DIE HARD 2

US, 1990, 124 minutes, Colour.
Bruce Willis, Franco Nero, Bonnie Bedelia, William Atherton, William Sadler, Reginald Veljohnson, Art Evans, Fred Dalton Thompson.
Directed by Rene Harlin.

Die Hard 2 is an action-packed thriller. If the first movie was farfetched, Die Harder is farfetcheder!

The film is almost a rerun of the original - the setting changed from Los Angeles in the summer to Washington DC in Christmas week, the snow and the storms. This time the villains are a Latin- American General, a drug-runner who is being extradited from his country - but has infiltrated the American armed forces, who use their expertise to get him out of the United States. By chance, Jack Mc Clane happens to be waiting for his wife to arrive at Washington DC airport, notices some strange happenings in the airport and immediately gets involved. After innumerable fights, extraordinary physical dangers, extraordinary ingenuity, sheer chance and good luck, Mc Clane actually foils all the enemy, blows up their plane - and the trail of burning fuel serves as a light for the incoming traffic, including the plane with his wife. However, the logic of the movie doesn't matter. It moves with crackling action pace.

Once again, Bruce Willis finds the role that perfectly suits him. He carries off the difficult feat of making Mc Clane interesting, entertaining with his verbal wit, low-key manner as well as his extraordinary heroics. The film has a strong supporting cast led by Franco Nero as the General. Denis Franz has an enjoyable role as an obtuse bureaucrat at the airport. Fred Dalton- Thompson oversees the running of the airport. Bonnie Bedelia is once again Bruce Willis's wife. She finds herself on a plane with the obnoxious TV reporter from the first movie, played by William Atherton.

The special effects are quite extraordinary, including the blowing up of a plane - actually two planes. The director is Rennie Harlin, director of Prison as well as The Adventures of Ford Fairlane.

Strong escapist entertainment - and shows the power of moviemaking in the '90s.

1. Popularity of the original? This film as a rerun? The ingredients: plot, characters, relevance? Special effects? The whole sense of tension, heightened?

2. The film as a rerun rather than as a sequel? The tongue in cheek references to the original? The film as a vehicle for Bruce Willis and his laconic style? His wife, the media reporter and the Los Angeles references being worked in from the original?

3. Widescreen photography, one night at Washington airport, the weather and the storms, the atmosphere of Washington DC? The use of the airport interiors and exteriors? The planes?

4. The stunt work, the chases, the fights, the shootouts, the planes and the explosions? Locations and their use? The atmospheric musical score?

5. The title and its tone?

6. Bruce Willis's portrait of Jack McClane: arriving at the airport, the clash with Lorenzo and the fine for his car? Presenting his credentials? The airport, phoning his wife on the plane - and his comments about technology? Noticing Captain Stewart? Suspicions, getting the key, going into the back rooms, interrupting the gang infiltrating? The vigorous fights - manoeuvres, dangers? Deaths? The clashes with Lorenzo, meeting Trudeau and getting his approval? His assistant, the controller? Getting the fingerprints and faxing them to Los Angeles? The information about the dead suspect? His assessing the situation?

7. The General, drug-dealing (and echoes of General Noriega of Panama)? His leaving his country, the crew - those guarding him? Asking for the cigarette lighter - and attacking the guards? Shooting the pilot and flying the plane himself? Stewart and the opening with his training? At the airport with his men, the encounter with McClane? Setting up in the abandoned church? Things beginning to go wrong, his threatening his officer with blanks? Controlling the airwaves? His announcements, control of the planes - and his crashing the plane without remorse?

8. The weather, planes in holding pattern, fuel running out? The impact of the plane crashing? Its impact on Trudeau and his staff? The crews in the plane and emergencies? Mc Clane's wife and her being harassed by the TV reporter? The memories of the original, his attack on the wife? His listening in to the airport and the pilot's cockpit? Connecting with the TV station? Going to the toilet, his broadcasting - heightened and melodramatic, causing panic on the ground? Mc Clane's wife hitting him in the toilet - his going back to his seat, lying wimpishly on the ground - and the final insult from the elderly passenger?

9. Jack and his using his wits, going to the alternate transmitter, Marvin and his records? With the controller, the announcements? Alternate signals to the planes? On the runway, the plane landing on top of him? Meeting the General at the door, the fight with the general, the shots - his going into the cockpit, the shooting, the hand grenades - and his ejecting?

10. The background of the church, the control? The relief guard being brought in? Their battles - getting Lorenzo out of the way? The irony of their fighting with blanks? On the side of Stewart? The sled chase and the fight? Mc Clane and the hand-to-hand battles? His going back and getting on the helicopter, taking the reporter with him? Being lowered down on the plane?

11. The relief force, the irony of their being traitors? Their leader, dealing with Mc Clane, with Lorenzo? Murdering his assistant after the talk about Granada? Linking up with Stewart? Jack on the wing, the fight with their leader, his being sucked into the jets? Stewart and the fight, Mc Clane falling off - opening the fuel gate, the fuel falling - and his lighting it? The explosion?

12. The lighting of the fuel for helping the planes down? The happy ending?

13. Lorenzo, the obtuse bureaucrat? His not understanding? Mc Clane firing the guns - and at last his realising? His using his brother? The final genial comment about the parking ticket?

14. Trudeau, his responsibility, handling the situations? His staff? The controller?

15. The guards, training, expertise - and their being bought off? The battles?

16. The media, the TV reporter on the ground and her after a story? Helping Mc Clane? With him on the helicopter? The finale? The contrast with the reporter on the plane and his bad judgment, panicking people?

17. The touch of humanity by having Mrs Mc Clane on the plane, contact with her husband, the clash with the TV reporter? With the passengers? Her prayer - safety?

18. A Bruce Willis vehicle, his screen persona, verbal humour, action - and the middle-aged single hero combating evil?

THE DEVIL'S OWN

US, 1996, 110 minutes, Colour.
Harrison Ford, Brad Pitt, Natascha Mc Elhone, Margaret Colin, Ruben Blades, Treat Williams.
Directed by Alan Pakula.

