TURNER AND HOOCH

US, 1989, 97 minutes, Colour.
Tom Hanks, Mare Winningham, Craig T.Nelson.
Directed by Roger Spottiswoode.

Turner and Hooch is a pleasant comedy-crime drama. It also relies on audiences liking dogs. While Tom Hanks is very good as Scott Turner, a Californian policeman, Hooch is a very large, saliva-giving, heavy dog. Needless to say, the two become friends. The friendship is a variation on the odd couple - Turner is obsessively neat. Hooch is naturally untidy and slobbery.

The film highlights the relationship between policeman and dog, even to the investigation of the crime. The crime element and the police investigation take second place to the comedy. Mare Winningham is the romantic interest and a vet.

Direction is by Roger Spottiswoode, director of such good action films as Under Fire and Shoot to Kill.

1.Pleasing comedy, crime drama? Friendship between humans and dogs? The appeal of dogs?

2.California settings, the town? Special effects and stunts? Editing, slow motion - especially for the presentation of Hooch? The musical score?

3.The title, the buddy focus, working together, the odd couple?

4.Tom Hanks as Scott Turner - meticulous, getting up, dressed, cleaning his house (and later cleaning his car, cleaning his partner and his eating the cake)? At work? Showing David Sutton around? Meeting Amos, Hooch coming at him and holding him by the neck? The finding of the money, the discussion with the children finding it? His prospects and moving to Sacramento?

5.Amos, the old man, friendship with Hooch, noticing what was happening in the factory? Friendship with Turner, yarning with him? Overhearing the noise, his murder?

6.Hooch and his appearance, size, often being seen in slow motion, slobbering saliva, his serious look at his grin? Used to Amos's life? Running and getting Turner by the neck, eating the cake? Mourning the death of Amos? Causing the dog-catchers trouble? Going with Turner, to the vet? In trouble at the vet's, his eye on the collie? With Turner in the car, Turner's rules and allowing him in the home, the elaborate detail for each room? Turner going shopping, getting the best for Hooch, paying $97? In the meantime, Hooch going through the house and ransacking it completely? Turner's reaction, the bath, etc? Putting him in his own room, boarding up the door - and finding him in bed?

7.Turner and David, their investigation, the role of the sheriff? Following leads, Hooch at the office, barking at the wedding? The chase of the criminal, the pursuit, the information, searching the factory, the finding of the money in the ice? The villain at the motel, Hooch forcing him to confess? Going back to the factory, the sheriff and the showdown? The sheriff and his plan to cut Turner in? Hooch helping and the final confrontation?

8.The vet, her skill, meeting Hooch, her collie? Turner wanting to give Hooch to her but being caught? Impatient with the paint, helping her paint the house? Wariness about his relationship with her? On the beach, at home? Her theory of getting ideas - and his inability to break through the facts to intuition? Sexual encounter? Discovery of the truth? Her looking after Hooch, not able to save him? The marriage, the dogs, the happy ending?

9.Turner as chief, married, the dogs - and Hooch junior?

10.The comedy appeal, humans and dogs, the crime drama? A pleasing combination?

THE TRUTH ABOUT CATS AND DOGS

US, 1996, 96 minutes, Colour.
Uma Thurman, Janeane Garofalo, Ben Chaplin.
Directed by Michael Lehman.

A light comedy of errors, about surfaces and reality and about love. Janeane Garofalo (not as plain as the screenplay makes out) is a radio vet who charms photographer, Ben Chaplin. But she gets a neighbour (Uma Thurman, who has a loathsome boyfriend) to pretend to be her. There is some amusement in the masquerade and the tangles (with touches of farce) and you know it is all going to work out in the end (not without some pain). The truth (?) about humans.

1.Entertaining romantic comedy? Comedy of errors? Appearances and reality? A romantic film for the mid '90s?

2.Los Angeles settings, Venice Beach and the canals, the beaches, the apartments? The musical score? Range of songs?

3.The tone of the title? Indication of themes? Abbie's radio program?

4.The introduction to Abbie? On the radio, veterinary background? Her answering the questions, style, understanding of animals? Brian's telephone call - and the humour of her answer, getting him to befriend the dog, to keep it? His suggesting that they meet? His waiting for her - her describing herself in Noelle's description, her not turning up?

5.Abbie, Janeane Garofalo's screen presence? Comic style? One-liners and repartee? Her self-image, short, not beautiful? The jokes about her appearance - arriving at the radio station, the elevator etc? Her skill in her work, liking her work? Her relationship with the director and technicians? At home, with her cat, playing the violin? Her lonely life? Her claiming to know Noelle? The interaction with Roy, his violence, the breaking of the bow, her friendship with Noelle? Their discussions - and Noelle's agreeing to go along with the pretence?

