the world to see as Debney's sole surviving painting. One art critic remarks to Figueras that she finds it amazing that Debney had the foresight to leave his fingerprint slap bang in the middle of his artwork, which he had overlooked completely and reels away in horror. Cassidy makes some comments about the whereabouts of Hollis, who has mysteriously disappeared and states that Debney was found in the swimming pool of the villa, face down, drowned. Cassidy also tells Figueras that shortly before his death, Debney sent a sketch to Hollis' mother in Duluth, but as it wasn't signed it is worthless. The film closes out with the sketch of Hollis on her mothers fridge at their home in Duluth, beside newspaper clippings reporting on the first anniversary since her disappearance, and the camera comes to rest on Debney's signature.

Milan with its stunning architecture and Lake Como with its plush lakeside residences provide the smart sexy locations; the glamorous world of works of art, galleries, collectors, artists and critics sets the scene; intelligent dialogue; top notch performances from the four lead characters (even if Mick Jagger comes across as being out of his depth in the company of the other three acclaimed Actors) and a plot that has more surprises in store than you can keep track of, verging on the ridiculous by the time the end credits roll. The first two acts move along a good pace and will keep you riveted, but by the time the third act comes to be the imagination is stretched, all realism is lost and the believability of the pay day is forced to bring the films conclusion to a hastily delivered ending. The film certainly looks the part and there is a real chemistry between Debicki, Bang and Sutherland on screen - it's just a shame that their characters are not more fleshed out from their brief initial introduction, and the film will leave you hanging with plenty of unanswered questions.

'The Burnt Orange Heresy' merits three claps of the Odeon Online clapperboard, out of a possible five claps.

-Steve, at Odeon Online-  

What's new in Odeon's this week : Thursday 30th July 2020.

Last week I reported on four major studio films that have had their planned release dates pushed back once again because of the ongoing impact of the COVID-19 pandemic and the subsequent halting or delays experienced by movie production houses, and only the partial reopening of cinemas worldwide. Those four films were 'Tenet', 'No Time To Die', 'Wonder Woman 1984' and 'The Conjuring : The Devil Made Me Do It'. This week I continue in a similar vein, and announce another four major films that have seen their already publicised release dates pushed back yet again.

'THE FRENCH DISPATCH' - Directed, written for the screen, Co-Produced and based on a story by Wes Anderson, this American comedy drama film stars an ensemble cast including Benicio del Toro, Adrien Brody, Tilda Swinton, Timothee Chalamet, Lea Seydoux, Frances McDormand, Jeffrey Wright, Bill Murray, Owen Wilson, Elisabeth Moss, Edward Norton, Willem Dafoe, Liev Schreiber, Christoph Waltz, Saoirse Ronan, Henry Winkler, Bob Balaban, Freddie Highmore and Kate Winslet. Originally slated for a July 24th 2020 release, this was pushed back to October 16th 2020 and has now been pushed back indefinitely, with no future release date as yet announced.

'A QUIET PLACE : PART II' - Directed, Co-Produced and Written by John Krasinski this follow up to the hugely successful 2018 horror film 'A Quiet Place' stars Emily Blunt, Cillian Murphy, Millicent Simmonds, Noah Jupe, Djimon Hounsou and John Kransinki seen in flashback considering that he was killed off at the end of the first film. Initially intended to be released in cinemas on March 8th 2020, this was subsequently pushed back to September 6th 2020 and has now been pushed back further to April 23rd 2021.

'TOP GUN : MAVERICK' - this action drama film is a direct sequel to the 1986 Tony Scott Directed film 'Top Gun' that launched the career of Tom Cruise into the stratosphere. Directed by Joseph Kosinski and Co-Produced by Tom Cruise, Jerry Bruckheimer and Christopher McQuarrie this film sees Tom Cruise reprise his role as Pete 'Maverick' Mitchell, and Val Kilmer reprise his role as Tom 'Iceman' Kazansky joined by Ed Harris, Miles Teller, Jon Hamm and Jennifer Connelly. Originally intended for a July 24th 2020 release, this was subsequently delayed until December 23rd 2020 and has now been delayed once again to July 2nd 2021.