The IRA is not the most popular group in today's world and one does not find very many films sympathetic to them. Not that The Devil's Own is sympathetic to their terrorism. But it does try to show some of the human elements behind them.
The film is a well-crafted thriller, rather more quiet than most despite its subject. Young Frank Maguire, from a peaceful fishing village, sees his father shot at the dinner table. He later becomes an IRA officer who escapes a British military ambush and goes to the US to collect weapons.

Brad Pitt, with a credible Irish accent, plays the IRA man who is unforgiving but whose loyalties are tested when he boards with a NY cop who welcomes him, unaware of the truth, and becomes something of a surrogate father. Harrison Ford is the cop who is also torn by loyalties, friendship and truth in his own work on the city streets and with his partner.
The film's appeal is in its two stars. The camera is always drawn to them and they draw the audience to them. As well, with its more working-class setting and a picture of ordinary suburban American life rather than the frequent glamorous settings we see, it feels more `real' than many thrillers. And Harrison Ford is acting and looking his age. It does not stay vividly in the memory, but it is a satisfying drama.

1. The impact of this drama about Ireland, the USA, the IRA? Terrorism and violence? Audience knowledge of the troubles in Ireland, of the IRA itself? Attitudes towards terrorism and the rights and wrongs in Northern Ireland?

2. A '90s perception of the IRA and the troubles? An American perspective? The history of violence and terrorism? The support of the US, especially with morale and with finance?

3. The prologue, the beauty of the sea, the fishermen coming home, the quiet Catholic family, the gunman bursting in and the shooting? His father killed before Frankie's eyes? The emotional impact of this prologue?

4. The title and the focus on Frankie? Growing up with the resentment against the military? His joining the IRA militia? Their violence and their vengeance? His role as an officer? The visualising of the terrorist action, the British and their violence against the IRA?

5. The atmosphere of the United States? The Irish in the US, the contrast of the way of life - yet the Irish bringing their troubles to the United States?

6. Brad Pitt as Frankie? Screen presence? Credible? His accent? The background of his family and his father's death? His escape from the military action in Northern Ireland? His motivation to go to the US? The link with Tom, being introduced to his family, the mother and the three daughters? The basement, his fitting in, the comfort of home? Being a son to Tom? Tom's response? The bond with Megan and her place at the judge's house? The judge and his sympathies, setting up deals, money? Frankie taking the name Rory? Contact with Sean? The deal about the missiles, the contrast with Billy Burke? The effect of the double life on Frankie?

7. Harrison Ford as the sturdy American presence? The ordinary citizen? The Everyman character? The New York cop but his beat on Staten Island? His relationship with the judge, doing him a favour? Welcoming Frankie into his home? Becoming a father to him? Protective? The humour about his wife and three daughters and the women controlling the home? Seeing him at work, in the precinct, crime in New York? The Hispanic background of so many of the criminals? Eddie and his Hispanic background? A man of integrity, trusting the judge?

8. The judge, his status, cover? Getting the money, believing in the cause? Megan in his household? Communicating plans and information? Her attraction for Frankie, knowing him in the past? The danger for the judge?

9. Billy Burke, his clubs, arms deals? His henchmen? The dealings with Frankie? His greed, the violence? Sending his thugs to the home to terrorise Tom's family? The delay? The build-up to the confrontation with Frankie, the torture of Sean and then his death? Getting the money, the explosive in the bag and his death?

10. Tom and the background of his working life, Eddie and his shooting a criminal? Tom and his disillusionment? Wanting to leave the force? Discussions with his wife? The attack in his home, the violent response, finding Frankie's money? Realising the truth and his being imposed on?

11. The portrait of Tom's wife, the daughters? The American household? Making Frankie welcome?

12. The background of the FBI and the British Secret Service? Wanting co-operation? The pursuit of the IRA and terrorists?

13. The confrontation between Tom and Frankie on the boat? The parallel with the boat at the start? The father and the son? The inevitability of American moviemaking morality with Frankie having to die, even though sympathetic and having some kind of heroism, and Tom having to succeed and survive? The dramatics of the fight on the boat? Audience sympathies towards each man?

14. The value of having dramas about the IRA? Personalising the issues by stories? Audience judgments about right and wrong, violence, nations' rights, terrorism?

DEMOLITION MAN

US, 1993, 115 minutes, Colour.
Sylvester Stallone, Wesley Snipes, Nigel Hawthorne, Sandra Bullock, Bob Gunton, Denis Leary, Benjamin Bratt.
Directed by Marco Brambilla.

Demolition Man and Cliffhanger were both star vehicles for Sylvester Stallone during 1993 - bringing him back to box office success after his attempts at comedy (Oscar, Stop Or My Mom Will Shoot). This is a slam-bang action film - almost too violent at times. However, this is partly the purpose of the film, a parody on futuristic stories (like Blade Runner) and a mocking of those who advocate absolute non-violence. LA society of 1997 is ultraviolent. 37 years later it is wimpish, with hypocrites in charge advocating non-violence while using it to destroy underground enemies. Ordinary citizens do not know assertiveness, but some of the police have an overveneration and nostalgia for the trash culture of the 20th century, especially with its movies.

The satiric underlying theme is particularly strong and often very funny. (One of the writers of Demolition Man was Daniel Waters, writer of Heathers and contributor to such films as Batman.)

Wesley Snipes, dyed blond hair, chews the scenery as the ultraviolent villain. Surprisingly, Nigel Hawthorn appears as the academic hypocritical ruler.

A lot of what you might expect from a Stallone action movie. However, the subtext, while dubious in its morality, is nevertheless an amusing attempt at parodying the pillars of righteousness.

1. A popular Sylvester Stallone movie, the world of the future, the issues of violence and non-violence? Serious/comic?

2. Technology, the world of 1997, the world of the 21st century? The city, the underground movement? Stunts and special effects? The musical score?