6.Noelle, the model? Her relationship with Roy and his domination - and her later realising from the magazine that he was a loser? The friendship with Abbie, putting her foot in it, the flowers and the new bow? Their discussions, her ambitions to go on the radio, the news audition? Going along with the pretence? The meeting with Brian, her carrying it off, pretence? Going to his studio - and the episode with the tortoise? Her reliance on Abbie? Her gradual attraction to Brian? The options for telling the truth - Abbie's failure, her failure? Eating the cake, rushing to the radio station, keeping up the pretence? Going to his apartment, the drinking, the photo session, her remaining? The break with Abbie? Her going on the commercial shoot? Ringing? The discussions with Abbie, with Brian, getting him to write the list, the realisation of the truth? Her getting the job at the radio station? Her future? Attractive, model, not intellectual, scatty, her response to the gift of the book? Getting to grips with her own life?

7.Abbie, falling in love with Brian? Having to keep up the pretence to be Donna, her babble about making cheese from goat's milk? Her not being able to tell the truth? Colluding with Noelle in continuing the deception? The phone call and the seven hours, shared experiences, sexuality? His coming to her apartment and her pretending that she was Noelle? The episode at the radio station when Noelle was late? The decision to go to Brian's apartment, the photo session, her realisation of the attraction between Noelle and Brian? Her disappointment, not answering her phone? The chance meeting with Brian at the cosmetics counter (and the comedy of Noelle trying to help her - and then her returning the goods)? Their walking, talking, confiding? Her return home, disappointment? Brian's arrival, her pretence about Noelle being in the bath, the revelation of the truth? Her response to Brian's being hurt? Going to see him in the bar and his rejection? His sending the dog, putting her on the roller skates, the happy ending? A credible future for the two of them?

8.Brian, English background, photographer, the photo shoot with the dog on roller skates? The phone call and Abbie solving everything? The proposal, his waiting for her? His befriending Hank and training him? Going to the station and mistaking Noelle for Abbie? The beginning of the deception? His knowing that there was something odd but not being able to understand? The discussions in the bar, his ignoring of Abbie? The episode of the phone call, its effect on him, coming to Abbie's apartment? The photo session? The dog always liking Abbie? His chance meeting with Abbie and the discussion about Noelle's not ringing? Confiding in Abbie, lending his coat? The list, the humiliation of finding out the truth? Rejection of Abbie? Discussions with his friend, Hank persuading him to go again - and the comic ending on the roller skates?

9.The background of the radio station, the humorous phone calls and Abbie giving advice about the treatment of animals?

10.Brian's background, his friend and the family (and the tortoise)? The discussions and the support for Brian?

11.How satisfying a blend of comedy, romance? A film for the twenty-somethings of the '90s? The speeches about true love, the inner person, appearances?

TRUST

US, 1991, 105 minutes, Colour.
Adrienne Shelley, Martin Donovan.
Directed by Hal Hartley.

Trust was written and directed by Hal Hartley, New York small-budget film-maker who built a reputation with The Unbelievable Truth in the late '80s, developed it with such films as Simple Men, Amateur, Flirt, Henry Fool in the '90s. He also made a number of short films as well as films for public television, including Surviving Desire.

Hartley writes a characteristic dialogue, a combination of realistic and naturalistic expression with articulate, though laconic, reflections on life. There is a touch of the deadpan in the humour. The film focuses on characters, their idiosyncrasies, the eccentricities of their interactions.

Adrienne Shelley (a Rosanna Arquette look-alike) is particularly effective as Maria. Martin Donovan, a regular in Hartley films, is Matthew, put upon by his demanding father, attracted by Maria, a man of inherent rage and violence. The supporting cast is particularly strong, some in strong supporting roles, others in effective cameos.

The films appeal to an art-house audience, but have the capacity for attracting, with the humour and characterisation, wider audiences who respond to interesting film-makers.

1.Impact of the film? Small budget? Personal style?

2.New York State, the towns, homes, factories, shops? The musical score and its moods?

3.The work and style of Hal Hartley, writing and directing, interesting characters, language? Humour and irony? His perspective on characters and issues?

4.The significance of the title and its relationship to each character?

5.Audience response to the art-house style, mainstream expectations: cinematic styles, plot, characterisation, incidents, dialogue? The film veering towards tangents and the offbeat?

6.The blend of the serious and the humorous? Articulate and inarticulate?

7.The portrait of Maria, her appearance, character, age? Her place at school, at home? Her relationship with her parents? The demand for the $5? The slap? Her relationship with her father, his death? Her mother blaming her? Her pregnancy, the discussions with Anthony, his callousness, preoccupied with sport? Her going to the clinic, the question of abortion? The shop, the dress? Her return home, her grief, the complaints of her mother, her being ousted? Her wandering the town, meeting the mad lady? The baby and the kidnap? Her wanting to buy the beer, the sexual advances of the man in the store? The bar? The encounter with Matthew, hiding at his house? Sleeping, waking? The mess and Matthew's father? At home with Matthew? The irony of meeting her sister in the bar? Going home? Her relationship with her mother and sister? The question of a job? Her learning, becoming more articulate? Facing important decisions?