'HALLOWEEN KILLS' - this American slasher horror film is a direct sequel to 2018's 'Halloween' and is the twelfth instalment in the 'Halloween' franchise. As with the 2018 film, this offering is once again Directed and Co-Written by David Gordon Green and is based on the characters created by John Carpenter for his seminal 1978 film 'Halloween' and its 1981 follow up 'Halloween II'. Starring Jamie Lee Curtis reprising her role as Laurie Strode from the 1978 original, the 1981 sequel and the 2018 reboot, with Nick Castle and James Jude Courtney also reprising their roles as the knife wielding maniac killer Michael Myers and Anthony Michael Hall, Judy Greer, Nancy Stephens, Charles Cyphers and Andi Matichak. Originally scheduled for an October 16th 2020 release, this has been delayed by a year until October 15th 2021, with the final third instalment 'Halloween Ends' now pushed back until October 2022.

This week we have five latest release new films to tempt you out to your local Odeon on a chilly mid-Winters day in late July. We kick off with the story of a road rage incident that turns very ugly as one man starts a relentless pursuit against a female driver who cut in on him at a red stop light. We then turn to a love story surrounding a pair of single dog walkers in their sixties who get to know each other over the course of a year while out walking their pooches; and this is followed up by a tale of the effect that positive thought has on one young widow as a result of a stranger coming into her life, but he harbours a secret that could have a lasting impact on her life. Next up is a film about a bunch of teenage rebels who fight against the system and who unleash their own brand of justice upon the bad people they come across; before closing out the week with a Spanish foreign language offering telling the story of a struggling single mother juggling her cancer ridden mother, a legal case at work where she is employed as Deputy Legal Counsel and a new love interest.     

Whatever your taste in big screen film entertainment is this week - be it any of the five latest release new movies as Previewed below, or those doing the rounds currently on general release or as Reviewed and Previewed in previous Blog Posts here at Odeon Online, you are most welcome 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 in the meantime, enjoy your big screen Odeon outing during the week ahead.

'UNHINGED' (Rated MA15+) - this American thriller film is Directed by Derrick Borte whose previous film making credits take in 2009's 'The Joneses', 2013's 'Dark Around the Stars', 2015's 'H8RZ', 2016's 'London Town' and 2019's 'American Dreamer'. Costing US$33M to make, the film has had its cinematic release date pushed back and brought forward several times in the hope of being amongst the first to test the waters as cinemas reopen. The film opened in Europe, Latin America and Asia mid this month, in Australia this week and is slated for its US release sometime in August, and has so far grossed US$252K.

Here Tom Hunter (Russell Crowe) stalks and harasses single mother Rachel (Caren Pistorious) who is running late for work, and her young son Kyle (Gabriel Bateman) in his car as a result of a road rage incident at a red stop light. Following this altercation, Rachel finds herself and everyone she loves at the mercy of a man who considers himself almost invisible and is looking to make one last mark upon the world by teaching her a series of deadly lessons. What follows is a dangerous game of cat and mouse that just goes to show that you never can tell who's in the car next to you and the extent they're prepared to go to to make a point.

'23 WALKS' (Rated M) - in his first feature film outing in twelve years, here Director and Writer Paul Morrison has followed up his earlier works 'Solomon and Gaenor', 'Wondrous Oblivion', and 'Little Ashes' with this heart warming romantic comedy drama of love discovered later on in life. Starring Dave Johns as Dave and Alison Steadman as Fern who are both in their sixtes and who get to know one another over the course of walking their dogs twenty-three times during one year, and mostly on London's Hampstead Heath, and gradually begin to fall in love. Also starring Tilly (Dave's dog) and Harry (Fern's dog) amongst other human characters. 

