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Film Review | Burning the Olive Branch

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Film Review | Burning the Olive Branch

Given the horrific and continuing circumstances of the Gaza tragedy of the past year-and-a-half, the narrative dimensions of the moving film The Teacher — essentially completed and premiered in 2023 — suggests a strange period piece–like patina. Inspired British-Palestinian writer-director-producer Farah Nabulsi‘s tale of a teacher drawn into underground resistance, the film takes place in a “calmer” time, during Palestine’s apartheid-like occupation, versus the ostensibly genocidal Gazan atrocity of the present day.

Even so, Nabulsi connects the historical/contemporary dots by adding a brief coda to the film in its current form — a fleeting TV newscast report of the early days, and early death toll, of Israel’s post–October 7th Operation Protective Edge campaign. The film’s broader U.S. release phase brings the film to Santa Barbara this weekend, including an SBIFF Cinema Society screening and Q&A with the director — Oscar-nominated for her earlier short film The Present — on Sunday morning (April 20 at 11 a.m.) at the Riviera Theatre. Click here for details.

In the case of this film, it is helpful to understand the background of the storyteller. Nabulsi is a “reformed stockbroker” from London, drawn into making cinema that matters after a roots rediscovery trip to Palestine in 2013. Her consciousness was awakened to the need to tell a larger story about this conflicted nation and region.

In The Teacher, Nabulsi’s tale revolves around the tangle of ghosts and more urgent matters in a Palestinian village, where our schoolteacher protagonist Brasem (Saleh Bakri) takes his promising student Adam (Muhammad Abed Elrahman) under his wing and a visiting British volunteer Lisa (Imogen Poots) into his world and, ultimately, embrace. Various conflicted plotlines converge, including the destructive and homicidal aggressions of Israeli settlers in the village, slowly emerging details about Brasem’s own personal causes of anti-Israeli anger, and the desperation of an older American couple seeking their kidnapped son, now an Israeli soldier held captive for a prisoner swap plan.

Despite the sympathetic favoring of Palestinian plights, the film isn’t just one-dimensional in its portrayal of the complex Israeli-Palestinian juggernaut, especially in the paralleling of fathers on both sides, whose sons were caught in the crosshairs of conflict. An Israeli lawyer, known for championing Palestinian cases against Israeli criminality, takes on the case of a brother’s brazen murder by a settler, although she knows the case will likely go nowhere.

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At times, the film leans towards melodrama, but it mostly skillfully propels us forward and deeper into this specific plot maze and the larger socio-political quagmire. Acting is generally strong, with a few weak spots, and Alex Baranowski’s cello-enriched musical score impressively informs the drama without overbearing it.

The Teacher’s main virtue, beyond filmic considerations, has to do with its all-too rare and valuable insights on the humanity — and inhumanity — of life in Palestine. Nabulsi gives us an empathetic, storyteller’s perspective of on-the-ground and in-the-flesh view, versus the distorting lens of media sound bites, Palestinians as props/abstractions and statistics.

In one well-placed irony baked into the story, the startling narrative turning point of arson and murder in an olive orchard plays starkly against the setting’s symbolic portent: no extended olive branch peace treaty here. It’s a story still very much in progress, with seemingly endless sequel potential in view.

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Movie Reviews

‘Greenland 2: Migration’ movie review: Gerard Butler does all the heavy lifting in limp sequel

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‘Greenland 2: Migration’ movie review: Gerard Butler does all the heavy lifting in limp sequel

A still from ‘Greenland 2: Migration’.
| Photo Credit: Lionsgate Movies/YouTube

Watching Greenland 2: Migration, one almost feels as though one is in a time capsule watching all those big disaster movies from the ‘90s, in single-screen theatres that looked like palaces with velvet curtains and chandeliers.

It was the time of slides saying “chatterboxes keep quiet,” and where popcorn, cheese sandwiches or curry puffs came hot in aluminium trays at the interval.

Greenland 2: Migration (English)

Director: Ric Roman Waugh

Starring: Gerard Butler, Morena Baccarin, Roman Griffin Davis

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Runtime: 98 minutes

Storyline: Five years after the comet strikes Earth, the bunker is no longer safe, and the Garritys strike out for the crater, where life has apparently hit the reset button

It was the time of radioactive lizards with eyes as big as Gol Gumbaz, hurtling comets, rising seas and an alien susceptible to a cold. But once you realise it is 30 years on in a world that has lost its innocence to a rapacious virus, you are less willing to grant as much leeway to a lazily made sequel.

