The Weekend Australian - Review - - Out & About - Stephen Romei DS DS

(M) Guy Ritchie’s King Arthur is not a straight-sworded his­tor­i­cal drama such as King Arthur, or a satir­i­cal com­edy like Monty Python and the Holy Grail. Nor is it a mu­si­cal like Camelot, or an an­i­ma­tion such as Dis­ney’s The Sword in the Stone. It has bits of all four, along with lots of the rapid, time-merg­ing plot­ting and arch, con­tem­po­rary dia­logue. It opens with a tremen­dous bat­tle at Camelot, where the king is Uther Pen­dragon (Eric Bana). Pen­dragon pre­vails, but when his throne-cov­et­ing brother Vor­tigern (Jude Law) launches a coup, the re­sult is regi­cide. Only Pen­dragon’s young son sur­vives (Char­lie Hun­nam). The rest of the film fol­lows Arthur’s growth into a man and his am­biva­lent quest to re­venge his fa­ther by killing his un­cle.

The Osiris Child: Sci­ence Fic­tion Vol­ume 1 (MA15+) Kane (Daniel MacPher­son), who is based on a space sta­tion hov­er­ing above Earth, learns that a vi­o­lent riot in a prison down be­low has sparked bru­tal re­crim­i­na­tions. He fears for the safety of his daugh­ter, Indi (Tea­gan Croft), and hur­ries back to Earth, where he lands near a lake and en­coun­ters Sy (Kel­lan Lutz), an ex-con who es­caped jail dur­ing the riot. The film it­self isn’t al­ways co­her­ent. Nu­mer­ous flash­backs, not nec­es­sar­ily in chrono­log­i­cal or­der, muddy the waters.

Af­ter the Storm (Umi yori mo mada fukaku) (PG) Af­ter the Storm paints a por­trait of a fool­ish man who ap­pears to be a fail­ure both pro­fes­sion­ally and in his personal re­la­tion­ships. Ry­ota (Hiroshi Abe) seemed to have it all. He’d writ­ten a suc­cess­ful novel, he had a lovely wife, Kyoko (Yoko Maki), and son, Shingo. But he’d be­come a gam­bling ad­dict and lost every­thing. Ry­ota is a loser — but he’s also a charm­ing man, and ba­si­cally de­cent, so we feel sorry not only for him, be­cause he’s wast­ing his life, but for his fam­ily, who love him and yet de­spair of him.

Light­ing the Sails: Au­dio Crea­tures Se­quences of mov­ing imagery are be­ing pro­jected on to the sails of the Syd­ney Opera House that evoke puls­ing sea crea­tures, vi­brant bird plumage and lus­trous plant life, sug­ges­tive of a fu­tur­is­tic hy­brid­ity be­tween the or­ganic and me­chan­i­cal worlds.

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