STUCK IN LOVE

US, 2012, 97 minutes, Colour.

Greg Kinnear, Jennifer Connolly, Lily Collins, Nat Wolff, Kristin Bell, Logan Lerman, Liana Liberato. Voice of Stephen King.

Directed by Josh Boone.

Not to be confused with Stuck on You, 2003, also starring Greg Kinnear.

This is a first feature film from Josh Boone, later to make The Fault in our Stars and The New Mutants.

The film covers different aspects of love and relationships. At the core of the film is the story of celebrated author, Bill (Greg Kinnear), divorced now for three years from Erica (Jennifer Connolly) who is married again. He has not accepted the break. He lives down the street. He stalks his ex-wife, going at night looking at her window. She is aware of this and tries to dissuade him. She also urges him to develop relationships and he has casual sex with a neighbour on her way to collect her daughter from school, played by Kristin Bell who urges him to remarry.

The title then focuses on Bill’s to children. The older is Samantha (Lily Collins), talented author, 19 years old, bitter against her mother and the divorce, refusing to speak to her. She is hard with young men she picks up at bars and has one night stands. She is cynical in her attitudes which are also incorporated into the book she publishes. However, there is a young student in her college class, creative writing, who is attracted to her, speaks to her, she putting him down, he persevering, Louis (Logan Lerman). She is affected by his devotion, goes to his house to discover that his mother is dying of a brain cancer. Her book is launched by Professor with great aplomb, her father invited to speak to the guests and making a strong speech about creative writing, her mother coming from a book signing and her coldly asking her name, Louis urging her to be kinder.

Rusty (Nat Wolff) is the younger son, also a writer, living at home, his father urging him to get out. He does have a school friend they share marijuana. However, is attracted to a young girl in his class, Kate (Liana Liberato), writes a poem about her, recited in class, and beginning a relationship with her which has some good results, some disastrous results.

There is a climax at the book launch, Kate drinking too much champagne, collapsing, combined family going to rescue her – some violence with repercussions for Rusty.

There is a wishful optimism about the resolution of the film, that all could be well. The family reunite at the Thanksgiving dinner, Erica coming home, Samantha with Louis, how things ought to be (which sometimes irks film critics who want tougher, more difficult endings).

And, there is success for Rusty, Samantha sending Stephen King Rusty’s story, Stephen King phoning to say he had sent to a publisher and encouraging Rusty.

1. Title? The different kinds of love and relationships, freely entered into, broken, trapped?
2. An American story, the setting, the town, the beaches, homes, streets, schools, college, libraries, book signings, book functions? The musical score? Songs?
3. Bill at the centre of the film, age, writer, success and reputation, the marriage to Erica, Samantha and Rusty, the breakup of the marriage, the later revelation of his infidelity and Erica’s waiting for him, his stalking Erica, spying on the house, the sexual relationships with Tricia, his being stuck in love for Erica? Expecting her back, setting the place always at Thanksgiving?
4. The focus on Rusty, age, living at home, encouraged to write by his father, supportive of his sister, reclusive, friends at school, marijuana, the focus on Kate, seeing all her with the boyfriends, writing the poem, reading it in class, her favourable comment? The meeting, the conversation, the poem for her, his father urging him to go out, going to the party, observing Kate and the cocaine, the boyfriend, wanting to save her, punching the boyfriend, taking her home, meeting his father, the friendship, the outings, the developing relationship, her sexual experience, going to the cupboard, her Christmas gift?
5. Samantha, anger with her mother, refusing to speak to her, love for her father, supportive of Rusty, coming home, the publishing of the book, her father upset that it was not the book he worked on to with her, his calming down? Samantha, bitter, the casual relationships, picking up in diners? Louis, attracted to her, the conversations, coming back, her cynicism, putting him down? Gradual change, exchange of ideas and favourite books, listening to the CD in the car? Going to his home, discovering his mother, sick, the brain cancer?
6. Bill and Erica, the meetings, the discussions, the reminiscences, at the shopping mall? Erica and her concession? The fact that she had married again?
7. Samantha, the book launch, the professor and the welcoming, inviting Bill to speak, his quoting Raymond Carver, the response of the audience? Samantha bringing Louis? Rusty bringing Kate? Erica, waiting, coming in, the conversations with ? His urging her to speak to Samantha, Samantha’s coldness, signing of the book, asking her identity, Louis and his reaction?
8. Samantha and Kate, the issue of the champagne, the man at the bar, giving the drinks, Kate and further drinks, collapsing, being taken away? The whole group searching for her, finding her, rusty and the assault? Rescuing Kate? The later consequences, Rusty and his friend, the supermarket, the chase and the violence?
9. Bill and Samantha on the beach, his confessing her about his infidelity? A change of attitude, going to her mother?
10. Samantha sending Rusty’s story to Stephen King, Stephen King’s encouraging phone call and the effect on rusty?
11. The Thanksgiving dinner, Erica arriving, the others present?
12. The sentiment the end of the film, love, unstuck, renewed?