Greenland in 2020 was a critical and commercial success with Gerard Butler playing the world-weary action hero‑family man‑tech expert, John Garrity. A comet named Clarke (after the science fiction writer Arthur C Clarke) was scheduled to hit the Earth and end life as we know it.

At the end of the movie, after many trials, John, with his wife, Allison (Morena Baccarin) and insulin-dependent son Nathan (Roman Griffin Davis takes over from Roger Dale Floyd) reach a bunker in Greenland just as a large chunk of the comet hits the earth.

Five years later, the earth is still not a particularly safe space with earthquakes, radiation, tsunamis and other jolly things blighting existence. John is now a scout, while also attending to repairs in the bunkers, owing to his training as a structural engineer. At a meeting, there is discussion of food supplies running low and a decision to be taken on whether to respond to a call for help.

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While the mean army man reasonably says they cannot feed anyone more, Dr. Amina (Amber Rose Revah) asks for the matter to be put to vote and when the snowcat is sent out to get the refugees, an earthquake destroys the bunker.

Garrity and others head to the coast, fight over lifeboats, drift without food, water or fuel to England and then go on to France where the Clarke crater is a new Eden where the air is fresh and land is fertile.

ALSO READ: ‘People We Meet on Vacation’ film review: Tom Blyth and Emily Bader’s sweet rom com checks all the right boxes

Greenland 2: Migration suffers from a woeful lack of logic, even of the film kind. How is it that everyone looks well fed and groomed even as we are repeatedly told they are running out of food? How are there still bullets given the way people are shooting at each other? How are vehicles still running on fuel?

Why are robbers or insurgents fighting in an area controlled by the army? And of course, the bridge across the English channel, which is now a dry wasteland, has to collapse exactly at the moment when our heroic gang is creeping across.

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Every time there is a crisis, it is as if the makers got bored and decided to move on. So despite running out of fuel, the lifeboat drifts to Liverpool, and Nate’s diabetes is reduced to “pack all the insulin.” Still it is fun to see the ever-dependable Butler do his melancholic routine and that is about all one can say for the haphazardly conceived sequel.

Greenland 2: Migration is currently running in theatres

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Movie Reviews

Movie Review – Night Patrol (2025)

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Movie Review – Night Patrol (2025)

Night Patrol, 2025.

Directed by Ryan Prows.
Starring Jermaine Fowler, Justin Long, Phil Brooks, Dermot Mulroney, Freddie Gibbs, RJ Cyler, YG, Nicki Micheaux, Flying Lotus, Jon Oswald, Mike Ferguson, Evan Shafran, Zuri Reed, Kim Yarbrough, Nick Gillie, Dennis Boyd, Colin Young, Brionna Maria Lynch, Dartenea Bryant, Reed Shannon, Leonard Thomas, and TML.

SYNOPSIS:

An L.A. cop discovers a local task force is hiding a secret that puts the residents of his childhood neighborhood in danger.

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There is a storm brewing between the Zulu gang and LAPD, particularly the titular racist night patrol comprised of officers who conspicuously only come out at night. They feed on the blood of Black people, typically poverty-stricken ones driven into gang culture under the impression that no one will care.

Within the first five minutes of co-writer/director Ryan Prows’ Night Patrol, that unit (which is spearheaded by Phil Brooks’ Deputy, better known by his wrestling name CM Punk, putting that assertive and aggressive showmanship to work even if his limitations as an actor are limited and on display) is killing unarmed Black civilians minding their own business, notably the girlfriend of RJ Cyler’s Wazi, previously seen in a flash forward opening impaled and bloodied in an interrogation room, setting the stage that, yes, all-out war is inevitable.

That’s all well and good with a tantalizing horror concept ripe for sociopolitical commentary, except Ryan Prows and his crowded team of screenwriters (Tim Cairo, Jake Gibson, and Shaye Ogbonna) seemingly have no idea what to do with it or say that hasn’t already been made clear from the first 15 minutes. This is most evident in the three-act chapter structure, which switches perspectives from LAPD officers to night patrol to the project housing that becomes the battle stage, where it becomes confounding who the protagonist is supposed to be.