8.The intercutting of Matthew's experience? A silent brooding character? Strength and weaknesses? At work, his friends and their support? His way of life? At home, the continual complaints of his father, cleaning the bath...? His carrying around the grenade - and its not going off? His going to the bar, aggressive attitudes and punch-ups? Meeting Maria? Taking her home, coping with his father and Maria? The detail of the incident at home and the clashes with his father? Meeting Peg in the bar, his aggressive conversation with her? The irony that she was Maria's sister? Jean and the defiance? The jobs? His theories about television watching, Beethoven? An idealist - and his idealistic saboteur attitudes? The build-up to the clashes, the violence, watching television? Destructiveness? The issue of Maria's abortion? Marriage?

9.Maria with Matthew, her trust in him - symbolised by the fall?

10.Jean, her relationship with her husband, with her daughters, her grief, angers? Working, dominating Maria? Peg and the break-up of the marriage? The irony of the issues about wanted and unwanted children? Drinking, the gin and the Scotch? Getting Matthew drunk, the bed set up and the substitution of Peg? The consequences? Maria and the abortion, the job?

11.Matthew and the detection? The couple kidnapping the baby? Cars, the visit, the finding of the baby? Their coming forward? The clinic, the abortion? The importance of the theme of wanted and unwanted children?

12.The build-up to the confrontation between Matthew and his father? The fight, the violence?

13.Jean and her plans and the future?

14.The film as an ironic slice of life, glimpses of idiosyncratic characters, their interactions - and their future?

TRUE STORIES

US, 1986, 111 minutes, Colour.
David Byrne, John Goodman, Swoosie Kurtz, Spalding Gray.
Directed by David Byrne.

True Stories is an entertaining piece of offbeat American comedy and satire. It is the work of David Byrne, member of the Talking Heads group. He is actor, musician, composer (The Last Emperor) and actor. He collaborated in the writing of this screenplay with actor Steven Tobolowsky and Beth Henley (Crimes of the Heart, Nobody's Fool, Miss Firecracker). He acknowledges his debt to Federico Fellini's Amacord as well as Robert Altmann's Nashville.

Byrne draws on his experience with music videos, experimental work in the film of the Talking Heads concert, Stop Making Sense, directed by Jonathan Demme. The film has the basic framework of a narrator coming into Virgil, Texas. However, the film goes in many different directions, following the strands of the various characters who are introduced - satirically but with some affection. These include Louis, played by John Goodman, the lazy woman (played by Swoozie Kurtz), a family whose father is played by Spalding Gray. There are myriads of characters intertwining for the celebrations of the 150th anniversary of Texas. In this way we are offered an eccentric view of human nature, Texas style, as well as many ingredients for satirising the American way of life.

1.Impact of the film? Humour, satire, humanity? Its offbeat style? The ironic tone of its title?

2.David Byrne's contribution, writing and directing, acting and music? The acknowledgment of Fellini and Robert Altmann? American film-making, experimental film-making and videos?

3.The atmosphere of Texas, real and unreal, the 150th anniversary? Audience expectations of a spoof of Texas? The landscapes, the towns, the South - all larger than life?

4.The piece of Americana, American characters and eccentrics, style of talking, behaving? Extravagant, wealth, clothes? The blend of the serious and the spoof?

5.The narrator arriving, driving, the stylised countryside, the little girl in white? The book about Texas, the photos and the film clips? Virgil, Texas and its tone? The ironic tone of the commentary?

6.The musical score, the range of songs, the lyrics and their meaning, commenting on the action? The blend of the visual imagery and the music?

7.The factory and its personnel, the townspeople? Their being individuals, their being symbolic characters?

8.The range of episodes:
- The Mall: American malls, the fashion show, the models, the eccentric clothes?
- Dinner at the Culvers: the talk about the future, father as patriarch, the mother and the children, the narrator at the meal? The solemnity? Religiosity? The meaning of life?
- Fellowship Hall: the conspiracy to corrupt morals, the speaker and his fundamentalism and anger, the attacking of the media, the industrialists, the CIA?
- Louis, the genial fat man of Virgil, Texas? Wanting to get married, his television advertisement and his pride in it? His going to see the cute woman, the encounter and its failure?
- The Lazy Woman, her wealth, style, in bed, watching television, her servants? The phone? The satire on the type of material she watched on television?
- The talent show and the preparations? The hall, everybody involved, the practices?
- Mr Tucker, the spiritualist, his advice, the impact on Louis?
- The Celebration of Specialness Parade - the narrator watching, the floats, the participants? Americans and parades?
- The concert and the various items: the duelling auctioneers, the yo-yo expert, the dancing cowgirls, Ramon and his band, Louis and his song?
- The Lazy Woman in bed, watching the show, getting out of bed, calling Louis, the proposal of marriage - and the spoof of the marriage in the bedroom?

