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Written by Matthew Toomey

Created: 29 May 2023

Fifteen years ago, Dave Fishwick was a self-made millionaire who had become the biggest minibus salesman in Great Britain.  Then, the Global Financial Crisis came along.  Dave’s business was fine but his customers, despite having never missed repayments previously, were struggling to get finance for new loans because banks had changed their thresholds.  So, Dave did what anyone else would do (note: sarcasm) – he started his own bank!

Burnley Savings and Loans was established in 2011 as a not-for-profit lending company to largely serve small investors and borrowers in the county of Lancashire.  It’s no threat to the major UK banks but with its catchy “Bank on Dave!” slogan, it’s challenged the negative mindset many have of financial institutions.  The company is big on “old fashioned local banking” with a focus on customer service and charity (instead of just the bottom line).

Directed by Chris Foggin (Fiserhman’s Friends), Bank of Dave is a comedic, big-hearted tale which is looooooosely based on the above events.  The protagonist’s name is appropriate because it’s framed as a David v. Goliath battle where Dave (Kinnear) teams up with a naïve city lawyer (who didn’t exist in the real story) to take on the big, nasty banks who wanted him stopped.  The film also boasts a Def Leppard cameo but again, their fundraising role in the movie is not a reflection of reality.

I wish this film wasn’t so simple and clichéd.  The good guys are very good, the bad guys are very bad, stuff about the banking system is overexplained, and there’s a tokenistic romance to try to broaden its appeal.  The dialogue is rubbish in places and would be better suited to a cheesy, American soapie.  Sometimes you can try too hard in developing a feel-good narrative and it’s a trap writer Piers Ashworth (St Trinian’s) appears to have fallen into here.

Bank of Dave will still have its supporters depending on what you’re in the mood to swallow.  Rory Kinnear (The Imitation Game) is the pick of the cast and, despite playing a successful millionaire, does a nice job creating a likeable guy worth cheering for as he takes on the villainous “establishment”.  Enjoy this movie for what it is and then do some extra reading to help separate the facts from the fiction.

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Written by Matthew Toomey

Created: 17 May 2023

There’s only so much juice you can squeeze from a single orange.  That’s the first thought which came to mind as the credits rolled on Fast X, the latest in the long-running Fast and the Furious franchise which began with a simpler, humbler film back in 2001.  Based on what’s served up here over 141 minutes, there’s nothing more this series can offer in terms of action sequences and character development.  It only continues as a money-making vehicle for the studio and key cast members.

The film opens with our car-loving heroes being secretly engaged by government head honchoes to recover stolen military hardware in Rome.  It turns out the whole thing is a ruse and, after being framed for a terrorist attack which almost destroys Vatican City, Dominic Toretto (Diesel) becomes the world’s most wanted criminal.  He and his crew are forced into hiding and must formulate a plan to clear their names.

The bad guy is Dante Reyes (Momoa), a relaxed, happy-go-lucky Brazilian goon looking to avenge his father’s death who was killed off at the end of 2011’s Fast Five.  If you’re not in the mood to revisit/remember that effort, a quick re-cap is provided at the start of Fast X.  As the villain, Jason Momoa is the best thing in this.  His camp, comedic, over-the-top turn brings back memories of Javier Bardem’s scene-stealing performance in Skyfall.  It’s as if Momoa’s character is the only one in the movie who realises the narrative is farcical and so plays it for maximum silliness.  The others are far too serious.

The rest of the movie is stuff we’ve seen before.  The heroes miraculously have time for deep, idea-sharing conversations before having to make split second decisions (like stopping a giant, rolling bomb).  Dom constantly reminds us about the importance of family (“without family, you’ve got nothing”) and puts his life in danger again and again because of his “faith.”  Oh, and the filmmakers continue with the annoying idea that the late Paul Walker still exists within the Fast and the Furious universe… even though we never see him.

If you’re at the film’s two-hour mark and wondering how the 14,000 open plot lines will be resolved in the final moments, the answer is they won’t be.  Vin Diesel stated at the world premiere that Fast X is likely to the first in a three-part trilogy that will bring a close to the franchise.  A quick scene part way through the closing credits provides a glimpse of what’s in store for the next movie (scheduled to be released in two years).