3. The popularity of Sylvester Stallone? His image?

4. Science fiction and fantasy, the film's reliance on the genre and its conventions, the chaos of 20th century urban cities, the growing technology, its use in violence, the use of technology in order and control? The future and the contrast with the 20th century? Taking non-violence to an extreme in society?

5. Violence, non-violence, an effete non-violent society? Yearning for violence? Having to cope? Insights into human nature and basic drives? The parody of people who advocate the elimination of violence in information and entertainment? The quoting of films, the slang, action, the parody names of the characters (Lenina Huxley as the heroine)?

6. The plausibility of the plot, the future, the academic in control, non-violence hypocrisy?

7. John Spartan, police work in Los Angeles, crime, the siege and the hostages, the antagonism towards Simon Phoenix, the explosions and the massacre, the accusations, his trial, the authorities, sentenced to the cryoprison? The techniques of preserving life? Justice? The audience sharing Spartan's experience?

8. The contrast with Phoenix, his appearance and style, cruelty, igniting the fuel, the massacre, prison? His reappearance, murdering the guards, ruthlessness in escape, the new Los Angeles? His bewilderment at his knowledge of the computerised Utopia? Police pursuit, Lenina Huxley and her tracking him, the suggestion about Spartan?

9. Spartan and his awakening? The contrast with Phoenix? Mind training? The irony of his ability to knit - and his gift? Rehabilitation? His work with Lenina Huxley? Her slang and his correcting her? The tracking of Phoenix? The meeting with Dr Cocteau and his assistant? The discovery of the truth, going underground, Edgar Friendly? The dangers, the death of Dr Cocteau? Action? The build-up to the spectacular confrontation with Phoenix?

10. Themes and symbols of the struggle between good and evil? Spartan and Phoenix, Friendly and Cocteau? Cocteau's hypocrisy, manner of speaking, style? His yes-man assistant, on the television, revealing the truth to Spartan? His death? The betrayal of the assistant?

11. Lenina Huxley, heroine, tough, her nostalgia of the trash culture of the past, the films, the martial arts action, the slang? Her work with Spartan, the visual heroism for this kind of comic strip film?

12. Edgar Friendly, the underground, the visuals of the underground, the images of 20th century Los Angeles? The racial and class issues?

13. The variety of characters, the young wardens and their older selves, the police, the officials? Authority figures, the trials?

14. An example of 1990s pop, comic culture?

DEATH BECOMES HER

US, 1992, 104 minutes, Colour.
Meryl Streep, Goldie Hawn, Bruce Willis, Isabella Rosselini, Ian Ogilvy.
Directed by Robert Zemeckis.

Death Becomes her is an over-the-top entertaining parody of American consumerism and the fear of death. It was directed by Robert Zemeckis, who has enjoyed himself in quite a range of films with special effects, especially the Back to the Future series as well as Forrest Gump and Roger Rabbit?

The film offers star turns for both Meryl Streep and Goldie Hawn and they play well on their image as well as against their image and join in the atmosphere of farce. Bruce Willis is effective as the put-upon hero. Included in the supporting cast are Isabella Rossellini as presiding over a bizarre Gothic castle and having the secret of life - and looking like a vamp in the Theda Bara style - and Ian Ogilvie as the hairdresser.

The film won an Oscar for its special effects. It was co written by Martin Donovan (Apartment Zero) and David Koepp (Carlito's Way, Jurassic Park and writer-director of The Trigger Effect).

1. An entertaining black comedy? The targets of the satire: American lifestyle and wealth, the preoccupation with beauty, the world of fashion and reputation, the desire for false immortality? From a women's perspective? Men's perspective?

2. The lavish style of the film? The atmosphere of the credits and the Broadway musical - the musical of Tennessee Williams' Sweet Bird of Youth? The building up to the atmosphere of American city society, wealthy homes, hospitals, the church? The move into the surreal with the centre for the transformation into immortality? The musical score? The Oscar for special effects and their humour?

3. The title and its irony, with reference to Madeleine, with reference to Helen?

4. The status of the stars, their sending themselves up, the interaction between Meryl Streep and Goldie Hawn, their playing along with the special effects, the satire and the farce? Bruce Willis as their target? Isabella Rossellini and her esoteric style?


5. The portrait of Madeleine: seeing her in the Broadway show, `Songbird', Ernie and Helen and their being in the theatre, her stealing Ernie from Helen? The wedding and its paraphernalia? The passing of seven years and Ernie and Madeleine together, the effects of the years? Their marriage and the 14 years? Staleness, the angers, Ernie and his sense of emasculation? His moving from lawyer to mortician? Madeleine and her not having performed? The information about Helen's book, Madeleine beautifying herself, going to the launch, her anger at Helen's beauty and flirtatiousness? Chagall and his beautifying Madeleine, his suggesting that she go to visit Lisle? Madeleine and her lover and his callowness? Her motivation, going to Lisle, listening to her, the possibility of drinking the potion? The need to disappear? Her return, the plot to kill her and her falling down the stairs, her going to the hospital, her not being dead? Her neck twisted around the wrong way? The confrontation with Helen and her shooting her? Attacking Ernest, wanting him to take the potion, his refusal? Her making peace with Helen, realising that they had taken the same potion? The passing of the years, the love for Ernest? 37 years and the church, Ernest having repaired the two, their going to his funeral, their literally falling to pieces? The parody and Meryl Streep's style?

6. The contrast with Goldie Hawn as Helen, being in the audience, engagement to Ernie, losing him to Madeleine? Her dowdy appearance, her becoming fat and overeating? Her being taken to the psychiatric centre? Her appearance on television, the launching of the book? Madeleine's jealousy? Her plot to murder Madeleine? The institution, berserk and desperate? The shock of seeing her at the launch of her book, her youthfulness? With Ernest, Madeleine's jealousy? Plotting with Ernest, the phone call, Madeleine's fall? Madeleine shooting her - and the hole in the middle? The discovery of the truth, the reconciliation with Madeleine - and the funeral and her falling to pieces?