Shrove Tuesday/Pancake Day – Pre-Lent

In many cultures, religious and secular (who perpetuate the day without realising the origins), the Tuesday before Ash Wednesday is a day of celebration before Lent.

While not offering any pancake recipes, we thought we would offer a post which would provide a pre-Lenten smile (and laugh). And save you Googling Pancake Day for history.

The option has been made for Age humour (from the point of view of the old).

The name “Shrove Tuesday” comes from the word “shrive,” which means to confess one’s sins and receive absolution from a priest. It’s a day for Christians to prepare their hearts and souls for the penitential season of Lent. The tradition of making pancakes on this day is believed to have originated in medieval England as a way to use up ingredients like eggs, milk, and sugar before Lenten fasting began.

Today, Shrove Tuesday has become a secular celebration enjoyed by people of all backgrounds.

In some Christian countries, especially those where the day is called Mardi Gras or a translation thereof, it is a carnival day, the last day of "fat eating" or "gorging" before the fasting period of Lent.

Qui Thion Bui MSC, Graduation, Safeguarding Course, Rome

In recent years, Tim Brennan MSC has been responsible for Safeguarding issues in the congregation. He has encouraged members from around the world to attend courses in Rome as background for their work in their provinces, unions and regions.

Qui Thion Bui began his course last September and has now graduated.  He notes that last Sunday (Feb. 04), the Archdiocese of Ho Chi Minh officially established the Office of Safeguarding. It is good news and a visible step that the Vietnamese church dares to challenge itself with the issue even though many things need to be done ahead of time.

I feel supported and encouraged to engage in this area in the future, at least with what I have learned from the course. 

Kenji Konda MSC, Ordination

This is a very happy weekend for the Australian province, the ordination of our confrere, Kenji. And, these years, it is a rare occasion.

Kenji was ordained in Our Lady of the Sacred Heart Church, Randwick, where he served on the parish council, by Bishop Terry Brady, with his memories of MSC life and his support as Bishop over the years.

Scenes of the ceremony

With thanks to John Walker for organising and supplying these photos.

Chevalier Institute, 2024.

The new brochure for Chevalier Institute is available in hard copy or online.

Bob Irwin MSC writes: the Chevalier Institute was founded 21 years ago to support Lay adult faith formation in the Chevalier Family’s Spirituality of the Heart.

Why called an INSTITUTE?

Because it is much more than an organisation to deliver retreats and courses. One of its primary functions is to act as a real Institute… researching, seeking, finding new ways to express the spirituality to meet the needs, the weaknesses of the progress of the times, but remaining true to the original charusm of Father Chevalier.

Why even have our Chevalier Institute?

As the policy for Spiritual Formation for Staff and Board Members in our MSC schools in Australia states: “the need for proactive formation of lay people and institutions in the MSC charism is not just based on the diminished numbers of MSC, not just because of the increased role of the laity in MSC Colleges. Importantly, it is by virtue of the fact that people in their living and working find deep meaning in their lives, and, if possible, encounter the Heart of the living Christ, and, when able, to bring Him to others.  

Bob and Anne

We are ever grateful to Anne McAtomny, the current Director of the Institute and each of the Directors of Faith and Mission in our Colleges. We also acknowledge with much thanks those who have been in those positions in the past who taught us much.

MSC Vietnam, January News, Graduation, Diaconate, Year-End Party

On Saturday, January 20th, 2024, the Dominican Center of Study joyfully held a celebration of Saint Thomas Aquinas, patron of the Center. It awarded bachelor's degrees in Sacred Theology to students graduating in 2023. The MSC Community in Viet Nam had a new graduate: Dominic Thanh Vu Nguyen, MSC.