It was a bumpy ride for the cast and crew… both on and off the screen.  Director Justin Lin (F9) quit a week into principal photography after a falling out (if you believe the tabloids) with Vin Diesel over the script.  French director Louis Leterrier (Transporter 2, Now You See Me) then took over.  I’m interested to see what long-time fans think of this and where it ranks.  Plenty of money has been splashed around on the sizeable cast and elaborate, CGI-laden action but does it add up to anything memorable?  I’m not convinced.

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Written by Matthew Toomey

Created: 24 May 2023

One could look at this film cynically and see it as an unnecessary, cash-generating vehicle for Walt Disney Studios.  The 1989 animated feature, loosely based on a Hans Christian Andersen fairy tale, was a short, unassuming, likeable flick with catchy tunes.  In addition to winning the Oscar for best original score, the memorable “Under the Sea” won best original song.  Do we really need a live action remake and if so, what could it offer which improves on the original?

The storyline remains simple.  A young, adventurous mermaid named Ariel (Bailey) is going stir-crazy in the ocean and yearns to explore the human world.  After rescuing the handsome Prince Eric (Hauer-King) who falls from a sinking ship, her auntie Ursula (McCarthy) gives her legs for 72-hours so she can interact with the prince on land and travel to his castle.  However, Ursula has villainous motivations (“squibbling rivalry”) and it falls upon Ariel’s animal friends – a bird (Awkwafina), a crab (Diggs), and a fish (Tremblay) – to intervene and help save the day.

One noticeable change between the two movies is the running time.  The 1989 version clocked in at 83 minutes whereas this fresh look runs for 135 minutes.  The extra time allows them to add three new songs, create a backstory for the prince, and introduce additional characters.  A few plot points and song lyrics were also tweaked to help modernise the messages (e.g. Ariel wants more from life than just a man).

Tony Award winning actor Daveed Diggs (Hamilton) is the MVP of the cast with his scene-stealing voice performance as Sebastian the sarcastic, frustrated crab.  Art Malik wins points Prince Eric’s sage butler and Halle Bailey (Grown-ish) will garner new fans for her lead performance.  The narrative is sluggish in places (particularly in the middle act) but the catchy songs, all beautifully sung, add doses of energy at necessary moments.

I wasn’t sold on the direction of Academy Award nominee Rob Marshall (Chicago) but it doesn’t help that James Cameron showed us 5 months ago what was possible with Avatar: The Way of Water.  The rich detail and bright colours which Cameron brought to his underwater scenes is absent here.  The stuff above ground isn’t too bad (costumes are great) but the CGI-created sea sets in The Little Mermaid are too dark and grainy. 

With Lin-Manuel Miranda (Hamilton, In the Heights) adding helpful input as a producer and songwriter, and Alan Menken returning as composer, The Little Mermaid is good enough.  I don’t think it’s any better than the original but in trying to judge on its own merits, the film provides light entertainment for younger crowds.

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Written by Matthew Toomey

Created: 15 May 2023

It’s rare to see an Australian documentary released widely in big multiplexes across the country but there’s enough faith from the distributor of John Farnham: Finding the Voice to give it a whirl.  Farnham is an Aussie music icon and while the doco is not revolutionary in terms of style and content, it provides a fitting tribute to the singer’s talent and perseverance.  As we’ve learned from countless music biopics, it’s often a long, windy road to the top for most performers (and it’s even harder to stay on top).

Farnham’s life story is told in chronological order and begins back in the mid-1960s when he was a young, naive upstart singing about Sadie the Cleaning Lady.  The archival footage we see is in black and white – a reminder of just how long ago it was when Farnham started out.  It’s easy to look back with the benefit of hindsight but the next two decades were a struggle professionally, financially, and mentally.  It wasn’t until “Whispering Jack” became a smash hit in 1986 that Farnham truly capitalised on his talent and found international fame.