7. Bruce Willis as Ernie, engaged to Helen, infatuated with Madeleine? His marrying her, the passing of the years, his becoming a mortician? The discovery of Helen, the plot to murder Madeleine, the fall, the surgery, the blood - and yet her not being dead? The passing of the years, the tinting of the corpses? Their taking him to Lisle's place - and his refusal to take the potion? The pursuit, his fleeing, the fall - and his being saved? His being trapped with the two women, the 37 years, his big family, the funeral tribute and its irony?

8. Lies and her appearance as a Theda Bara vamp, as a witch? Her Gothic palace and her clientele? The bizarre parties? Her henchman? Chagall and his being an agent for her? The parody of the guests - Elvis and Marilyn Monroe?

9. The doctor and his desperation with Madeleine not dead - a comic piece from Sidney Pollack?

10. The variety of set pieces for Madeleine and for Helen? The atmosphere of parody? The parody of the zombie and eternal life movie?

11. The parody of American vanity, consumerism, the desire for immortality?

THE DEAD

UK, 1987, 83 minutes, Colour.
Anjelica Huston, Donal McCann?, Dan O'Herlihy, Donal Donnelly.
Directed by John Huston.

The Dead was director John Huston's last film. A writer in the '30s and early '40s, he made his film directing debut with In This Our Life. The film was succeeded by such classics as The Maltese Falcon, The Treasure of the Sierra Madre, Moby Dick, The Man Who Would Be King, Prizzi's Honour. For the last film, his daughter Anjelica Huston won the Oscar as Best Supporting Actress. Anjelica Huston is the star of The Dead and gives a very moving performance. Also within the family, James Joyce's short story from The Dubliners was adapted for the screen by Huston's son Tony.

The film is brief, focuses on an evening in Dublin in 1904, New Year's Evening. After a dinner, Gabriel Conroy sees his wife Gretta standing on a staircase and reflects on his life.

Irish character actors bring the party guests to vivid life. The atmosphere of Dublin at the turn of the century is also vividly re-created. However, the film is most appropriate as Huston's last film, a deep and reverent and affectionate look at the meaning of life.

1. The work of James Joyce? His insights into Dubliners? Knowledge of people, behaviour, relationships? Irish traditions? His use of language?

2. The relationship between literature and cinema? The adaptation of the short story to the screen? The use of language? The use of Joyce's words? Equivalent images?

3. The work of John Huston? His last film? The collaboration of his family? His living in Ireland and his appreciation of the Irish?

4. The title, the reference to the past, traditions, other days in Irish history, intimations of death? Intimations of immortality? The people of 1904 who are now the dead?

5. The period re-creation, the streets and the coaches, the snow, New Year's Eve? The house and the rooms, the furnishings, decor and environment? The knick-knacks decorating the house?

6. The musical score, the songs, the playing of the harp, the Irish atmosphere? The ballad, The Lass of Aughrim?

7. The setting and the party, the background of New Year, the aunts and their style, personalities? Mary Jane as their niece? Lily? The arrival, good manners? The talk, expectations? The welcome to the guests? The range of guests? Apprehensions? Mingling, talking, dancing? The aunt and the title? The singing? The recitation of Lady Gregory's poem? Freddie and his interpretation? The singing of Bellini, `Arrayed for the Bridal'? Gabriel and his speech? The happiness? The issues of patriotism? Gabriel and his stances? The aunt and her stance on the Pope?

8. The dinner, the table and the setting, the places? The progress of the meal? Interactions? The family, religion, the Cistercian? Songs and opera? Past voices and reminiscences?

9. The farewells and their effect? The group departing and the coaches?

10. The character of Gretta? Anjelica Huston's screen presence? Her participation in the gathering and the dinner? Her standing on the stair and listening to the song? Its meanings? Her memories? The return in the coach, the hotel, talking with Gabriel? The realisation of what had happened to her? The memory and her love? Gabriel, the monologue? The past, the love, the dead, the song? Aunt Kate and the snowfall?

11. The characters of the aunts and their diversity? The contrast with Mary Jane? Cooking, pupils?

12. The pupils and the talk, the music?

13. Mr D'Arcy and his song, the performance, the girl and the wishbone?

14. Freddie and his arrival, drunk? The toilet, the drinking? The mother and the Scot? Severity? The table and the talk, the toast, the chair, leaving?

15. Mr Brown - being of the other persuasion? His enjoying the meal, the discussions at the table, the drinking and the song, the return? Asleep?

16. Gabriel and Gretta, the focus of the film, their mingling at the party, the transformation of Gretta as she listened and the significance of Gabriel's speech?

17. Themes of Ireland, transcendent themes of humanity, memory, death and insight?

DAYLIGHT

US, 1996, 110 minutes.
Sylvester Stallone, Amy Brenneman, Vigo Mortensen, Dan Hedaya, Jay O.Sanders, Claire Bloom, Karen Young, Barry Newman, Stan Shaw.
Directed by Rob Cohen.

Not Stallone slam-bang 90s action, but, rather, a throwback to the 70s, a disaster film that often looks like a remake of The Poseidon Adventure. It makes one realise how much audiences enjoyed the disaster movies.

This one introduces a large cast who are going to finish up in one of New York's tunnels under the Hudson river when an escaping car causes a toxic explosion, a fireball and the collapse of the tunnel. Who will survive and who will get out? Well, Sylvester Stallone, a sacked expert whose judgment has led to accidental deaths has to get into the tunnel (quite excitingly) before anyone can think about getting out. With very few resources and using his wits, he joins the few survivors and helps them. The screenplay uses redemption, salvation language a great deal and finally, literally, has a crucifix to highlight Christian themes.

Rob Cohen (Dragonheart) knows how to direct action movies and the editing makes for pace and excitement. A supporting cast including Claire Bloom, Karen Young and Amy Brenneman, gives the show some quality. Thoughtful escapist action.

1. The popularity of the disaster trend in the mid-'90s? Audience enjoyment of the tension, the dangers, the heroics and the relief of the rescue?

2. The plausibility of the plot? New York rush hour, the collapse of the tunnel, the engineering and hydraulic information, the nature of the rescue? The dangers as real? The finale?

