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“Going into watching this documentary was for me the fascination of why we as humans take on such a quest”

Words Glenn Blomfield

The documentary is about the 3100 mile self transcendent marathon, created by Sri Chinmoy a Guru that found enlightenment through the meditation of running. Lets get this into some perspective, 3100 miles is 4989km, the mind boggles at running that amount of distance.

The runners have 52 days to complete the distance, they must cover 60 miles per day, that is 96 1/2km a day. Running around a half mile (0.80km) block. A day of running is from 6am to midnight,18hrs a day on feet. Most consume 10,000 calories per day.

Now get this, there is no prize money, there is a trophy for the winner. This all takes place in Queens, New York City. Temperatures can be around 90 degrees Fahrenheit, extreme hot conditions, running in all weather conditions. With that information, and a perspective of what a 3100 mile event is, the big question that lingers on the mind is the “why”? The documentary attempts to answer that question, but the “why” is not a simple answer.

“The runners have 52 days to complete the distance, they must cover 60 miles per day”

As the reviewer, has some type of insight and understanding, as I myself have run what is known as Ultra-marathon, as of writing this, recently completing a 104km Ultra-marathon. Yes it does pale in comparison to 3100miles. But the question that often asked of me is the ‘Why’, and it certainly is not an easy or simple question to answer. Something I even question myself. So going into watching this documentary was for me the fascination of why we as humans take on such quest.  

The film focus around a runner Ashprihanal Aalto a Finnish runner, who has a very nondiscript delivering papers, he lives a very humble frugal existence in a one room shack abode. He lives life through meditation. He has run the self transcendent 3100miles, an incredible 13 times, 8 x winner, holds the world record for the fastest 3100miles. He certainly is not the physical specimen of a runner, small in stature. Nor does he follow any athletic training nutrition regime.

What makes him so remarkable is, and what the documentary attempts to reveal, is through his meditation, spiritual focus and mindfulness, Ashprihanal Aalto runs on mental agility. Running this type of distance, becomes about the person on a spiritual self journey as you go to such extremes.

It is not about the body anymore it is about the mental toughness. You run not to win a race, but to go beyond yourself. A more transcendent self, a spiritual awakening, by the end you definitely will be a changed person. The documentary helps enlighten those questions with some other cultural examples.

In Japan Mt Hiei, an ancient order of Buddhist monks traverse up to 60 miles a day for 1000 days in quest of enlightenment. The practice is known as Sennichi Kaihogyo (circling the mountain). Mt. Hiei is strewn with graves of failures. The long walking hike is described as ‘praying with feet’. In contrast Navajo Native Americans consider running as prayer.

Making a spiritual connection with the land. African hunters tracking their prey, can be running for a day, it is part of life and their cultural survival.
Will this make you a ultra-marathon runner? I cant answer nor can this documentary answer that for you, it is your ‘why’ to find out. As for me I will be heading out for a run soon

From running long distances, I know of the suffering and the pain. There is no plan that can avoid this, experiencing exhaustion, heat, but you will not give up. I cannot fathom running 3100miles, the documentary does put perspective on the ‘why’. It fascinates me to be able to run beyond perception and find yourself. With that in mind, the film puts a new perspective on running, something hidden with a spiritual enlightenment.

Words Wal Reid

With the #MeToo movement spurred by Hollywood producer Harvey Weinstein’s alleged sexual harassment scandals, long time feminist filmmaker Michal Aviad’s gritty drama about a young Israeli mother returning to the work force and putting up with her boss’s sexual advances, is as topical as it is provocative – Does any of this smack of familiarity?

“It’s a polarising subject that is overly reported time after time in the news. The sexualisation of women in the work force”

It’s a polarising subject that is overly reported time after time in the news. The sexualisation of women in the work force. The premise revolves around young Mum Orna, (played by the brilliant Liron Ben Shlush) the mother of three lives a frugal existence while her husband struggles to start his own restaurant. Her fragmented narrative matches the movie’s pace and the mood of the picture, unfurling its lucid storyline.

To help fund her family, Orna returns to the workplace landing a job with Benny, expertly played by Menashe Noy who is a successful real estate developer. His character epitomises the macho Svengali-like predatory boss, who under the guise of an ‘helping angel’ is nothing further from the truth. To be honest, I just wanted to throttle the guy.

While she embraces her new job and tries to balance its demands with her home life, she begins to experience escalating sexual harassment from Benny which compromises her belief system and relationship with her husband Ofer (McMafia’s Oshri Cohen). Under the strain of the tense work place situation, Shlush delivers her performance with gusto while duping the audience into believing her character, this respite in the film helps her gather some much needed self-confidence.

I thought her performance was well handled and she has a pensive dead-pan expression that would leave Garbo for dead (if she was still alive) Now and then I found the film meandering but not to the point of finding myself switching off. I mean it was an easy watch so that’s a big thumbs up (short attention span here) that coupled with its surprisingly redemptive outlook was another reason to like this.