'THE SECRET : DARE TO DREAM' (Rated PG) - this American drama offering is Directed and Co-Written for the screen by Andy Tennant whose prior movie making credits include his debut in 1995 'It Takes Two' followed by the likes of 'Anna and the King', 'Sweet Home Alabama', 'Hitch', 'Fool's Gold', 'The Bounty Hunter' and 'Wild Oats' in 2016. Based on the best selling self help book from 2006 by Rhonda Byrne 'The Secret', the film tells the story of Miranda Wells (Katie Holmes) who is a hard-working young widow struggling to raise three children on her own. A powerful storm brings a devastating challenge and a mysterious handyman, Bray Johnson (Josh Lucas), into her life. Bray's presence and his belief in the power of positive thinking re-ignites the family's spirit, but he carries a secret, which could change everything. Also starring Jerry O'Connell and Celia Weston.

'JUVENILE DELINQUENTS' (Rated MA15+) - Directed, Written and Produced by Neil Goss in his film making debut, the story here follows a bunch of broken late teenagers facing incarceration for a crime they were forced to commit. As a disparate and desperate group they decide not to accept their destitute destiny and so set about making a new one by forcing redemption onto bad people. The Juvenile Delinquents (JD's) form a new dysfunctional family as they manoeuvre around problems brought about by their youth, competitive spirit, irrational behaviour and the horror at times of their new lives. Starring Demitra Sealy, Silvia Dionicio, Sean Stolzen, Amanda Greer, Corynn Treadwell, Phil Blevins and Cha-tah Ellem.

'LITIGANTE' (Rated M) - this 2019 drama film is Directed, Written and Produced by Colombian film maker Franco Lolli in only his second feature film outing which opened the Critics' Week at the 2019 Cannes Film Festival. Silvia (Carolina Sanin) is a single mother (by choice) raising her five year old son Antonio (Antonio Martinez) with daytime childcare help from her gay best friend Sergio (David Roa), as well as her sister, Maria-Jose (Alejandra Sarria), and mother, Leticia (Leticia Gomez). But the rapidly-metastasising return of Leticia's lung cancer, means the juggling act for Silvia and her family will be even harder. Added to this, she's been swept along by a simmering corruption charge at the municipal department where she's employed as the deputy legal officer, and there is a budding new romance occurring with radio journalist Abel (Vladimir Duran), which only adds to the pressure and the strain that she's under. Something's gotta give!

With five new release films this week to tempt you out to your local Odeon, remember to share your movie going thoughts with your other like minded cinephile friends afterwards here at Odeon Online. In the meantime, I'll see you sometime somewhere in the week ahead, at your local Odeon.

-Steve, at Odeon Online-

HEARTS & BONES : Tuesday 21st July 2020.

'HEARTS & BONES' which I saw last week at my local independent movie theatre is an Australian drama film Directed, Co-Produced and Co-Written by Ben Lawrence in his feature film debut following his 2018 documentary 'Ghosthunter'. Shown initially at the June 2019 Sydney Film Festival and originally slated for an April 2020 release, after its showing around the film festival circuit and due to the impact of COVID-19 its wide Australian release was cancelled as cinemas nationwide were closed down. Instead it was shown on a number of streaming platforms from early May, but fortunately since cinemas have reopened it is being showcased in a select number of theatres. This film has collected five award wins and a further seventeen nominations, and has garnered positive Reviews from Critics.

Having recently arrived back home in Sydney from an overseas assignment in Iraq, acclaimed war time photographer Daniel Fisher (Hugo Weaving) is interrupted during a moment of passion with his former ballet dancer turned teacher partner Josie Avril (Hayley McElhinney). Knocking on the door of their warehouse loft style home is Sebastian Ahmed (Andrew Luri) and immigrant from South Sudan who arrived in Australia fifteen years prior. He is very happily married to Anishka (Bolude Watson), they live in a very cramped apartment, have one young child and another due. Sebastian has seen a ramshackle house for sale somewhere in Sydney's Western suburbs that he has his heart set on to buy for himself and his growing family, and to get out of their constricting apartment.