As if mirroring Farnham’s career, this documentary has gone through its fair share of ups and downs in being produced.  It was a passion project for Glenn Wheatley, the singer’s long-time manager, but sadly, Wheatley passed away in February 2022 at the age of 74.  The film was roughly half complete at the time with Wheatley having recorded an insightful interview, considered to be one of his last, which is seen throughout the film.

Wheatley’s death clearly had an impact on the film.  The finished product of director Poppy Stockell feels as much of a homage to Wheatley as it is to Farnham.  There’s nothing wrong with that approach but some are rushed given time constraints.  Wheatley spending 10 months in prison for tax evasion comes across as an innocuous, throw-away comment which itself could have been the subject of an entire feature length film.  At least it might prompt audiences to do a little post-film reading – rarely a bad thing when it comes to docos.

A bunch of talking heads appear on screen to chat about their memory of events and/or their general admiration for Farnham himself.  The list includes recognisable stars like Celine Dion, Robbie Williams, Jimmy Barnes, Daryl Braithwaite, and Jimmy Emmanuel, but also family members and long-time band members.  Two faces are noticeably absent.  We hear from the late Olivia Newton-John but it’s audio as opposed to video given her health issues at the time.  Farnham isn’t heard from at all.  Given his recent battle with a cancerous tumour, Stockwell relies on archival interviews in telling his version of happenings (as opposed to a reflective, current day conversation looking back).

It takes a while to warm up but the power of John Farnham: Finding the Voice comes from its interviewees.  Some of them become quite expressive and that vibe passes through the screen and onto viewers.  It’s what great storytellers can do – tell a tale which pulls you in.  It also allows the emotion of the moment to be passed from one to the other.  It’s hard not to be moved watching Gaynor Wheatley speak about her late husband and time spent alongside Farnham.

Regardless of how much you know about John Farnham and the Australian music industry, there’s something to take away from John Farnham: Finding the Voice.

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Written by Matthew Toomey

Created: 23 May 2023

As proven by the mockumentary television series What We Do in the Shadows, there’s a place in the world for vampire comedies.  There’s nothing flash about the storyline but Renfield allows its three stars, Nicholas Hoult (About a Boy), Nicolas Cage (Leaving Las Vegas), and Awkwafina (The Farewell) to showcase their comedic talents and generate well-earned laughs.  They’re having fun and that vibe is imparted onto the audience.

Hoult plays the title character of Renfield, a one-time real estate agent who, many decades ago, took up the opportunity to be Count Dracula’s (Cage) submissive assistant.  When Dracula wants to go on a “blood sucking bender”, it’s Renfield who tends to his needs – getting his cape dry cleaned and finding unsuspecting victims for him to feed up.  The “Prince of Darkness” has a penchant for happy couples, tourists, nuns, and cheerleaders.  He has no issue with diversity either.  He’s quick to point out that he’ll joyously suck the blood from either a man or a woman.

Dracula has largely kept a low profile (he hides out in an abandoned hospital in New Orleans) but with new ambitions for world domination (people can either be followers or food), Renfield has decided to pull the rip cord.  Just like a bad, one-sided relationship, he wants to break away from Dracula’s control and start a new life for himself with colourful clothes, a tidier hairstyle, a decorated studio apartment… and yes, a job where he doesn’t have to kill people.  He also finds romance with Rebecca (Awkwafina), a lowly ranked traffic cop who is seemingly the only uncorruptible person within the police force.

There’s a subplot involving a much-feared crime family headed by a ferocious matriarch (Aghdashloo) and her not-so-competent son (Schwartz) but it doesn’t add much.  Renfield is at its best when the three lead characters are venting about their bizarre troubles and, keeping their faces as straight as possible, bouncing jokes off each other.  Hoult’s character attends a self-help group for co-dependent relationships which also serves as an opportunity for humour.

Fitting the film’s comedic tone, director Chris McKay goes for outlandish, over-the-top gore as opposed to something more graphic and sinister.  Based on the audience reactions at my preview screening, the loudest laughs are saved for unexpected moments where heads explode and blood is splattered over everyone and everything (okay, I’ll admit this isn’t for the squeamish).

Underperforming at the box-office when released in the United States last month, Renfield isn’t a game changer but it’s still an entertaining watch for its concise 93 minutes.