Justin Long’s Ethan Hawkins seems like an upstanding cop partnered with Xavier (Jermaine Fowler), the brother of Wazi, who had grown tired of the African mysticism their mother, Ayanda (Nicki Micheaux), relentlessly preaches and jumped sides to the police force. However, Ethan isn’t afraid to let out his corrupt, racist side if that’s what he has to do to get in with night patrol and bring them down from the inside.

At times, the filmmakers can’t decide how much they want the supernatural and African mysticism aspects to influence the action and the story. Although the visual effects are impressive (containing everything from exploding heads to regenerating bodies), the entire stretch of battling is bogged down by characters rambling about rules and what they are possibly dealing with, while throwing in other pointless thoughts. This is also a film that goes out of its way to make its villains damn near impossible to kill, only for the reveal of how that must be accomplished to come across flat, with the final fight specifically being a severe letdown after some otherwise serviceable violent carnage.

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As mentioned, Night Patrol is aimless, sometimes too comfortable switching perspectives, even if it means killing off a main character, simply because the filmmakers have no idea what else to do with them. At one point, a character mentions culture (among other things) being the only way to fight back against these supernatural beings, but it’s yet another aspect that comes across as a thought rather than an explored concept. One of last year’s best films already did that with much more profundity, style, and absorbing entertainment. As for this disjointed and scattered genre exercise, one can get everything out of it from a rudimentary understanding of the premise and concept.

Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★

Robert Kojder

https://www.youtube.com/watch?v=embed/playlist

 

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Movie Reviews

Thalaivar Thambi Thalaimaiyil Movie Review: Familiar romp with enough comic spark

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Thalaivar Thambi Thalaimaiyil Movie Review: Familiar romp with enough comic spark
0

The Times of India

TNN, Jan 15, 2026, 11:11 AM IST

3.0

Thalaivar Thambi Thalaimaiyil Movie Synopsis: A village panchayat member tries to broker peace when a wedding and a funeral collide on the same morning.Thalaivar Thambi Thalaimaiyil Movie Review: Nothing strips civilization off grown men faster than a scheduling conflict. Thalaivar Thambi Thalaimiyil understands this. It parks us in a remote village for one long night where two neighbors go to war over whose event gets the morning slot, and watches as every attempt at reason bounces off their egos like rubber balls off concrete.Jeevarathinam (Jiiva) is the local panchayat head, summoned to oversee a wedding. The bride’s father (Ilavarasu) treats the whole affair like a personal coronation. Next door, an old man dies, and his son Mani (Thambi Ramaiah) decides mourning means asserting dominance. Both want 10:30 AM. Neither will move. Jeevarathinam tries to mediate, fails, tries again, fails again. The man cannot land a single compromise.Nithish Sahadev, making his Tamil debut after the well-received Malayalam film Falimy, makes an interesting call with Jiiva’s character. Jeevarathinam isn’t portrayed as bumbling or clueless. He’s smart, reasonable, level-headed in conversation. The problem is that when situations escalate beyond discussion, when Mani starts swinging a giant sickle in the air and someone needs to physically put him down, Jeevarathinam just... doesn’t. He’ll talk, he’ll reason, he’ll negotiate. But that extra step required to actually resolve things is not in his toolkit. It’s a curious limitation to build a protagonist around, and while it generates some dry humor, you do wonder if the film needed him to be quite this passive for quite this long.The laughs come through texture rather than big setups: a reaction held just long enough, the specific cadence of village dialect landing a punchline, two patriarchs puffing their chests like they’re settling ancient blood feuds when they’re really arguing about procession routes. The director understands that comedy lives in small beats, even when the material itself rarely surprises.Jiiva commits to the energy without overplaying it: a man who keeps hitting walls he won’t climb over. Ilavarasu and Thambi Ramaiah deliver their usual reliable work. TTT draws considerable mileage from its rotating cast of village characters. The groom and his brother have an amusing accent they really play up. Mani’s bedridden father gets a couple of funny moments before shuffling off. Jenson Dhivakar is a total weasel, meaning he did his job. A lot of small characters perform one or two well-timed bits before fading into the background. Not all of it lands, but enough does.TTT asks for too much credit eventually. Once a woman chases a persistent suitor into the forest with a blade, once shotguns emerge, once ruffians lob homemade grenades at wedding decorations, the make-believe world you’d accepted tips into something sillier than it can support.You likely won’t recall much of the film in a few days, but it is a good festival watch. There’s craft in knowing your lane and staying in it.Written By: Abhinav Subramanian

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