Present at the event were Father Thomas Aquinas Nguyen Truong Tam, OP - Provincial of the Province of Our Lady Queen of Martyrs, Vietnam; Father Jannel N. Abogado, OP - Dean of the Faculty of Theology, St. Thomas University, Manila, Philippines; Chief of Office for Coordination of Centers affiliated with the Faculty of Theology, University of St. Thomas, Manila, Philippines; Father Joseph Nguyen Huu Thap, OP – Academic Director of the Dominican Province of Vietnam; Father Joseph Lam Van Sy, OP - Center Director; Additionally, there were the professors, Dominican priests, MSC brothers, superiors of religious congregations that sent their men to study at the Center, as well as parents, relatives, and friends of graduates.

Congratulations to Thanh’s study.

By Thi Anh Pham, MSC

Dominic Nguyen Vu Thanh, MSC, ordained Deacon.

Morning Monday, January 29, 2024, at Immaculate of Mother Mary Parish. The MSC community in Vietnam was blessed and happy to celebrate the ordination to be Deacon of reverence brother Dominic Nguyen Vu Thanh, MSC, by Archbishop Joseph Nguyen Nang of Sai Gon Diocese in Ho Chi Minh City.

The gathering started with the celebration of the Holy Eucharist at 8:30 AM. The Archbishop presided over the Mass and led the rite of Ordination for the Deacon Dominic Nguyen Vu Thanh, MSC.

The celebration was gathered with all members of Jules's family, the FDNSC and MSC Sisters, the Chevalier lay, benefactors, and some collaborators from the communities of the parish attending the gathering.

The Archbishop congratulated the MSC congregation and expressed his hope and aspiration that the MSC in Vietnam may become an expression of MSC identity as servants of the Lord, spreading the love of God’s Heart everywhere with His people, especially with the Vietnamese.

THE YEAR-END PARTY 

On the following day, January 30th, 2024, the MSC Vietnamese community gathered for a heartfelt Year-End Party celebration at Thu Duc, the scholastic community. The event commenced with a warm and meaningful Mass at 17:30, with Fr. Hoang as the principal celebrant, delivering a profound homily.

The concelebration included MSC, especially Fr. Hien, a diocesan priest from Australia, who graced us with his presence, adding to the spiritual ambience of the occasion. During the Mass, Br. Thanh proclaimed the holy Gospel, enriching his new ministry as Deacon on the liturgy with his presence and participation. The community found solace and inspiration in the sacred rituals, reflecting on the past year's blessings and offering prayers for the journey ahead.

Following the Mass, we shared a simple meal and engaged in a modest program filled with joy and brotherhood. The highlight of the evening was the tradition of receiving lucky money, symbolising blessings and goodwill for the new year. The Year-End Party celebration was one of those special occasions that highlighted the fraternity and love of the MSC Vietnamese community. As we embrace the opportunities and challenges of the coming year, may the spirit of solidarity and hope cultivated in this gathering guide us forward. Ametur!

 By TRUC Xuan Mai MSC & HUY Quang Nguyen MSC

THE RINGLEADER: THE CASE OF THE BLING RING

US, 2023, 95 minutes, Colour.

Directed by Erin Lee Carr.

An American audience for this documentary might well remember the events of the late 2000s, the story of Los Angeles teenagers robbing the homes of celebrities like Lindsay Lohan, Orlando Bloom… The media called it The Bling Ring.

Audiences outside America might have come across this story through Sofia Coppola’s fiction film, based on the events and characters, The Bling Ring, featuring Katie Chang and Emily Watson.

Another documentary for television was made about The Bling Ring, featuring two of the central characters, Nick Prugo and Alexis Neiers who appeared on television sitcom, Pretty Wild. While the film offered the opportunity for interviews with these two, much of the reaction to the program was that they were very self-serving.

Erin Lee Carr has directed a number of documentaries on controversial events in American society, drug scandals, gymnastics scandals, murder cases, and Britney versus Spears.

This time the focus is on Rachel Lee, Korean American, the ringleader of the Bling Ring. While there is a great deal of footage from the past, her family, interviews with her father, her growing up, friends at school, footage of the robberies from surveillance cameras, police footage, the main part of the film is a lengthy interview with Rachel Lee herself, some years after the events and some years after her release from her prison term.