3. The re-creation of the sets, the building of the tunnel? The flooding, the explosions? The crash and the fire bombs? The quality of the effects? Real? The musical score and its tone?

4. The disaster genre and its conventions: establishing the setting, the accident to set off the disaster, the range of people who are to be rescued (and their clashing as well as being welded into a group)? The dangers, the deaths, the final escape, survival? Audience enjoyment of this kind of heroism?

5. The screenplay and its religious overtones? The Italians and their living quarters while building the tunnel? The chapel? The visualising of the crucifix, the close-up on the figure of Jesus and the implications of redemption and salvation? The rats moving behind the crucifix, the escape behind the crucifix? Kit Latura as the new Christ saviour figure coming down into the tunnel to be with the people and lead them to survival?

6. The basic situation: the New York rush hour, the cars, the tunnels out of New York, the convoy of trucks with chemicals? The criminals, the jewellery robbery, the indicator in their car, the speed and flight, the crash into the trucks, the flames and the collapse of the ends of the tunnel?

7. Sylvester Stallone as Kit Latura: his going into the tunnel, assessing the situation, the background of his past and being responsible for the deaths of colleagues? His not being trusted? The discussion with the chief engineer and persuading him that he could go in? The drama of his going down into the shaft, the rotating fans? His going down without too many special effects, just his wits and some basics?

8. The range of characters in the tunnel and the introduction to them: Madelyne and her plays, lover, the decision to go home to the Midwest? Roy Nord and his sports gear, his reputation as a climber; the elderly couple, Eleanor and Roger, their devotion to each other, their dog? The bickering family, the parents, the exasperating children? The police van and the three criminals locked in the back?

9. The character of George, at work in the tunnel, love for Grace? The messages to Grace, his control, the TV monitors while they worked? Sending the bracelet to Grace via Kit?

10. The situation with Kit's arrival, unexpected, the plan for rescue? The need for timing? The flooding, the air, the electrical dangers? Explosions? The deaths - especially George, the lifting of the car, his broken neck, his being left? Nord and his offer to take charge, to climb out of the tunnel, his ignoring Latura's warnings, the collapse and his fall? The getting of the prisoners out of the back of the truck - and Madelyne's willingness to risk the electrical danger? The reactions of the criminals, Boom and his being killed by the rock fall?

11. Madelyne and her working with Kit? The blasts, the sealing of the leaks? The running out of air - going for the tunnels and the Italians' living quarters? The Poseidon Adventure kind of swim? Eleanor and her heart attack and the pathos of her death? The crucifix and the rats, escaping with the stairs concealed behind the crucifix? Kit rescuing the dog? Madelyne stranded and Kit going back for her?

12. The water danger, the final explosion and Kit and Madelyne being hurled out of the Hudson River?

13. Grace, and Kit giving her George's bracelet? The emotional sadness for the ending? Regret for the deaths?

14. The range of characters, the quick delineation, stock situations? Audiences identifying with them?

15. The hero using his wits? The collaboration with Madelyne? The man and the woman working for the survival of all?

16. The characters of the prisoners, the reasons for their being in the van, their discussion about their crimes? Escaping from the van, the catatonic prisoner? The prisoner wanting to take charge and his resentment against Kit? The deaths? Their moral support, the survivors and their contribution?

17. The climber, his advertising campaign, self-assurance, the possibilities of success, his skill in climbing, his not listening to advice, his death? Those wanting to follow him - and their having to go back with Kit?

18. George, his girlfriend, his support in the tunnel, the car, the pathos of his death? Kit and his giving the bracelet to the girlfriend at the end?

19. The experts, their contribution to the rescue, the decisions about explosions, the water, the air, ways of rescue?

20. The decisions about life and death, human beings using their ingenuity, the possibilities of heroics, disaster and hope?

21. The popularity of this kind of film, the audience sharing the danger vicariously, the possibility of death, the reality of survival?

D*A*R*Y*L

US, 1986, 95 minutes, Colour.
Michael Mc Kean, Mary Beth Hurt, Barrett Oliver, Josef Sommer, Kathryn Walker.
Directed by Simon Wincer.

D*A*R*Y*L is a piece of science fiction designed for the family audience. It focuses on the enormous developments in technology (in much the same way as the contemporary Short Circuit). It focuses on US defence, experimentation, the creation of robots. It offers the possibility of a human being - with everything human except an electronic computer brain. Barrett Oliver (Never Ending Story, Cocoon) is affecting as Daryl, the robot.

Daryl seems to lose his memory, meets an ordinary American family and feels at home. Michael McKean? and Mary Beth Hurt are the parents. However, he is found and taken back to the laboratories by doctors Josef Sommer and Kathryn Walker. The doctor has compassion and he is allowed to escape and is ultimately reunited with the family.

Thus the film combines human interest with the science fiction aspects - as well as enormous fantasies for children as Daryl drives a car with great speed and skill along the highway and pilots an expensive plane.

Direction is by Australian Simon Windsor (Phar Lap, The Light- Horsemen, Lonesome Dove).

1. Entertaining family film? Family themes? Science fiction and technology?

2. The technological settings, the laboratories? Cars and planes? The contrast with the ordinary American town, school and homes? The location photography? Musical score?

3. The title and the symbolism of the letters? Daryl as an advanced robot?

4. Daryl, the initial chase, the explosion? His loss of memory? Being found, the hospital, the tests? The family taking him in? Their affection for him? Their friends and their interest and concern? Becoming friends with Turtle? At home, playing the piano, baseball skills? The puzzle about his identity? His talents? The alleged parents coming to get him? The farewells? Turtle upset? His going back in the plane, his not understanding the doctors were not his parents? Back in the laboratories, the tests? His seeming to be completely human - although the power of his brain? His wanting to see the family again? Their coming to see him? Dr Stewart and his relenting? Taking him away, the devices for the escape, Daryl driving the car? The plane, the chewing gum, communication with Turtle, the plane crash and his ejection? Dr Lamb finding him and letting him stay? Being reunited with the family? The plausibility of a robot like Daryl? The military plans to terminate him - murder or the destruction of a weapon?
5. The family, the small town, their love for Daryl, taking him in? His talents and abilities? Happy sequences at home? Letting him go? The visit to the laboratory, Joyce's disbelief? The happy reunion at the end? The portrait of their friends, working at the shelter? Their helping with Daryl?