9.The experience of Virgil, Texas, and of America? American men and women? Traditions, modern?

10.The little girl in white - the symbol at the beginning and the end? The narrator driving out changed by his visit - as were the audience?

TRUE LOVE

US, 1989, 104 minutes, Colour.
Annabella Sciorra, Ron Eldard, Aida Turturro.
Directed by Nancy Savoca.

True Love was made by husband and wife team, Nancy Savoca (co-writer and director) and Richard Guay (co-writer and producer). They are natives of New York's Bronx - and this film about an Italian wedding there captures the atmosphere of its location and characters.

While the setting is particularly American Italians, the universal themes of marriage and weddings breaks through with universal appeal. The characters all talk tough, plenty of swearing - but, after one adapts to this realism, the audience can appreciate the humanity in each of the characters who are so well drawn.

The film is particularly skilful in its focusing on incidents which dramatise the characters, focus the issues - with humour and pathos. The end is uncertain, satisfyingly so - as the audience would wonder whether the marriage will succeed or not. The cast is excellent, the humour abundant, the realism sometimes off-putting but challenging.

Annabella Sciorra quickly went on to have a very strong star presence in the films of the 90s. Ron Eldard also had a strong career but not as a star. Nancy Savoca directed Dogfight, Household Saints and If These Walls Could Talk.

1.A blend of realism and comedy? A picture of the New York Bronx, the Italian community? The particular style - and universal appeal and understanding?

2.The Bronx locations, the streets, the shops, homes? Atmosphere? The musical score, the popular songs?

3.The realism and the almost documentary style? Situations, characters in their environment? Audience response to the realism - not hearts and flowers and happy endings?

4.The title and its truth, its ironies? Donna and Michael and the possibility of true love? Are they too young to marry? Will the marriage be a success?

5.The pre-credits, the video of the wedding ceremony, the introduction to the characters, their spirit and enjoyment? The end with the characters on video, all giving their good wishes to bride and groom?

6.The portrait of Donna: her age, background, her strong relationship with her mother, with her father? Her sister? Her work friends and their easy talking, giving confidences? The Italian tradition? Expectations? Her love for Michael, the presumption of marriage, wondering about its success? Seeing him in the shop, babysitting and lovemaking? The visit to the caterer and the question about blue potatoes, etc? Shopping and the window - and wearing grey or black and white? Their sequences together, their outings, discussions, out with their friends? Her fights with him, anxiety? The phone call in the middle of the night, the sexual relationship? Anger at his going to Atlantic City, being sick? With the girls, having to do all the work for the wedding? The expectations that she behave whereas Michael could have the bucks' party, etc? The girls going to the stripper show? The quiz for the ideal marriage and answering the questions? The morning of the wedding, getting dressed, concern, with her father in the car and his saying she didn't have to marry? Her knowing she would have to go through - otherwise go away from the Bronx? The ceremony, the commitment? The joy of the reception, music and dance? The clash, her going into the toilet, the argument with Michael, the issues, the uncertainty? The photos being taken, bride and groom having to smile? Would she hold the marriage together?

7.The contrast with Michael? His family, his strong relationship with his mother, the support of his uncle? Seeing him at work in the deli? His friends? With Donna, the commitment yet his wild behaviour? His sister and the babysitting? Out and around, the caterer, the shopping and his decisions - traditional? His uncle's party and their watching the sex movie? Going on to the bar? His dependence on his friends? The bucks' party and Atlantic City? The next day and his being sick? Donna's phone call, the sex sequence? The fights? The wedding day and his slowly getting dressed? His giving his consent? Enjoying the reception, the dance? His asking to go out with his friends on the wedding night, Donna's reaction, the discussions in the toilet? His having to face questions? Resolution or not? The final photo? Could he stay in the marriage?

8.The portrait of the families, the importance of family in the Italian tradition, nuclear family, the core, the story of Donna's parents and their eloping, Barbara and her husband? The sisters and their families?

9.The girlfriends, their talk amongst themselves, protective, at work, J.C. and the driving of the cab, looking after her sister? Tensions, their work for the wedding, at the reception?

10.The boys and their toughness, wild, wanting to go out, Kevin as a slob, Dom as the best man?

11.The sketch of Brian and Kevin, together, Brian approaching J.C., talking in the restaurant, his pursuing her, the proposal, her rejection and his being hurt, not talking with her - dancing at the wedding? The focus and contrast with Brian and J.C., Donna and Michael?

12.The sketch of the various relatives and friends, the warning (sticking the husband's head in the gas)? All the relatives at the ceremony?

13.The theme of preparation for marriage, the big event, its hold in people's heads and hearts, clothes talk, invitations, the catering etc? And the humour of the caterer with his spiel?

14.The staging of the ceremony, the arrival, the church, the priest, the reception, the family groups, the dancing and the music, the final photos?