Sebastian works in a commercial laundry by day, and drives a taxi by night, and Anishka works cleaning houses by day and in a restaurant at night, giving up their young child to a kindly child minder for fifteen hours a day. Ahmed heard a radio interview with Fisher, and then through making enquiries at a book store which was selling copies of his published works, was able to track down the photographer. Ahmed is concerned that a planned exhibition of his most famous works taken from decades of covering many of the worlds war torn hot spots, will include images of a massacre taken in his South Sudanese village fifteen years previously, in which he lost his wife, two sons and his daughter.

Upon their first meeting Fisher is dismissive of Ahmed, until Fisher collapses in the street with a mild seizure and then takes him to the hospital in his taxi. From this point on a bond is forged between the two men. Ahmed invites Fisher to attend a meeting of his community choir in which he meets other African refugees who all sing and play musical instruments as a form of therapy. Fisher is at first reluctant to 'intrude' but goes along and becomes friends with the other choir members. All the while Ahhmed urges Fisher to bring his camera to take photos of the choir, and still keeps pestering him about not including the photos of his village massacre in his upcoming exhibition. One evening Fisher offers to drive Ahmed home after a choir practice session. Ahmed then invites the photographer in to meet his wife and to have some supper. Before going in, Ahmed confides in Fisher that Anishka knows nothing of his past life, his first wife and his three children and what became of them of them all - and he wants it kept that way.

Fisher is non-plussed about the upcoming exhibition anyway. He is increasingly suffering from high levels of stress and anxiety brought about by decades of being in very close proximity to gun fire, explosions, death and destruction and the fact that Josie announced that she is fifteen weeks pregnant upon his return home, a little matter that they had seemingly previously agreed to would not happen since they lost their first child, a daughter, a couple of years ago shortly after childbirth due to some medical condition.

Fisher agrees to let Ahmed trawl through his portfolio of photographs taken at the time and ponders his request to pull the pictures from the upcoming show. Ultimately Fisher agrees to pull the pictures from his exhibition and gives the portfolio of photos to Ahmed. In the meantime, Ahmed buys the run down house and he and Fisher begin ripping up the flea infested carpets, tearing down the window coverings and generally start on the process of making it liveable. Ahmed has also decided that he needs to come clean with his wife and tell her of his history that weighs so heavily on his mind. He musters the courage to do so, and she rebels against this revelation, saying that she needs time to digest this news and orders him out of their apartment for two days. He goes to stay in his new house.

While this is going on, Fisher makes a discovery about Ahmed as seen in one of the photos from that South Sundanese massacre of fifteen years prior, and it reveals something about Ahmed's past that he has tried to cover up, and is more than likely his motivation for not wanting the photo's shown at Fisher's exhibition. Fisher confronts Ahmed with his discovery and the pair share heated words which ends up with Ahmed physically throwing Fisher out of the house. Josie calls Anishka over to her house where she confronts her with the truth behind the photograph. Josie is left speechless by Anishka's reaction to the photograph and the story behind it, as Anishka tears the photo out of a recently published book of Fisher's works, and goes to confront Ahmed at the house. Anishka says that their marriage is over.

Meanwhile, Fisher and Josie are not getting on so well, and Fisher storms out of their house with his kit bags packed ready to fly off to his next assignment in Syria, much to Josie's chagrin. In driving to the airport at the last minute he takes a detour to visit Ahmed in his new house, only to discover that Ahmed had attempted to hang himself using electric cable, but the beam over which he had tied the noose had broken, leaving Ahmed unconscious but still alive on the floor. Ahmed is rushed to hospital, and Anishka visits breaking down uncontrollably upon arrival.