6. Turtle, two young boys together, friendship, Turtle upset at Daryl's leaving, going to the laboratory, telling him he was a robot? Their discussions about his feelings? The radio link and their being reunited?

7. The doctors and their concern about Daryl, the initial doctor and the escape, his death? Dr Stewart's taking Daryl back, bringing the family? Seeing him as human? Pleas to the military? The escape, the drive, his being shot, his death? Dr Lamb and her sterner point of view? Relenting?

8. The military and their wanting Daryl destroyed as a machine?

9. The popular ingredients of a family story, boys' friendship? The background of fantasy, science fiction? An entertaining combination?

DARKMAN

US, 1990, 95 minutes, Colour.
Liam Neeson, Frances Mc Dormand, Colin Friels, Larry Drake.
Directed by Sam Raimi.

Darkman was co-written and directed by Sam Raimi, the celebrated director of the over-the-top cult films, The Evil Dead. (He also directed the spoof Crime Wave but complained that the producers ruined his original cut - and that even he could not follow the final product.)

Raimi believes in all stops out film-making. The design of the film is lavish, a comic strip coming alive. The violence is strong with touches of brutality in the comic strip style as well. The characters are broadly drawn - though very well acted by Liam Neeson as the disfigured scientist, Frances McDormand? as his girlfriend lawyer and Australia's Colin Friels as the suave and charming maniac. Larry Drake is also very effective as a repellent villain.

There are many holes in the plot and the characterisation - but, nevertheless, the sweep and pace of the film suspends the disbelief while it is there on screen.

Neeson plays a scientist who is disfigured by criminals when they attack his laboratory. With an eye to The Phantom of the Opera, Batman, The Invisible Man, The Hunchback of Notre Dame and Beauty and the Beast, he becomes a caped avenging character who is impervious to pain and emotion and who wreaks vengeance on those who destroyed him. (The film also has a highly orchestrated and forceful score by Danny Elfman, composer of the score for Batman.)

The film's screenplay is not neat in tying up of loose ends - it might have been better had this been so. However, with over-the-top flair and panache, Darkman is a strong action adventure.

1. Impact of the action, adventure? Comic strip style on screen?

2. The background of comic strip writing and drawing and its being dramatised on screen? Larger than life, horrible crimes, elaborate revenge, strong characters and comic strip dialogue? The musical score and its orchestrations?

3. The traditions of universal movies and of comic strips: the obvious influence of The Phantom of the Opera, Hunchback of Notre Dame, The Invisible Man, Beauty and the Beast, Batman ...?

4. The work of Sam Raimi, his over-the-top style? Appropriate to the film?

5. The title, Westlake and his discoveries about light and darkness, his suffering and being in the dark, in the shadows, and the shadow side of his character? Finally withdrawing from the world into the dark?

6. The mood of the film, lightness and dark, violence scope, special effects and action?

7. The portrayal of the city, the old and the new, the future city based on corruption and greed? The girders for the climax? The freeways and the vehicles? Tunnels? Helicopters?

8. The initial confrontation by Durant with the gang, the elaborate set-up in the St Valentine's Day massacre style? The slaughter? Durant and his gang, their cruelty? The taking of the fingers - and being kept by Durant? Giving a tone to the film?

9. Westlake, a serious young scientist, his assistant? Working with the cells and the skin? Their dissolving? The discovery of light and darkness and the preservation of the skin? Julie and Westlake, their love, romantic, the proposal? The document and the coffee stain?

10. Julie, going to Strack, the truth, the document? His insinuating threats? His suave style, vision of building the city? Julie's decisions?

11. Durant and his group, the drug and violence backgrounds, brutality? Their going to the laboratory, the confrontation, the violence to Westlake, the death of his assistant, the mammoth destruction of his work? His own disfigurement? Being propelled into the river? Julie watching? Westlake's escape, going into the hospital, revived, the scientific explanation of his nerves being cut? The doctor and her explanations? Westlake's escape, seeing himself in the mirror, walking the city streets, in the gutters and the rain, the coat? His going to see his laboratory and its destruction? The new laboratory? The experiments, making the skin? The other faces? His quest of vengeance, the photographs, tracking down the group? Taking the brutal assassin and having him in the manhole, his head in the street and his death? The various masks and unmaskings, the fights? The drug payoffs and his taking the money? Durant and the videoed robbery? Confusing people? Taking on the personalities of his opponents and destroying them?

12. Julie and her grief, the funeral? Strack and his offers of consolation? The cemetery, meeting Westlake, her disbelief? The enjoyment at the carnival? But Westlake's anger and the shooting gallery? Her being upset at his not telling her the truth? The discovery of the truth, seeing his face - beauty and the beast?

13. The relationship between Strack and Durant, the meeting, the truth about Westlake, the thugs following Julie, the confrontation with Westlake, the shootings, the explosion, the chase? The range of artillery against him? The helicopter and the pursuit through the city, smashing into the skyscraper? The police pursuit and Durant's destroying them? The tunnel and the destruction?

14. The effect on Westlake, the skins and masks - and their bubbling? His own face? Showing it to Julie? After Durant's death and his pretence? Going onto the girders of the building? Being unmasked by Strack? The confrontation, the danger to Julie, the deaths?

15. The portrait of Strack: his family background, ambitions, suave and charming, dancing, banquets? The proposal to Julie? His charming madness? Orders to Durant? On top of the world, seeming invincibility - and his death?

16. The final rescue of Julie? Westlake's explanation to her, impervious to pain, his moral dilemmas, his thinking it better to disappear and go into the dark?