15.The quality of observation, accuracy? Audiences challenged to view these real characters, liking and disliking them? Irritated by them, warming to them?

TRUE IDENTITY

US, 1991, 93 minutes, Colour.
Lenny Henry, Frank Langella, Charles Lane, Melvin Van Peebles, James Earl Jones.
Directed by Charles Lane.

True Identity is an entertaining comedy, a star vehicle for stage and television comedian Lenny Henry. It gives Henry the opportunity to mime a number of characters, do enjoyable voices as well as be transformed into a white man. The screenplay focuses on an ambitious actor, his womanising friend, the tangle that the actor gets into when a plane is about to crash and a Mafia boss tells him the truth about himself and his identity. The plane doesn't crash - and an assassin is set on Henry. However, he accidentally kills the assassin and is mistaken for the killer. An enjoyable number of twists ensue.

Director Charles Lane (Sidewalk Stories and an acting part in Posse) moves the familiar material along with an enjoyable flair. Frank Langella enjoys himself as the villain. Andreas Koutselas, a villain in a wide range of films including Someone To Watch Over Me and The Fugitive, gives an entertaining variation on his Mafia type. James Earl Jones appears as himself in an enjoyable cameo. The film has an atmosphere of New York, the world of the theatre - as well as a great range of amusing variations on a familiar theme.

Michael McKean? appears as Henry's agent and J.T. Walsh appears as an FBI agent.

1.The reputation of Lenny Henry as a comedian, stand-up comic, mimic, parodist? The screenplay utilising all these talents?

2.The title, the focus on Miles Pope in himself, as an actor with a variety of parts, the black man and his white disguise?

3.New York settings, the world of the affluent, the black world, the FBI, the theatre? Musical score?

4.The black perspective on the comedy: writing, acting, direction? The focus on black characters, inbuilt prejudice? The work of Charles Lane - and his performance as Dwayne?

5.Lenny Henry's style, the initial play and his being expected to act in an exaggerated black manner (and the director overjoyed at this)? Arguing with his agent, thinking he was going to perform in A Raisin in the Sun? A raisin - literally? His friendship with Dwayne, Dwayne and his women? Going to Florida, the flight back - and the difficulties of getting on the plane, his pretending to be the doctor of the boxing champion? The clash with Frank? The imminent crash - and being told the truth by Frank? The aftermath of the safe flight and landing? His escape?

6.Dwayne and his attitude, nonchalant, Miles being shot at, wanting to be transformed? Dwayne changing him into a white man? The cabs refusing to stop for black passengers? The woman in the cab trying to be friendly - and his gay routine? His impersonation of white style - walking, talking?

7.The killer and the confrontation, the apartment, the killer being electrocuted? Anthony's mistake? Taking him to see Frank? The parody of the Las Vegas gangster? Going to his house, searching for evidence? The attraction to Kristy? Going to see her and his James Brown impersonation? Proving himself? Searching the house - and the interview with Frank? Proving to Anthony that he was dead - and the prosthetics of the dismembered body?

8.Houston and the opening of the film, the FBI, converging on Frank, the explosion? Five years later and his working in files? Not believing Miles, finally agreeing to meet him, trying to persuade the authorities, the actors as FBI agents, the set-up in the theatre?

9.Frank, criminal background, in the plane, snobbish towards Miles, his theatrical identity? The plane crash and his calm, boasting? The safe arrival and his chasing Miles? At home, his wife, redecoration? His reliance on Anthony? Importing the killer? The encounters with Miles and his thinking him the assassin? The discussions? The final awareness of the truth? The set-up for the theatre? His being humiliated - and worked into Othello? His being captured?

10.Anthony, a variation on the Mafioso type, making the mistake of identity, admiring Miles as the killer, the discussions about guns...? The final realisation of the truth? The set-up in the theatre - and the alternate killer?

11.Dwayne, small, the big women? His helping Miles? The prosthetics? The bullet-proof vest?

12.Kristy, not believing Miles, his true identity, the attraction, helping him?

13.Michael McKean's turn as the agent, his ignorance, sweet talking, going to sleep during Othello?

14.The actors in the play, the playwright, their pretending to be FBI agents?

15.James Earl Jones, the performance of Othello, his being run over, the hospital, praise of Miles?

16.The performance of Othello - and the accusations to Frank in the middle of the play?

17.The happy ending?

TRUE COLORS

US, 1991, 111 minutes, Colour.
James Spader, John Cusack, Imogen Stubbs, Richard Widmark, Mandy Patinkin, Dina Merrill.
Directed by Herbert Ross.

True Colors is a drama of friendship and betrayal in the world of law and politics in the United States.