A short time later Ahmed is convalescing in the back yard of his house with Anishka and their friends from the community choir helping them move in. All is forgiven between Ahmed and Anishka. Fisher and Josie arrive, and in the back yard Ahmed tells Fisher that its OK for him to exhibit the photograph that had caused him so much angst, as it represents part of who he is. We then fast forward a couple of months to the opening night of Fisher's photographic exhibition. Josie and Fisher have given birth to a new daughter and Ahmed and Anishka also have their new child in tow, as the choir burst into song singing The Talking Heads 'Road to Nowhere'.

'Hearts & Bones' is certainly a film that will make you think and contemplate the racial and cultural differences that we are experiencing in the world right now with fleeing refugees, and how two couples from completely opposite ends of the spectrum in just about every sense are thrust together, overcome adversity and ultimately live happier more fulfilled lives as a result. It is by no means an easy watch, as we are thrust into the everyday lives of two couples that forces us to ponder the passage of time over the circumstances for a course of action and the differing perspectives of two men. The acting from the four principle players is top notch with Hugo Weaving giving his role as the stoic and fractured protagonist his usual pathos and first timer Andrew Luri showing us that he is an acting force to be reckoned with. Director Lawrence has here crafted a complex film of deep sorrow, remorse, anguish and anxiety yet hope for a better future, and as the end credits roll we see a montage of real life photographs of refugees fleeing their own countries in the hope of a better life. Powerful and thought provoking stuff!

'Hearts & Bones' 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 23rd July 2020.

With parts of the world re-entering lockdown, social distancing measures and self isolation due to a second wave of the COVID-19 pandemic taking an ever increasing hold over everything we hold dear, it is no wonder that many of the major movie production studios have once again had to reassess the release dates of its major films. Below, are just four major tent pole films that in recent weeks have seen their previously published release dates pushed back :
* 'TENET' - Directed, Co-Produced and Written by Christopher Nolan, this highly anticipated film stars John David Washington, Robert Pattinson, Michael Caine, Kenneth Branagh, Aaron Taylor-Johnson, Elizabeth Debicki and Clemence Poesy. Originally slated for a July 17th release, this was pushed back by Warner Bros. to August 12th and has subsequently been pushed back further to sometime in 2021, with a confirmed date yet to be announced.





* 'NO TIME TO DIE' - the 25th film in the James Bond franchise and Daniel Craig's fifth and final outing as our titular British Secret Agent. Directed by Cary Joji Fukunaga and starring Daniel Craig, Rami Malek, Lea Seydoux, Ben Whishaw, Naomie Harris, Jeffrey Wright, Ralph Fiennes, Christoph Waltz, Ana de Armas and Rory Kinnear, this film was originally scheduled for a April 2nd release which was pushed back until November 20th with Warner Bros. having now pulled that date and considering a Summer 2021 release, with a firm date yet to be advised.
* 'THE CONJURING : THE DEVIL MADE ME DO IT' - Directed by Michael Chaves and starring Vera Farmiga and Patrick Wilson reprising their roles as the paranormal investigators Lorraine and Ed Warren, this is the third instalment in 'The Conjuring' franchise and the eighth film overall in the Conjuring Universe. Initially due for a release on September 11th, this film has been pushed back by Universal and MGM Studios to June 4th 2021.





* 'WONDER WOMAN 1984' - Directed, Co-Produced, written for the screen and based on a story by Patty Jenkins this sequel to 2017's 'Wonder Woman' and the ninth film in the DCEU, this film sees Gal Gadot reprise her role as Diana Prince aka 'Wonder Woman' with Chris Pine, Kristen Wiig, Pedro Pascal, Robin Wright and Connie Nielsen. Originally due a cinematic release on March 24th, this was postposed to August 14th and has now been pushed back further to October 2nd this year.

This week there is just one new release film coming to your local Odeon to tease you out on a cold mid-Winter evening, and we have an Aussie coming of age comedy drama about a school age teenage girl falling for a 23 year old seemingly no-hoper smalltime drug dealer, and the voyage of discovery this leads the pair on, together with their parents and those around them.