The film delivers. It’s job exposing the underbelly of a sexist society while tapping into the sentiment of the viewer. This simple truth resonated with myself even though it was subtitled, it’s message engaging. It is a powerful reminder that not all is well with the world, however, the film’s sanguine ending should serve as a timely reminder that now and then, we can restore our faith in humanity.

Words Sarah Kidd

No one can deny that the DC Universe has struggled in the world of film; compared to Marvel and its legion of devoted followers who appreciate the cohesiveness and continuity of their blockbuster movies, DC struggles to pick a direction and stick to it.

Suicide Squad had its charms, but ultimately failed to live up to expectations. Margot Robbie as Harley Quinn however, quickly gained both notoriety and praise; her look in the film soon adopted as the latest trend for Halloween parties across the globe. Cue spin-off.

So, how does Birds of Prey fare?
Admittedly not too bad at all. Taking into account that the film is a continuation of Harley Quinn’s adventures specifically – which means that instead of sharing the screen with juggernauts like Will Smith, she is predominantly the main focus – will play a part in determining the enjoyment level of the viewer.

Despite Quinns’ style of speaking, which can become a little irritating at times, Robbie otherwise delivers a solid performance, once again capturing the characteristics viewers have already come to know and expect from her portrayal of Quinn while adding a few more nuances to her already colourful persona.

“Despite Quinns’ style of speaking, which can become a little irritating at times, Robbie otherwise delivers a solid performance”

Where Robbie (who also produced the film) truly shines is in the physical arena, her movement when handling weapons, participating in fight scenes right down to how she curls up on a couch with a bowl of fruit-loops are all so wonderfully fluid that it draws the viewer into her character with a natural ease.

Throughout the film, Quinn narrates certain events or points of interest, this does start to wear a little thin, especially when the momentum of the film is broken in order to tell the backstory of a character, or to retrace the steps of what led to a particular part in the timeline. Still it is a point of difference and thankfully is not used too excessively.

So, Harley Quinn is back in Gotham, sans the Joker who has kicked her out. Keeping quiet about her current relationship status, Quinn proceeds to roll about Gotham taking full advantage of her immunity from retribution and basically behaving badly, which she is very good at. That is however until one night after overhearing people mocking her ongoing trials and tribulations with her man, she decides to announce to the city she is single by blowing up the ACME chemical plant where she first pledged her love to the Joker (apparently Batman was taking the night off, as despite Quinn almost destroying a quarter of the city, the bat is nowhere to be seen)

Cue the introduction of Black Canary (Jurnee Smollet-Bell), Renee Montoya (Rosie Perez), Huntress (Mary Elizabeth Winstead) and Cassandra Cain (Ella Jay Basco) over the course of the plot, complete with back stories that fold themselves into the timeline somewhat awkwardly, but they get the job done. Of course, there has to be a villain, Birds of Prey offering up two in the form of Ewan McGregor as Roman Sionis/Black Mask and his psychotically creepy henchman Victor Zsasz (Chris Messina).

Birds of Prey is a restricted movie, and as such it contains violence that while not excessively nausea inducing, does include a few scenes that will make people wince. It was also a little disturbing that many seemed to find the beginning of one particular scene where Sionis publicly degrades a woman somewhat amusing; perhaps it was his slightly camp demeanor in which he did it … It should be noted though that there is an unnerving undercurrent to the scenes of violence featured in the movie.

“How it will stand the test of time against both the previous and any future DC cinematic offerings, remains to be seen”

While the female characters carry out theirs in a kick-ass girl kinda way, with a sense of cartoonish fun to them, a few of the scenes featuring Sionis have a far more realistic and sadistic nature to them, especially when the violence is aimed at his female victims. Written this way to truly set him apart as the bad guy? Possibly, but it is a little uncomfortable to say the least.

The film is of course called Birds of Prey, so the expectation being that at some point we see the female leads join together to become a tour de force; however, when they finally do, it seems rather anticlimactic, leaving some wondering if director Cathy Yan actually got the incredibly long film title the wrong way around.

Birds of Prey is indeed a bit of fun, and if audience members are already fans of films of a similar ilk, then this too will be a win for them. It’s bright, it’s loud, the pace keeps the storyline moving in the right direction for the majority of the film and there are some memorable performances from Robbie, McGregor, Smollett-Bell and a Hyena called Bruce. The soundtrack is none too shabby either, however some of the tracks used have already been featured in several films over the last couple of years and do feel a little tired.

It would be hard to vehemently dislike Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) but how it will stand the test of time against both the previous and any future DC cinematic offerings, remains to be seen.

Words Mike Beck

With a penchant for the spectacle, Roland Emmerich’s latest effort is a period piece adapted from events during the Second World War. Midway is a tour-de-force big-budget extravaganza, given a larger than life treatment in a way that only Emmerich knows how.