John Cusack, in a strong performance, is a go-getting young man from a poor background who determines to be in Congress by the age of 30. He uses friends, his wife, her senator father, a gangster, to reach his goals. James Spader is the blueblood lawyer who befriends the Cusack character, is betrayed by him, who then uses the Justice Department means to bring him down. English actress Imogen Stubbs is the wife, Richard Widmark, in a strong performance from his mid-70s, is the senator. Mandy Patinkin is the gangster.

The film has an authentic ring about it, even though it is the material of bestsellers and miniseries. It has an '80s setting with a 1990 election to make it relevant to the American political situation of the '80s and '90s. The film was directed by Herbert Ross, a versatile director of many genres of movies, especially those with music and ballet (Goodbye Mr Chips, The Turning Point, Nijinsky) as well as such films as Steel Magnolias, Secret of My Success and a number of Neil Simon films including The Sunshine Boys and The Goodbye Girl.

1.The title, truth, relationships, friendship, betrayal? In the public world, in the private world?

2.Affluent Connecticut, Virginia, Washington DC? The '80s? The musical score?

3.The opening, the giddy style of the photography, the enthusiasm of the election results? The flashbacks and the return to the opening? Audience interest in the characters, Tim's comment and the focus on the profiles of Peter, Diana and Tim?

4.The University of Virginia, the students arriving, the crash between Tim and Peter, Peter Picking a fight, students holding him off? His smooth talking? The growing friendship? Their studying together, the differing backgrounds and Peter lying?

5.The portrait of Peter: the initial crash, the fight, his apology, smooth talking and offering friendship, sharing studies, relaxing with a drink? The bonding between Peter and Tim? The Christmas holidays, his lies about London, remaining at college, going to the shop, the sexual encounter, the phone call to Tim? Going to Connecticut, the elaborate hiring of the tuxedo, the research about the senator and his staff? The party, his intervening with an opinion, attracting the senator's attention, John's clash with him? The friendship with Diana, their sitting together? The New Year celebration, the hotel and the drink - and his being recognised by his friends? His asking them not to judge him? The truth of his background, his name? Yet the bond with Tim, the joy of the good results? Going to work in Washington? Peter and his shrewdness, recognising the senator out with a woman friend, spiking his tyre, offering to help, giving him the car? The lobbying and pressure? John and his enmity and telling him off? His making the decision not to go back to study, to stay and learn in practice? His work, zest, political success? The friendship with Diana, the affair? Going skiing, telling Tim about Diana - the clash, the skiing, the accident - and his doing a deal with Tim to cover it up? His plan for Congress, his bet with Tim and Diana? His meeting with Palmeri, the gift of the house, the financial backing, the set-up, the favours? The marriage to Diana? Their both working politically, phone calls? The decision to run for office after John rejecting him? Discussion with the senator at golf, the senator's clash with Peter? The senator's illness and its being made public? The announcement of his candidature, the angry reaction of Diana? The meagre statement by the senator? The campaign, the fishing trip with Palmeri, Palmeri pressuring him to use Tim to open an investigation and cast suspicion on the firm? Peter's decision to do it, going to Florida, talking with Tim? Tim and his being suspended, Peter taking him on for the campaign? The visit to the slums - and the irony that Palmeri owned them? Peter and his development of double talk? The election night, the party, the winning, his joy, Diana with the champagne and the bet? Tim confronting him with the truth, the clash, his being filmed? His making the speech - and his ability to justify himself and twist everything - while looking at Tim? Diana present? His arrest? His coming with the case of champagne for Tim, the offer for him to turn against Palmeri? His surviving? The American Dream?

6.The contrast with Tim, blue-blooded background, pleasant young man, car, not wanting to fight, angry with Peter, sharing the room, forgiving him? The friendship, hopes? Wanting to serve the law, not wanting to spend his life aiming for votes? The love for Diana, the affair, her breaking it off? His study, success at his work? Peter telling him about Diana, the skiing - and his allowing Peter to have the accident? His supporting Peter, investigating the Connecticut company? His success with the Florida gangster - and the hostile reaction of the Florida senator? The truth about the investigation and his being suspended? His decision to go against Peter, sharing the campaign? Listening to the speeches, meeting Palmeri? Palmeri roughing him up? His work, the election night, his listening to the result, his being wired, the discussion with Peter being filmed? Confronting him with the truth? Listening to Peter make his speech justifying himself? The encounter on the steps - no hard feelings? His future?

7.Palmeri and his wife, the suave gangster, the financial arrangements, the house, financial support, favours? The deal with Peter? Going fishing - and the battering of the fish? His support, attending the meetings, encounter with Tim? Indicted?

8.Diana, her relationship with her family, wealth? Her own ambitions? Breaking with Tim, fascinated by Peter, marrying him, sharing in his work? Shock at his behaviour, especially about her father's illness? The bet for Peter's ambitions? Giving him the champagne, listening to his final speech?