Whatever your taste in big screen film entertainment is this week - be it the single latest release new movie as Previewed below, or those doing the rounds currently on general release or as Reviewed and Previewed in previous Blog Posts here at Odeon Online, you are most welcome 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 in the meantime, enjoy your big screen Odeon outing during the week ahead.

'BABY TEETH' (Rated M) - is an Australian coming of age comedy drama offering Directed by Aussie Shannon Murphy in her film making debut after Directing a number of short films and television series episodes on the likes of 'Love Child', 'Offspring', 'Rake' and 'Killing Eve'. This film saw its World Premier Screening at the Venice International Film Festival back in September last year where it was in competition for the Golden Lion, and it also screened at the London Film Festival shortly thereafter. Released in the US in mid-June, and this week in Australia, the film has generated positive critical acclaim so far. 

When seriously ill teenager Milla Finlay (Eliza Scanlen) falls head over heels in love with smalltime drug dealer Moses (Toby Wallace), it's her parents' worst nightmare come home to roost. As Milla's first foray with love renews her spirit to live life to the full, things start to get messy and long established lessons get swept under the carpet. Milla however, soon demonstrates to everyone in her circle of influence - her mother Anna and father Henry (Essie Davis and Ben Mendelsohn respectively), Moses, a sensitive music teacher, a developing child violinist, and a charmingly honest pregnant neighbour - how to live life like there's no tomorrow. What could have resulted in tragedy for the Finlay's instead leads to a sense of release and being at ease in the wondrous chaos that is life.

With just one new release film this week to tempt you out to your local Odeon, remember to share your movie going thoughts with your other like minded cinephile friends afterwards here at Odeon Online. In the meantime, I'll see you sometime somewhere in the week ahead, at your local Odeon.

-Steve, at Odeon Online-

SHIRLEY : Tuesday 14th July 2020.

'SHIRLEY', which was my first return foray out to my local independent movie theatre earlier this week following four months of cinema closures because of the COVID-19 pandemic, is Directed by Josephine Decker whose previous film making credits include 'Butter on the Latch', 'Thou Wast Mild and Lovely' and 'Madeline's Madeline' most recently in 2018. Based on the 2014 novel of the same name by Susan Scarfe Merrell, the film saw its World Premier screening at the Sundance Film Festival in late January this year, went on general release on June 5th in the US, and here in Australia on July 9th. This biographical drama film charts a period in the life of acclaimed American  horror and mystery author Shirley Jackson who lived from 1916 until 1965 and who penned amongst others 'The Haunting of Hill House', is portrayed by Elisabeth Moss, who also takes a Co-Producer credit. It has generated mostly positive Reviews so far.

The film opens up with Rose (Odessa Young) reading the finishing pages of 'The Lottery' a short story by Shirley Jackson while abroad a train bound for Vermont, and then feeling horny grabs her husband Fred (Logan Lerman) and leads him into the toilet for a quick one.

Arriving at the home of Shirley Jackson (Elisabeth Moss) and her husband Stanley Hyman (Michael Stuhlbarg) during a party, Rose announces to Shirley that they are invited house guests and will be staying for a week or so at the behest of her husband - a literary critic and Professor at Bennington College, in Vermont. Rose and Fred are to continue with their studies, with Fred working alongside Stanley to aid him with his research while he completes his dissertation. Shirley is far from welcoming of Rose and Fred saying that she does not like strangers around the house, and their initial interactions are frosty to say the least.

It doesn't take long before Stanley puts a proposal to Fred for them both to remain at the house for an extended period with free board and lodgings if Rose is prepared to help clean, cook, and look after Shirley throughout the day, on the basis that their last housekeeper just upped sticks and left without warning because of Shirley's mood swings, demands and unpredictable nature. Fred wholeheartedly agrees but Rose is more reluctant as it means that she'll need to drop out of college for the foreseeable future when she thought that she and Fred would both be studying on an equal footing.

