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Directors - Ben Cookson / Toby Torlesse / country - Belgium / Rating - 69 Votes / release date - 2020 / Synopsis - Waiting for Anya is a movie starring Anjelica Huston, Jean Reno, and Thomas Kretschmann. During the harrows of WWII, Jo, a young shepherd along with the help of the widow Horcada, helps to smuggle Jewish children across the border.
All of these movies look FREAKING AMAZING. My top three is Togo, The Call of the Wild, and Troop Zero.

I am gonna watch this one, looks interesting. U could have been a joker, an amazing actor, one of The finest. YouTube. I feel Noah is like another Daniel Radcliffe like I had this feeling ???. The longer i watched the more confused i got. If Maz is in, so am I. &ref(data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAAAEAAAABCAQAAAC1HAwCAAAAC0lEQVR42mNkYAAAAAYAAjCB0C8AAAAASUVORK5CYII=) Im in love with this already ??. THIS LOOKS AMAZING.
That would be a good trailer for the novel. So one assumes the film will be wonderful.

| Nell Minow February 7, 2020 "Waiting for Anya" begins with a helpful explanation of what was going on in 1942, the first indicator that the target audience may be those who have not yet learned some basic history about WWII. It is not the last. The film is based on a popular YA book by Michael Morpurgo, author of The War Horse, and it is?inspired by French villagers who rescued Jewish children from the Nazis by smuggling them over the mountains into Spain. Despite the obvious sincerity of the filmmakers, the best efforts of Jean Reno and Anjelica Huston, and some lovely scenery, it remains overly didactic, talking down to even the middle school audience it is aimed at. Advertisement An old man ( Jean-François Balmer) serves as off-screen narrator, describing his life as a young shepherd in occupied France. In 1942 the Nazis had not yet reached the southern part of the country, bordering on Spain, so much of life continued as usual. But the war had already touched the village. A boy named?Jo ("Stranger Things'" Noah Schnapp) has a lot of new responsibilities because his father left to fight for France?and is now in a German POW camp. Jo's grandfather (Reno) has warned him to stay awake while watching the sheep, but -- METAPHOR ALERT-- Jo dozes off, only to be awakened by a bear approaching the flock. Jo runs to tell the village, and a group of men go after the bear and kill it, toasting Jo for sounding the alarm. But Jo's grandfather suggests that he should not have left the sheep. And, in the film's best scene, the incident is reframed the next day when Jo goes into the woods?looking for his sheepdog and?sees a stranger who tells him that the bear was a mother trying to protect her now-orphaned cub. Now, he says, either he or Jo will have to take responsibility for the cub. The stranger takes the cub with him without telling Jo his name. The man, Jo will eventually discover, is Benjamin ( Frederick Schmidt) a Jew hiding out with his mother-in-law (Huston), a grumpy widow who lives on a remote farm. He is waiting there in hopes that his daughter Anya will find him there. He has not seen her since he desperately thrust her into a bus as he was escaping a Nazi transport to a concentration camp. While he waits, he is helping other Jewish children escape over the mountain. Jo promises to help, too. And then, the Nazis arrive and take over the town, searching everywhere for anyone who may be hiding anything. One German officer ( Thomas Kretschmann) is less harsh, especially after his own daughter is killed in Berlin by?an Allied bombing raid. He tries to be kind to Jo and his developmentally disabled friend Hubert (Declan Cole), taking them into the mountains to look for eagles, to make the war seem far away. But tensions are high and it is imperative to get the remaining children out of harm's way before they are discovered. As the era of the Holocaust moves beyond the time of living memory, the struggle to understand and communicate what happened becomes even more difficult. That is even more complicated when it comes to explaining the history to young people in a manner that is accessible enough for them to understand?and honest enough to be meaningful. A much better way to begin to communicate one of the most unthinkable horrors of the 20th century and remind us that civilized people can be responsible for atrocities is to show them films like "Paperclips, " "The Number on Great-Grandpa's Arm, " or "The Diary of Anne Frank. " Those already familiar with the basics of history?may find it adds nothing new to see this film’s?opening moments with terrified Jews wearing yellow stars herded into trains, a baby crying, a woman screaming, and?a sad violin on the soundtrack.?For middle schoolers, who may never have?been exposed to these images, the film?may be educational about such?horrors.?But “Waiting for Anya”?remains thin, sugary, and over-simplified. Reveal Comments comments powered by.