9.The senator, the New Year's Even party, political and financial discussions? His staff? His ability to play hard ball? Yet his honesty? Peter and his bringing the senator in and support after blackmailing him? The scene on the golf course - and his clash with Peter? The meagre introduction to his candidature? His wife and her support? Care about Diana? His staff, John, his understanding Peter, warning him off? The senator elected?

10.The picture of political staffs, their work, lobbying in Washington, reading of the times, shrewd, deals?

11.The Justice Department, its reputation, officials, collaboration, undercover work, indictments?

12.American society, politics, ambitions, the law? The style of American for politicking for 200 years?

TREMORS

US, 1990, 96 minutes, Colour.
Kevin Bacon, Fred Ward.
Directed by Ron Underwood.

Tremors is a very entertaining science fiction thriller. It echoes the B-budget movies of the past, retaining much of their ingenuous style, naivety and innocence. However, it benefits from the special effects of the '80s and '90s. The screenplay was written by S.S. Wilson and Brent Maddock (Batteries Not Included, Short Circuit II) and directed by Ron Underwood (Short Circuit II and the more upmarket City Slickers).

The film is reminiscent of Them and other mutant creatures threatening civilisation in the desert. However, there is a lot of tongue in cheek, especially the banter between Kevin Bacon and Fred Ward as the two handymen who have to confront the graboid monsters. The characters are eccentric and entertaining, the dialogue crisp and the special effects effective. An entertaining blend of thrills and humour.

1.The science fiction tradition, the B-budget movies, the conventions and genre? The blend of the serious and the humorous? Crises and adventure?

2.The western settings, the echoes of westerns? The echoes of monster movies? The appeal to the cinema-going audience, film buffs?

3.The irony of the town of Perfection, Nevada? The desert town, its population, houses, the work? The special effects for the town, the stunt work, the monsters themselves? The musical score?

4.Val and Earl as modern cowboys, at work in Perfection, buddies, the interaction between the two, the humour? The situation at their work? The seismic readings? Finding the dehydrated man? The slaughtered cattle and the farmer? The difficulty in starting their vehicle - and the tentacle? The setting for the action?

5.The monsters, the visual impact, sense of menace? Credibility? The actual attacks? Jim and Megan, Nestor, Mr Chang, Burt and Heather? The reasons given for the mutation - radiation, the environment, politicians and the military?

6.The town under siege, the sense of menace, Mr Chang's shop, the roof, the townspeople and their plans?

7.Val and Earl as heroes, the comic touch, their ability to help, their work with Rhonda, helping the people, being pursued, getting from rock to rock? Saved?

8.Rhonda and her studies, the information about the monsters, her being trapped, helping the boys, in the town, pole-vaulting across the rocks, safety? Her information about the origins of the monsters?

9.The attack on Perfection, the monsters themselves, the shop, destruction, Mr Chang and the roof? Mindy and Rhonda being saved? Burt and Heather as survivalists, the elephant gun, their shooting, their explosives?

10.The upheaval, the roof, Nestor falling from the roof?

11.Val, the hero, gathering everyone together, the bulldozer and the trailer? The tactics to kill the monsters? The fishing line, the short fuse? The spectacular crashing of the monster?

12.Audiences identifying with the situations - larger than life, but...? Menace and ordinary heroics? Innocence - always the human beings saved by humane people?

13.The background of science fiction? The '90s comments on the nuclear threat, the environment, scientists, the military, extraterrestrial explanations?

TRAPS

Australia, 1986, 98 minutes, Colour.
Carolyn Howard, Gwenda Wiseman, John Flaus.
Directed by John Hughes.

Traps is an experimental feature film, a focusing on contemporary political issues rather than on narrative. It follows conventions set by such films as Citizen Kane and the Polish films by Wajda, Man of Marble and Man of Iron, with their focus on a reporter researching characters and historical issues. This small-budget film does not achieve the artistic success of the previous models: nevertheless it is a bold and interesting experiment.

The political point of view is very strong, a stance on the Left. The film traces back aspects of Australian political history from the '40s and '50s with the antagonism towards Communism and suspicions of its infiltration. The film is critical of the Liberal Party and the influence of the Catholic Church, especially the movement and B.A. Santamaria.

The principal focus of the film is from March 1983 to December 1984: the period of the first Hawke government. The film looks back to the Whitlam era, allegations that the CIA was involved in his dismissal and the influence of American powers on the ACTU and Bob Hawke. The film has long sequences in the Canberra tally room in March 1983, focuses on the Labor Conference of 1984 and culminates with the re-election of Hawke as Prime Minister.

The film has a number of authentic interviews with such people as Michael Gill of The Age, Anthony McAdam? of Quadrant (putting forward a Right Wing point of view), David Combe, Mark Aarons, Dennis Freeny, Paul Lyneham, P.P. McGuinness? and reporters from the Financial Review. These are quite well inserted into the main story of a journalist trying to build up programs, well researched, on Australian contemporary politics.