17. The blend of action and moral fable?

DRIVING MISS DAISY

US, 1989, 99 minutes, Colour.
Jessica Tandy, Morgan Freeman, Dan Aykroyd, Patti Lu Pone.
Directed by Bruce Beresford.

Driving Miss Daisy is a film about goodness - not perfection, human goodness with all its foibles and faults, but its resilience.

The film is based on the Pulitzer Prize-winning play by Alfred Uhry. Uhry adapted his play for the screen. It is directed by Bruce Beresford - and has the humanity of his '80s films Tender Mercies, The Fringe Dwellers, as well as some of the acerbity of Crimes of the Heart.

The film is beautifully acted by Jessica Tandy in one of her finest performances as the feisty but genteel southern lady. Morgan Freeman, quite different from his street pimp in Street Smart and his tough presentation of teacher Joe Clark in Lean On Me, is very affecting as Hoke the driver. Dan Aykroyd changes from comedy to portray the nice but rather bland son of Miss Daisy. Esther Rolle is good in the role of the cook.

The film has the setting of Atlanta, Georgia, the '40s to the '60s. While it focuses on individuals, Miss Daisy is Jewish and Hoke is black. Themes of prejudice are there just below the surface at the beginning but emerge quite strongly towards the end with the presence of Martin Luther King.

Beautifully made, moving and humorous, with a final image of Hoke feeding Miss Daisy in the old people's home - a sign of reconciliation and friendship.

The three stars were nominated for Oscars with Jessica Tandy winning as Best Actress. While Bruce Beresford was not nominated as director, the film itself won for Best Film (beating such high-flyers as Born on the Fourth of July and My Left Foot).

1. A film about goodness, friendship? Race prejudice? America?

2. The Atlanta settings, the period, Miss Daisy's home, the world of the cotton industry? Alabama countryside? The musical score and its themes? Songs?

3. The film based on a play, the adaptation by the author for the screen? Scenes, acts, speeches, interactions?

4. The title and the meanings, especially as regards change and friendship? Quietly driving Miss Daisy to change?

5. The portrait of Miss Daisy and Jessica Tandy's presence? The opening with the car and the reverse? Her friendship with Idella? Her reliance on her son, arguing with him? The insurance question and her ignoring him, singing? At home, the card games with her friends? Meeting Hoke, ignoring him, criticising him, asking him to stop interfering? Her work in her room, writing letters? Her relationship with blacks - references to `they' but declaring she wasn't prejudiced? Going to the store and Hoke following her, getting in, being cantankerous, mistakes about the streets? Her going on more trips with him, taking it for granted? Jewish, going to the temple, prayer, the rabbi? Hoke with the car at the steps and her embarrassment? Her relationship with Boolie, relying on him, his support? Her attitude towards Florine? Disdain? The visits? Her working in the garden? The issue of the can of salmon, her vindictiveness, Hoke and his honesty?

6. The passing of the years, tending her husband's grave? Relying on Hoke, an easier relationship with him? Helping him to read the letters at the cemetery, the Christmas gift of the reading manual? The outings, the '50s? Hoke and Idella in the house and her taking them for granted? Her still being cantankerous? The changing of the cars? The trip to Alabama, her being early, the picnic, held up by the police, being lost and her regrets? Listening to Hoke about his being human and wanting to stop the car? Her telling the story of going to Mobile and tasting the sea? Enjoying the 90th birthday?

7. Miss Daisy in the '60s, the same pattern of life, television in the kitchen, Idella's death? Going with her son and Florine with Hoke to the funeral? The white Jewish group listening to the black ceremony? Her ageing, yet keeping up with the modern world? Having to cook after Idella's death? Arguments with Hoke but following his advice? The seasons, the snow and Hoke coming, their being together? The bombing of the temple and the shock about terrorism? Boolie and his award? The influence of Martin Luther King, Boolie not wanting to go for fear of prejudice with his business associates? Talking to Hoke, not realising he would have liked to go to the dinner, listening to Martin Luther King with Hoke outside? King's words about the good people and their not changing?

8. Her decline in health, imagining the classroom, needing help from Boolie and from Hoke? The tenderness of her saying Hoke was her best friend? In the home, her walking, wanting her visit with Hoke? Talking, sharing, the Thanksgiving pie and Hoke feeding her?

9. Her experience in the south, a 19th century woman, the school and the photos, her teaching, her marriage, learning about cars from her husband, memories of her hard times - but Hoke reminding her that she was rich now? Being careful, slow in the car? Jewish, temple, friends and the mah-jong games? Her pride, suspicion? Not considering herself prejudiced? Yet the separation at meals from Hoke and Idella? Learning, changing? The experience of being equal with Hoke?

10. Boolie and his relationship with his mother, supporting her, exasperated? His wife and her pushiness, showy style, the parties, the cowboy dress, going to New York and Washington? Listening to his mother, hiring Hoke? The decoration of his house at Christmas? The incident of the salmon can? His work at the factory, developments? Not going to Mobile? The award and his speech? Not going to the Martin Luther King dinner? His fears? The discussion with Hoke about the raise? His devotion to his mother?

11. The portrait of Hoke, the introduction to him, helping fix the lift? The interview with Boolie? His past, family, working for the judge? A good man, friendship with Idella? Talking to Miss Daisy, following her in the car, wanting to work and earn his living? Driving her to the market, to the temple? Their easy interaction, her criticisms, his responses? The southern black manner - yet the dignity shining through and his telling Miss Daisy over the years of his rights as a human being? The trip to Alabama, his needing to get out of the car, Miss Daisy feeling lost without him? Being pulled up by the police and their prejudice? The growing friendship, reading at the cemetery, the gift? Buying Miss Daisy's car? Watching television? His shrewdness with his wage increase? Cooking, yet the separate dinner? Martin Luther King's speech? Miss Daisy getting senile, his granddaughter driving him to the home, the visit with Miss Daisy, feeding her? Learning, living with a person, teaching?