Shirley is in the throes of depression, struggles with agoraphobia, suffering from writers block, and spending the majority of her time languishing in her bed all day with a cigarette in one hand and a stiff drink in the other. She is barely only able to surface at dinner time when Stanley and Fred return from their day at College and it's cocktail hour before dinner is served. Slowly, however, Shirley begins to warm towards Rose, and she begins tapping away at her typewriter working on a novel about a missing girl named Paula Jean Welden, that would go on to become 'Hangsaman', who disappeared from the Bennington College campus. Stanley meanwhile, is off to his philandering and controlling ways with young Fred in tow at College for most of the day, and plays the dutiful husband when he gets home at night just in time for cocktail hour, or well beyond it having stayed late to attend the 'Shakespeare Society'. However, it quickly becomes plain that Stanley's motives to get his wife writing again are more driven by the finances her next work will generate, and the kudos he reaps from being the literary critic of his wife's works.

Shirley and Stanley seem to bicker most of the time, sparring off against each other often with a subtle malevolence, but they also relish in belittling Rose and Fred over dinner for their own amusement and for which they offer no apology, and which only goes to show the young couple as lesser mediocre mortals in their eyes. Rose and Fred's relationship begins to deteriorate when Fred begins coming home late from College having attended the Shakespeare Society, and Fred starts seeing the influence that Shirley is having upon Rose. Furthermore, Rose is in the early stages of pregnancy - a fact that Shirley is able to 'sense', and blurts it out one evening over dinner much to the surprise of Fred. As Rose's pregnancy develops so Fred seems increasingly turned off by her ever expanding bump. Ultimately, Shirley tells Rose that there is no such thing as the Shakespeare Society at College, this is just a cover for meeting young female students that the men can take advantage off, and often do.

As Shirley's novel develops so her fascination with the disappearance of Paula intensifies. Shirley imagines Rose, and Rose imagines herself as Paula, the red head walking quickly through the woods wearing a red coat with her face blurred out, looking over her shoulder.

This all comes to head when Rose has had her baby and one day while driving in the car together with Shirley, Rose asks Shirley to stop the car. Rose gets out leaving Shirley holding the baby, and off Rose trundles at a goodly pace through the woods, leaving Shirley to traipse after her carrying the crying child. Shirley emerges at a clearing with Rose standing at the edge of a sheer drop, with Shirley begging her to step away from the edge. Is it Rose or Paula standing there, as the figure launches itself into the air. We then cut away to Rose and her baby, and Fred, departing the residence for good in a car, bidding their farewells.

The final scene sees Stanley critiquing Shirley's manuscript of what will be her latest novel, completed. She sits as the dining table dutifully, complete with facial ticks, tweaks and distortions, while Stanley reads the final pages. He rises out of his lounge chair in the background and approaches the table and sits in front of her. Brilliant he exclaims, her best work yet and a sure fire best seller, although he has made some notes as is his want in life.

This is Elisabeth Moss' film for sure - she excels in her portrayal of Shirley Jackson, even down to the dead ringer looks, the think rimmed spectacles, the mane of hair, her frumpy dress style and her seemingly never ending consumption of cigarettes and alcohol. The Director Josephine Decker while taking liberties with the truth, for example portraying Jackson and Hyman as childless when in fact they had four children, and her reliance on short stories and novels in the horror and mystery genre was in fact more successful in writing parenting books and children's works. Despite this poetic license, Decker has crafted an insightful film that lurches from gothic undertones to domestic drama to horror and back again with Young cast as the prefect foil for Moss as they tip toe through their evolving relationship without it ever really going anywhere, and Stuhlbarg as the bigoted womanising holier than thou acerbic husband. All that said, 'Shirley' is at times confusing, its plods along at times at a snails pace, and is more style over substance but is saved by Moss' stellar performance, her razor sharp dialogue, and her uncanny knack for inhibiting this character with a realism and believability that is worthy of an Oscar nod for sure.

'Shirley' merits three claps of the Odeon Online clapperboard, from a potential five claps.

-Steve, at Odeon Online-