Marek Polgar's EXIT (2011)

The cam'ra does what we are not allowed

To do: look straight up in a city scape,

Or closely at small textures that the crowd

Around us shoves us past. Here we may gape

At these and more! And there's a story, too,

Of those who treat their city as a kind

Of puzzle to be solved. I like to move

Through urban spaces as they do, to find

What others miss in passing. Ghosts, they go

From shot to perfect shot, exchange remarks,

And take their cryptic notes. I want to know

The world they are escaping with their charts. 

Another fascination: talking scenes

Are strangely cut, as though these are my dreams. 

Garth Davis' LION (2018)

The waterworks are open; flow my tears.

But they were earned. I'm human, have a heart

And this film taps into our basic fears

Then tells us it gets better. For my part 

Patel should be a worldwide treasure, and

For once did Kidman not inspire my hate. 

But Wenham, he was wasted, though I'll hand

It to him, his screen time is just first rate. 

That first half hour, though! Evoking much 

Of what I love most from the native screens

Of India! Of Mehta, Ray and such!

I want the story whole, though, so it seems

I've soon a date with Saroo Brierly's book. 

Until I get it, I'll hang on this hook. 

Geoff Davis' WILLIAM KELLY'S WAR (2014)

Long ere Bruce Wayne went bats, one Billy K

His brother and his cousin, duty-bound,

Signed up to fight the Great War far away.

Meanwhile in Oz, bad guys were all around

The fam'ly spread, and Billy's sis was cute!

So many genres in one movie! There's 

War stuff and hot revenge -- watch Billy shoot

Unerringly wherever Billy fares!

His mother speechifies, his sister shrinks

From nothing, and his brother's Batman, too!

The script is tight, the music's fine, the links

'Twixt shell-shock and rough justice, they feel true. 

The Brothers Davis, though, are writers first. 

I can't quite call their acting, though, the worst.