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The Railway Children Return (2022)
Sweet but lacklustre
There is nothing inherently wrong with this film, it is very sweet, quaint and positively intoxicating with its timeless charm of trains in the Yorkshire countryside. But the audience need something more to keep The film from being boring; it is simply not enough to recycle the same locations and the same plot points because from very early on this film just becomes a predictable tribute to the superior 1970s version.
An interesting point to note is how everyone from film critics to members of the public have complained about the secondary theme regarding racial inequality. Nobody was expecting nor wanted this theme in the film and subsequently it is quite jarring and feels out of place according to many people. I for one argue that in order for a period film to be successful nowadays it has to carry social related issues such as racial inequality in order for it to be able to relate to the wider public. After all, we are now so much more aware of racial related issues, ignoring it is hard to do.
In spite of the beautiful shots there was a really terrible continuity errors that were next to unforgivable and the hammy acting. Of the children left much to be desired when it came down to the casting director's choices.
This film will mostly have a fondness towards it, but it's destined to be consigned to TV as a Sunday afternoon filler.
Stingray (1978)
Deathly boring
It's a shame that this film is so deathly boring and mind-numbing my repetitive. I love how some of the chase sequences are done; the camera work is exceptional. Sadly the chase scenes all amalgamate into very identical and repetitive sequences. The film is too slow, drags on slower than the useless American cars in the film and should be only 1 hour in length. That being said, the film does have its funny and exciting moments with a strong premise. So, it's a bad film, but is funny and unique with a cult-like appeal. It's worth a Sunday night watch, but never again, unless you want to blow your brains out.
Abu: Father (2017)
The most moving film I have ever watched.
As a gay man myself, I was affected by this film on a grand multitude of levels. Abu is a sweet, comedic, emotional documentary about the life of Arshad Khan, a gay Pakistani Muslim. Abu defies all conventions of a documentary, by combining archive family footage, eye-catching animations and photos, which are all neatly strung together by the gentle voice of Arshad, you are taken on a journey from your seat. Essentially one is taken on an experience as stimulating visually as it is emotionally.
Speaking of which, audience members experience every little emotion that Arshad endured throughout his life: sadness, anger, bitterness, resentment, happiness, joy, love, longing, which all terminate at the miracle of forgiveness. I was lucky to see this film, in the BFI, for a Q&A preview. One thing that really stung my heart, was that many South Asians who made up the audience said to him, how he had told their life stories and that they were all crying throughout the film.
What made me appreciate this film so much, was that it shone a much-needed light over a small segment of the World's LGBTQ community. I learned that while all homosexuals have struggled, gay men from south Asian countries like India and Pakistan bear the brunt of emotional strain and heartbreak out of everyone in the LGBTQ, community, because they know that they're different, but just want someone to love and to be loved in return by that special someone, friends and family.
Abu utilises the powers of empathy and culture and presents its magical narrative in such an inclusive way through the hand-held footage and intricate animations, that one cannot help but be drawn in and walk in his very own footsteps. As an ending point, the most powerful thing about this film is that anyone of any race, colour or creed will be affected by this film, because it's all about an outcast trying to find his place, both in his family home and the many worlds in which he walks.