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19:10 because I didnt want to be around anyone Me: DID THEY MAKE A LIVE-ACTION UP. Me: hears next sentence oh. Me encanta. Anjelica Huston, Jean Reno and Noah Schnapp of 'Stranger Things' appear in Ben Cookson's World War II-set thriller based on a YA novel by 'War Horse' author Michael Morpurgo. Holocaust-themed films geared to younger audiences inevitably have a certain defanged quality. It's the inevitable trade-off for softening the horrors attendant to the subject matter, and there's something to be said for making the historical period more accessible to viewers who may not be familiar with it. Unfortunately, the approach can also result in blandness, which is the main problem afflicting Ben Cookson's screen adaptation of British author Michael Morpurgo's 1990 children's book. Despite its laudable intentions, Waiting for Anya proves less impactful than it should be. The film certainly doesn't have the thematic weight of War Horse, another film (and acclaimed stage play) based on a war-themed book by Morpurgo that was geared to young readers. There's certainly an arresting story at the pic's center. Set in 1942 in the French Pyrenees, it concerns Jo (Noah Schnapp, displaying the same strong presence as he does in Netflix's Stranger Things), a teenage shepherd who spends much of his time in the mountains attending to his grandfather Henri's (Jean Reno) sheep. One day, after narrowly avoiding a possibly fatal encounter with a bear, Jo runs into the mysterious Benjamin (Frederick Schmidt). It turns out that Benjamin, a Jew, had escaped with his young daughter Anya from a train bound for a concentration camp, after which they were unfortunately separated. Now, he hides in the woods, helping to smuggle Jewish children to safety in Spain with the help of his elderly widowed mother-in-law Horcada (Angelica Huston) and desperately hoping to be reunited with Anya. Although the area in southern France is technically not under Nazi occupation, there are many of them around and they are obviously up to no good. Or at least one of them isn't, since we're presented with one very bad Nazi in the form of a sneering, vicious lieutenant (Tomas Lemarquis) and one pretty good Nazi in the form of a kindly corporal (Thomas Kretschmann) who befriends Jo and talks longingly of returning home to his wife and daughters after the war. The contrast between the two men seems too simplistically drawn. Yes, there were some Nazis who were no doubt decent men, but you get the feeling here that the movie simply wanted to be fair and balanced. Wanting to help Benjamin and Horcada in their noble efforts, Jo gets involved despite the dangers. His contribution consists largely of making trips to the village to procure groceries and medicine for the children being hidden in Horcada's barn, and ironically is helped at one point by the corporal who offers to carry the heavy bag. Meanwhile, the lieutenant becomes increasingly suspicious of the villagers' activities. The frequent presence of a mentally impaired classmate of Jo's who antagonizes the Nazis only adds to the danger of the situation. Director/co-screenwriter Cookson ( Almost Married) proves unable to wrest much sustained tension from the scenario, indulging in too many subplots and minor characters and letting the pacing lag. Despite the fine efforts of the ensemble that includes such solid veterans as Huston (her accent, however, proves distracting), Reno and particularly Kretschmann, who brings real shadings to his role as the conflicted colonel, the film never overcomes its air of staidness. Waiting for Anya boasts handsome visuals, with cinematographer Gerry Vasbenter wasting no opportunities to employ drones to capture the beauty of its setting (the pic was shot on location in the Pyrenees). But even that quality ironically works against it; the aerial shots of the mountain scenery look so gorgeous you keep waiting for Julie Andrews to appear, twirling and singing "The Sound of Music. " Presumably, that's not the effect the filmmakers were hoping for. Production companies: Goldfinch Studios, T&B Media Global, 13 Films, Artemis Production Distributor: Vertical Entertainment Cast: Noah Schnapp, Anjelica Huston, Sadi Frost, Jean Reno, Nicolas Rowe, Thomas Kretschmann, Frederick Schmidt, Gilles Marini, Tomas Lemarquis, Elsa Zylberstein, Josephine de la Baume Director: Ben Cookson Screenwriters: Toby Torlesse, Ben Cookson Producers: Alan Latham Phin Glynn Executive producers: Kirsty Bell, Geoffrey Iles, Phil McKenzie, Tannaz Anisi, Gregory R. Schenz, Jwanwat Ahriyavraromp, Bhakbhume Tanta-Nanta, Ekkasitha Chalermrattawongz, Pornsuree Thienbunlertrat, Alastair Burlingham, Paul Ward, Raj Awasti Director of photography: Gerry Vasbenter Production designer: Laurence Brenguier Editors: Chris Gill, Sandrine Deegan Composer: James Seymour Brett Costume designer: Agnes Noden Casting: Shannon Makhanian 109 minutes.
Set in the French Pyrenees during World War II, “Waiting for Anya” is the type of cheesy drama you’d watch in school if your district didn’t have the budget for a better film’s licensing fee. This adaptation of a children’s novel by Michael Morpurgo (“War Horse”) means well, but its insipid approach to history makes watching it feel like a homework assignment. The Nazis have just arrived in Lescun, the quiet mountain village where 13-year-old Jo (Noah Schnapp) helps the widow Horcada ( Anjelica Huston) smuggle Jewish children across the border into Spain. They try to avoid detection, but a Nazi officer ( Thomas Kretschmann) attempts to befriend the teen, jeopardizing their mission. Spotty French accents pervade the largely English-language film, where the truly gorgeous mountain setting is populated by American and British actors (Schnapp, Huston, Sadie Frost) and French ones (Jean Reno, Gilles Marini, Elsa Zylberstein). The script from Toby Torlesse and director Ben Cookson arbitrarily dips into basic French, but that does little to distract from the uninspired dialogue. “Waiting for Anya” works to tell a tale of regular people doing the right thing in the face of danger. However, its humanization of Kretschmann’s Korporal feels dangerously like a case of #notallnazis at a time when racist far-right ideologies are again on the rise. The film’s heart appears to be in the right place, but its missteps and melodrama make this a fromage unworthy of savoring. 'Waiting for Anya’ Not rated Running time: 1 hour, 49 minutes Playing: Starts Feb. 7, Laemmle Monica Film Center, Santa Monica; Galaxy Mission Grove, Riverside.

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8.1/ 10stars