12. Miss Daisy's friends, Jewish women of the south, temple, the games?

13. The theme of Jews in the southern states, prejudice, temple, Christmas celebrations?

14. The blacks and the south, Hoke and the 19th century, the stories he told, his experiences, prejudice?

15. The Alabama police on the old Jewish woman and the black chauffeur - a sorry sight?

DINGO

Australia, 1992, 109 minutes, Colour.
Colin Friels, Miles Davis, Bernadette Lafont, Helen Buday.
Directed by Rolf de Heer.

Dingo is an Australian- French co-production. It was written by Marc Rosenberg and directed by Rolf De Heer (Incident at Ravens Gate, Bad Boy Bubby, Epsilon, Quiet Room, Dance Me to My Song).

This is a very handsome production, an accomplished piece of film-making on small budget. Filmed in Panavision, it has some breathtaking sequences of Western Australian desert locations and intercuts these with bright sequences filmed in Paris.

The title, misleading, refers to the character played by Colin Friels, John `Dingo' Anderson. He lives in outback Western Australia, is a dingo trapper. However, when he was a young lad, a jet landed unexpectedly on the tarmac of his town and a black jazz trumpeter and his band played an impromptu concert. It has served as vision and inspiration for him. He has a dream of composing and of going to Paris to play jazz.

The jazz trumpeter is played by the legendary Miles Davis (who died the year after the film was completed). Davis and Michel Legrand composed the original score (winning an AFI award, as did the sound engineering).

The film has a strong cast besides its principals. Helen Buday is very good as Dingo's wife. The French cast includes veterans Bernadette Lafont and Bernard Fresson.

The film combines the two worlds very well, using symbols of the trapped dingo who is able to escape its captivity - symbolising what should happen for Dingo himself as he deals with his life, relationship with his wife and family, his dream of composing and playing.

1. Entertaining film? For jazz fans? The dream and the vision? In the Australian context?

2. Western Australian bush locations, Perth? The use of the Panavision cameras? The contrast with the sequences in Paris? The styles of two different worlds? The filming of the jazz concerts, the jazz performances, editing and intercutting?

3. The impact of the score, the composers, the performances? Miles Davis's style? The jazz and its mood?

4. The title and audience expectations? Referring to John? The symbol of the dingo - wary, escaping the traps?

5. The opening and Dingo playing, the sound reverberating around the hills and the desert? The vistas? His memories: with Peter and Jane, the children, the game, the test of strength, the kissing? The noise of the plane, the whole town rushing out to the airport? Gathering, the plane and its landing - like a vision? Billy Cross and his band appearing, from another world, the decision to play, the performance? The people at a distance, watching and listening? The impact on John?

6. John's experience, the vision, the sense of music, the sound? Learning to play, playing and composing? The tapes and the letters going to Paris? The $300 for his trip? His hopes?

7. John as an ordinary young man, his relationship with Jane and the daughters? The house, the caravan? Scenes of family life, his relationship with Jane and his love and affection for her? At work, in the desert, the tracks, setting the traps, the shrewd dingo eluding the traps? Camping, playing in the desert? Back home, the band, the rehearsals, his being demanding and moody?

8. The portrait of Jane, authentic portrait of an outback wife, children? Their support of John? The friendships, Ruth and Archie and the other people in the town?

9. Peter, his return home, the memories of young friendships, his loneliness, the stories of his success, boat-building, his wife having left him? Being around, sharing with John and Jane? The question, what if...? His declaration of love for Jane? His promises to her? At the dance? The effect on Jane, her love for John, her listening to Peter, telling him to go? Her honesty? Dingo and his playing and wondering what was happening? Peter leaving, his return when Dingo went to Paris? The promises? The audience unsure about Jane's decision or not?

10. Dingo and Archie, Dingo being angry, perfectionist? Archie's reaction, the group setting up the telegram? Dingo's reaction, joy and celebration, buying the drinks? Being drunk, buying all the furniture, their refrigerator? The instrument for Archie? The telling of the truth? His anger, the second telegram, the men in the bar mocking him, punching Archie? His playing at the dance, with the group, imagining being with Billy Cross, his solo effort and oblivious to everyone else? Their amazement?

11. Miles Davis as Billy Cross, playing in the initial concert, talking with Dingo? His interest in his career? His manager trying to protect him? Yet his wanting to send the ticket for Dingo to come to Paris? The outline of his own career and success?

12. Dingo and the crisis, going out to work, Peter revealing the truth about the $3000? His decision not to go to work, going to Perth, confronting Peter, leaving him with the dog? The flight to Paris, the weekend, the man at the office and its being closed? Going to the bar, drinking the Depth Charges? Playing, abusing the police? To gaol? His being bailed out? Going to the Cross home?

13. The experience of the house, the gentleness of Billy's wife? The encounter with Billy, his not being so talkative, John wandering and watching Billy at work, the synthesiser? The background of Billy's career, the stroke, lack of confidence? His not wanting to listen to Dingo's tape - so as not to set up expectations and disappointment? Their talking, the good advice? In the car, the accident? Near the club, going in, being welcomed? Billy enabling Dingo to sit in? The exhilaration of sitting in, improvising, the playing of the trumpet, the performance? The response of the people, the exhilaration? Billy overcoming his difficulties and playing? The evening as a celebration? The fulfilment of his dream, his being able to return? His farewell to Billy, the kindness of Billy's wife? The support of the manager and his wife? The record?

14. Going home for the party, the flight, the drive, no-one at home, asking Ruth, the surprise party, Jane present with the daughters - and beginning a new phase of his life?

15. The world of Paris, the concierge and his collecting stamps, interested in Dingo (and the irony of his not knowing him when he came)? The manager and his harsh decisions? His wife and her sending the letters on? Billy's wife and her kindness? The people in the nightclub, the jazz fans, the proprietor? The players? The tradition of black American jazz players in Paris?

16. Life in the town, ordinariness, people at the pub, the post office, the band, people at the dance (with the long list of thank yous)? Ruth and Archie, the members of the band, the detail of life around the town?

17. The success of the co-production, the international flavour, blending Western Australian outback with sophisticated France?