Again, the question can arise from viewers as to how much the interview is self-serving for Rachel Lee. As some kind of counterpoint, the scenes with Rachel Lee are intercut with interviews from journalists and, especially, detective investigators who are able to put more realistic point of view about the teenagers, the celebrities, the crimes, the handling of the issues by the media. Interestingly, one of the detectives who is into self-promotion, was associated with Sofia Coppola’s film, against regulations, harming aspects of the preparing of the case.

Which means then that the film is a close-up study of Rachel Lee herself, her understanding of herself, her explanations.

As with some of the other characters, there are speculations about the influence of family, Rachel’s absent mother, her professional gambler father (scenes of him in the flashbacks as well as the contribution to this documentary). There are the issues of family life, affluence or not, life in the hills outside Los Angeles, the preoccupation with celebrities, aspects of envy, and the temptation to robbery. Rachel, teenager, appears as the mastermind of the Bling Ring robberies, some interviews with her associates, especially Nick, the background to the online video maker, friendly than antagonistic towards Nick, the young women involved in the robberies.

And the focus is on the celebrity life of the targets of robbery, their appearance in the media, and the use of the Internet to find out where they would be, when their homes would not be occupied, the opulent life of some of them like Paris Hilton, the robberies, jewellery, clothes, storing them, at one stage a sale at Venice Beach, the cumulative effect of the experiences.

There are also sequences of their being tracked down, the arrests, Nick giving the information to the police, Rachel’s observation on her being sold out by him, the focus on the television celebrity and her arrest. The record cases, trials, sentences, modifications. There is Rachel, accepting her responsibility, long sentence, and being modified, her going to jail, the comments on her experience of broadening horizons, the self-centred, changing for her adult life.

The impact of the film will depend on audiences accepting Rachel Lee’s explanations herself, her self-examination, her attempts at honesty about herself, her judgements about her past, the effect of the experience on her and her future life.

PAINT

US, 2023, 95 minutes, Colour.

Owen Wilson, Michaela Watkins, Ciara Renee, Elizabeth Henry, Paul Kosopod, Stephen Root, Michael Pemberton.

Directed by Britt McAdam.

Something of an oddball comedy drama.

American audiences, especially from the past, will realise that this film is based on the celebrity painter and television compere, Bob Ross. However, some reviewers were very hostile about the interpretation of Ross in this film, seeming to denigrate him.

Owen Wilson, with a somewhat alarming Afro, based on that of Bob Ross, is a long time television personality, with his own show, painting on set, charming to his audience and welcoming them to his places. We see admiring audiences in an aged care home, an artist, people in a bar, and the staff on the set, PBS Vermont.

But, there is a crisis at the studio, ratings, finance, and the upcoming artist who can do the same thing as her predecessor – only more so. And part of the crisis is the artist and his past, flashbacks to various encounters with the women who worked at the studio, seduction, relationships, abandonment. And this is especially true of the main executive at the studio, Katherine (Michaela Watkins), still in love with the artist but sometimes bewildered, attempting a relationship with the upcoming artist.

There is a strange atmosphere in the film, sometimes dramatic, sometimes comic, the artist, while ingratiate himself with his audience, not so much to the cinema audience. Complicated by his disregard of people after the affairs in the past, his obsession with painting a local mountain over and over and over again. There is also discussions with the director of the art gallery and whether he should be present in it.

It does build up to something of a climax, his modifying his Afro, taking the excess hair to his barn, smoking a cigarette, his dousing the barn with paint – and a vast painting of the mountain appearing – but, the spark, conflagration.

Reconciliation with Katherine, everyone presuming he was dead (speaking well about him and his paintings going up in price), and his disappearing with Katherine into the mountains.