With screen credits that run long & strong in the disaster film genre, fans of Emmerich (Independence Day, Godzilla, The Day After Tomorrow, 2012, White House Down etc) won’t be let down with more of the same with Midway. Based on WWII conflicts between Japan & the United States, the film recounts the battle strategies & war-gaming from the late 1930’s to early 40’s, delivered stylistically to make you feel like you’re a player inside a chess game of big boys toys.

“This is typical Emmerich though; a hard focus on the spectacle, an affinity for elaborate action sequences”

The literally explosive battle sequences suggest much money has been put into bringing Midway’s visual effects laden tale together. The CG era enables battleships to come to their demise in ways never before seen, while dogfights are intricately & expertly rendered, with live-action & SFX blended brilliantly. No expense has been spared with casting either, as Ed Skrein (superhero pilot Dick Best), Patrick Wilson (Ed Layton) & Aaron Eckhart (Jimmy Doolittle) mix it with veterans Woody Harrelson (Nimitz) & Dennis Quaid (‘Bull’ Halsey). In this Top Gun style tale, they have all the right moves.

Midway does maintain its pacing at breakneck, with even the quieter moments driven along with a modern brooding soundtrack. This is perhaps intrusive & distracting at times; breaking the illusion of the time in which it is set, plus the lack of space and dynamics, particularly in pivotal dialogue driven scenes.

This is typical Emmerich though; a hard focus on the spectacle, an affinity for elaborate action sequences, with characters portrayed & played out as iconic hero’s tailor-made for the Hollywood system. Although based on historic figures with key involvement in one chapter of WWII, the storytelling & tone of Midway doesn’t make clear whether it is a pro or anti-war film. The tropes of honour, bravery, dignity & pride give the film a ‘Cowboys vs Indians’ matinee sensibility.

There’s another war film occupying our big-screens at present. 1917, by Sam Mendes, is very much the anti-thesis of Midway, set during the Great War, told in an intimate way with effects of a whole other kind. If you get to the cinema often & you’re a war film fan, go see them both. Midway will show you just what happens when fire meets fire, but for the cinephiles, Mendes’ film is something else.

words Wal Reid

” A system riddled with racial prejudice & social injustice, it’s difficult to believe this was Trumps’ America a couple of decades ago”‘

Usually Legal biopics bore the bat faeces out of me. The usual drawn out down-the-barrel style of courtroom drama usually ends in misery for the protagonist, so never any real surprises there. However, director Destin Daniel Cretton’s powerful drama, Just Mercy throws that idea into disarray.

An admirable line up of Hollywood stars here. Creed poster boy Michael B. Jordan, the versatile and talented Jamie Foxx, the sublime British actor Rafe Spall, and of late, Marvel’s Brie Larson. When it’s this good a cast it’s always hard to tell if this is going to be a winning formula or not. Rest assured, there are some great performances juxtaposed against the harrowing narrative of Alabama man African-American Walter “Johnny D” McMillian (Jamie Foxx), who in real life was convicted of the 1986 murder of Ronda Morrison.

Just Mercy recounts the true story of McMillian, who, with the help of young defence attorney Bryan Stevenson (Jordan), appeals his murder conviction. The film is based on the memoir of the same name, written by Stevenson. Cretton’s use of emotive in-your-face cinematography on people perfectly captures the emotion of his actors, to the point the viewer is sucked into his somber auteurist vortex.

Actor of the moment Brie Larson, who has worked on Cretton’s previous outings, The Glass Castle & Short Term 2, displays a certain empathy in her role as equal rights activist Eva Ansley. Her eighties wardrobe hangs off her character to a tee, as she teams up with screen hubby Doug Ansley (Dominic Bogart) to found the Equal Justice Initiative with Stevenson. Her support role in the film priceless.

“Be prepared to have your ideals shaken to the core and your tear glands charged..er… I mean challenged”

Just Mercy is a period commentary on the American economic and penal justice system, rather than a drama for drama sake. A system riddled with racial prejudice & social injustice, it’s difficult to believe this was Trumps’ America a couple of decades ago. It’s deeply seeded shame brought to light in these modern times absolutely defies belief, but makes for great viewing fodder.

I enjoyed this film. There’s nothing to dislike except maybe Larson’s benign pensive look throughout the movie, other than that, I had my eyeballs glued fixedly on the screen. Just Mercy is an emotive and powerful drama that is as every bit redemptive and its subject matter is morally unjust. Actor Tim Blake Nelson of O Brother, Where Art Thou? in my opinion, turns in the best performance of the film, as inmate snitch Ralph Myers. Even through his characters physical speech impediment, he shines radiantly.

Be prepared to have your ideals shaken to the core and your tear glands charged..er… I mean challenged. It’s a story that was needed to be told on the big screen, and deservedly so.