1. The title, expectations? Artist? Television?
2. The central character based on television painter and producer, Bob Ross – but moving away from his actual life, comic variations?
3. The Vermont setting, mostly inside the television studio, offices, Carlton barn, the river, countryside? The musical score?
4. The basic premise, Owen Wilson as Carl, his Afro haircut, whispery seductive voice, his television program, doing a painting in each program, nature, the mountain, thinking audiences being with him? The scenes of admiring viewers, the couple and the group in the aged care home, the people at the bar, Mary the artist?
5. Carl, on television for several decades? His celebrity? Wilson’s comic style? The relationship with Katherine, the flashbacks of 22 years, his beginnings, his relationship with her, her work at the studio? But the break between them? Carl as a Don Juan, the women at the station, a series of seductions, his van, the response to his art? In the studio itself, the women on the team and their adulation? His smug acceptance of this status? People acknowledging him in the street, the young man in the car…?
6. Katherine, her role at studio, the relationship with Carl, the breakup, the years passing, Ambrosia, the relationship with her, meeting her parents? But her continued devotion to Carl, despite the termination of his program, the promotion of Ambrosia, her wanting to go to the main studios?
7. The range of other women, adulation for coal, seductions, experiences?
8. Ambrosia, her being promoted, her art talent, her show, initial reaction against, people drawn back, admiration for her? Her interactions with Carl? Relationship with Katherine? With other women, meeting her family?
9. Carl, age, going to the art gallery, the not wanting his paintings, the gallery chairman suggesting a pain from his heart, the news of his death, wanting paintings, their value?
10. The competitive program, the portrait of the lady from aged care, Carl painting scenery, Ambrosia painting her? The happy reaction?
11. Carl, Having to come to terms with himself? Seeking Katherine, apologising? The final show, painting her portrait, her watching the program, going to find?
12. Carl, the haircut, keeping his Afro, bringing the head back to the barn, the drugs, smoking, the fire, his bashing the paint everywhere – and the painting of the mountain? Katherine, rescuing him, rescuing the painting, escaping?
13. The aftermath, his reputation, the elimination of his pipe smoking from the previous programs, their being repeated? The gallery having painting? The gift to the barbershop?
14. Living in the mountains, with Katherine, her going to study, buying the groceries, his retirement?

MADELEINE COLLINS

France, 2021, 104 minutes, Colour.

Virginie Efira, Quinn Gutierrez, Bruno Salamone, Jacqueline Bissett, François Rostain, Loise Benguerel.

Directed by Antoine Barraud.

Madeleine Collins doesn’t really appear in this film. That is part of a point made at the end of the film.

This is a film about identity, a film about someone who is present to two families. In films, this is usually a man with two families. This time it is a woman. And she is played by Virginie Efira, emerging in the last decade as one of France’s most significant and versatile actresses.

There is an opening sequence with the Virginie Efira in a dress shop, with money from her mother, trying on dresses, and collapsing with low blood pressure, then leaving the shop and the sound of a crash.

However, the main action takes place in the two households, one in Switzerland where Judith is in partnership with Abdel and his little daughter to whom she is devoted. She is a translator and has to go to various meetings. But, most often she goes to Paris to her other family, longtime husband who is an orchestra conductor, eager to advance his career, and with two teenage sons. On the one hand she has a happy domestic household. On the other, there is the glamour of the theatre, performances, socials, wealth, the buying a house.

Each of the men knows the name of the other but does not really know what is happening.

Which means that this is something of a psychological study of how Judith, also known as Margot, dependent on an admiring forger who is able to give her any identity she wants or he wants to give her (Madeleine Collins), the way she relates to each of the men in the families. It is also a story of deceit, cover, lies, becoming more and more complex and the possibilities of her being exposed. There are parents (and a welcome cameo by Jacqueline Bissett as her mother), there are clients who turn up unexpectedly…

This is a film for admirers of Virginie Efira and those intrigued by stories of coping with double households.

1. The title? Area of mystery? Identity?
2. The Swiss settings, homes? The Paris settings, concert and orchestra, socials? The musical score?
3. The prologue, the visit to the store, looking at the dresses, trying them on, the collapse, low blood pressure, the aftermath and the accident? With reference to the rest of the film? To Judith that her character?
4. A film about a double life, a middle-aged woman, her background, the visit of her parents and her relationship to them? Her marriage to Melvin, many years, his career, the two sons, the household, her travels, his travels, the scene of buying the house? The socials, the concerts, her leaving with her low blood pressure? Her friendship with the singer?
5. The relationship with a Dell, Her relationship, the little girl, not married, their life together, a love for the little girl and devotion, a contrast with her other family?
6. Judith and her work, translations, the jobs, seeing her in action, but her creating situations, her lies, travels? Going from one family to the other? The effect on her?
7. Annabelle, the death of his wife, the birth of his daughter, the relationship with Judith, setting up a household, her devotion, love, his feeling our absences, bringing another woman home, Judith’s reactions? The visit of her parents? The other woman in the house? Their observations, the little girl calling out to Judith as her mother?
8. Melville, his career, promotions, concerts, the growing separation? Doris and his observations, listening, his own secrets and orientation? His reaction to Judith?
9. Juggling the two lives, the times, the travels, the passport, the forger and his devotion to her, saying she would have as many names as she wished, giving her a final card and name?
10. The police, her upset, wanting documentation, her refusal? Picked up by her father?
11. The chance encounter, the Canadian, her name is Marco, at the social, her awkwardness, Abdul and his reactions?
12. Judith, her identity, the two families, separations, alienations, wanting her own life, identity?

CHILDREN OF THE CORN

US, 2020, 93 minutes, Colour.

Elena Kampouris, Kate Moyer, Callan Mulvey, Bruce Spence, Stephen Hunter, Jayden McGinley, Andrew S.Gilbert.

Directed by Kurt Wimmer.

The first version of Children of the Corn was made in 1984, at the time when so many adaptations of Stephen King’s stories were being made, successfully so. And, this has continued in the succeeding decades, for cinema and television.

This is a rather slight Stephen King story. It has been written and directed by Kurt Wimmer, best known for writing action screenplays rather than for directing.

In some ways, this is an old-fashioned horror film, the setting up of the atmosphere of the cornfields and a strange presence, the threat to the cornfields by so much industrialisation and pesticides, the creation of a cornfields’ monster. And, there is the portrait of the small town in Nebraska, the glimpses of the adults, dealing with the destruction of the corn. But, more, there is the portrait of the children, seemingly possessed by the power in the corn.

This film was filmed in New South Wales, farm and town locations, and several of the cast, the adult males, Australian character actors, Bruce Spence, Callum Mulvey, Andrew S.Gilbert.

Top billing is given to Elena Kampouris s Bo (the daughter in the My Big Fat Greek Wedding sequels), who is meant to be a character of commonsense, enterprise, offering advice to the adults, mediating with the malevolent leader of the children. She is played, frighteningly effectively by Kate Moyer. One difficulty with the atmosphere of the film is the director’s decision to give so many close-ups for Bo, her fears in terror, trying to force the audience to identify with her.

There is a sense of menace throughout. There are some very gory killings of the adults, especially the bulldozing of soil over adults in a pit, a mass grave. Ultimately the corn stalk creature emerges, menacing. As with so many stories, there seems to be a satisfactory resolution – until a final image of horror.

1. Remake, the original in 1984? Stephen King story?
2. The locations, the Nebraska town, the cornfields, homes, streets, barns, meeting halls? New South Wales locations standing in? The musical score?
3. The horror elements? The mystery in the cornfields? The background of the fertilisers and the destroying of the crops? Evil powers and the creature in the corn? The effect on the children? The initial killings, the reaction of the farmers, the possession of Eden and her leadership?
4. The atmosphere of the opening, the rustling through the cornfields? The later images of the fields, vast, aer go ial shots, the decay and destruction? The final burnings?
5. The opening, the boy emerging, confronting Even, into the orphanage, killing everyone? Saying she was safe? The police, the sheriff, the meetings, the issue of Eden and the pastor looking after her? The situation with the crops, the meeting, the speech about the insecticides, the decision to sell the crops to the company and destroy them? The reaction of the children?
6. Bo, her brother, the other children, relationship with her father, plainly to leave to study, concern about the crops? The meetings, her opposing her father? Her friends, contacting the journalist, The planned campaign, the confrontations with Eden? The plan for the trial, with her father at home, her brother, his drinking? The cuffs, taking him to the trial?
7. The character of Eden, her age, orphan, possessed, her command, unemotional, the Red Queen and Alice in Wonderland? Her power over the children? Are ruthlessness? The sheriff, and him up, his death? Putting the adults in the pit, covering them with earth? The confrontation with the pastor, accusing him, gouging out his eyes?
8. The focus on Bo, the continual use of close-ups on her face, terrified (overreliance on her terrified face)?
9. The revelation about the journalist, hanging her up, transporting her, tearing her apart?
10. The buildup to the confrontation, the barn, Bo, the gasoline, it’s leaking out of the barn, Eden and her demands, the match, Bo and the threats? Her escaping, in the car, Eden in the back of the car?
11. The buildup to the finale, Bo and the cigarette lighter, Eden, the creature coming out of the corn, the confrontation, the other children? The dropping of the cigarette lighter, the flames, through the corn, the creature destroyed, Eden in the corn?
12. The aftermath, the horror trope, the creature and taking over Eden, the confrontation?