There is an interesting insert at beginning and end with academic/actor John Flaus portraying a Catholic priest in the confessional talking about the influence of the Catholic church (with help from excerpts from Phil Noyce's Newsfront). Artist Gwenda Wiseman, an artist for the BLF, appears as herself. Screenplay and direction are by John Hughes with the assistance of his producer Paul Davies (who appears, not to advantage, as a journalist, George).

The film in many ways preaches to the converted - but it is an interesting contribution to the development of Australian cinema.

1.The impact of the film as a feature, as fiction, as documentary? Its contribution to the Australian film industry?

2.Political and social stances: a critique of the '80s, the '80s and retrospect, the political Left? The research basis of the film? Allegations of bias? Options and opinions? The range of the selection of visual material, interviews? Settings and comment? the Australian Labor Party, Labor governments, the ACTU? American influence? The CIA?

3.The cinema qualities of the film: the narrative and research genre and conventions? The realistic atmosphere? Locations in Canberra, Sydney and Melbourne? The authentic flavour of the '80s? The flashbacks? The suggestions in the opening sequences: the killing of the American journalist in the '50s, the plane journey to Canberra and the crossword puzzle? The confessional sequences? The editing of the interviews - facts, selection of contributions from the interviewees? Their settings? The focusing on the processes of radio and television editing? Live action? The narrative? Explanations and personalities? Meshing well together?

4.The title and its sinister tones: traps and pitfalls, traps as snares to catch people, people being trapped? The relevance of the comment on traps to political and social situations?

5.The focus on Jude and her work, her work in the past, her commitment, to minority radio? Her dedication to her research? Visits to Canberra and presence at the Labor Party conference, her home in Melbourne, her work there, interviews, the visit to Sydney? Talking and listening? Seeing her at work on her editing? Her friendships - Gwenda, George and the discussions about the Whitlam era, the changes in the '80s? Her own stances?

6.The sketch of Gwenda as an artist, her work for the Builders' Labourers' Federation - as a kind of chorus to Jude's work, her friendship, her art, the critique of her art, her criticisms of men and authority? The taking of her art in procession? Her support for Jude?

7.The sketch of George - as a journalist, his fixations, his interpretation of 1975 and messages coming through crosswords (and his joke about this), his focus on works and their significance? Friendship with Jude?

8.The sequences with Father Coghlan: the confessional and its implications, his showing the excerpts from Newsfront in the confessional! The role of the Catholic church and faith, its hold on truth? The focus on 1951, Our Lady of Fatima and the alleged Fatima Secrets, the visions of 1917 and the Bolshevik Revolution? The use of Newsfront to show the atmosphere in the church at the time, the role of the priest, anti-Communism, the reaction of the laity? The transition to the role of the church, the National Civic Council and its certainties? The interview with John Grenville and his assessment of the NCC? The comments on B.A. Santamaria? The impact of the confessional scene at first? Towards the end of the film and the comments on faith and truth? (And the short sequence where John Flaus walks along a Melbourne street and greets Jude?)

9.The understating of Australian history from the '50s: the Communist menace, the influence of the United States, the CIA, the Petrov affair, critique of ASIO and its influence, the Whitlam era, the dismissal and its repercussions? The use of Marian Wilkinson's film Allies, the excerpts, the reviews, the reception afterwards, the interview with her and the purpose of a film exposing American CIA activities and their influence in Australia?

10.The interviews concerning the United States, the influence on the ACTU, on Bob Hawke? The relationship between Hawke and the Americans? The 1983 election, the tally room, the role of television (and making politics a media event), the contrast with 1984? The discussions about uranium and Hawke's stand? The bulb going off and Hawke's expletive `Jesus Christ' and his laugh afterwards? The point of the repetition of this? December 1984 and the end of the film - the prospected for the Hawke government, the influence of business, Labor Party policy?

11.The scenes in the tally room, the authentic atmosphere, the explanations of the set-up - interesting cinema, documentary, contribution to the film?

12.The interview with Anthony McAdam? and the point of view of the Right, his writings in the Melbourne Herald and Quadrant? His comments on the Combe affair? His defence of the Prime Minister? His analysis of the Vietnam War and its impact on university students, their radicalisation? The critique of his viewpoint?
13.The interviews with journalists: Michael Gill of The Age, Mark Aarons and his comments about ABC programming, Dennis Freeney and his work on The Tribune - research and articles, Paul Lyneham and his work at Channel 7 and the editing of news programs, the Financial Review and its influence, the journalist, the factions, P.P. McGuinness? and his policy? The comment on the newspapers making the agenda of meetings and the television and the radio media with their duty of telling stories?

14.The impact of the sequences on the Labor conference and how it works, personalities, the factions and their roles, decisions, the openness of such meetings to the media?

15.The portrait of David Combe, the political crisis, the Ivanov affair? In himself, in relationship to the film Allies and ASIO? His presence at the Labor conference, his explaining the workings of the conference? Combe as a personality in himself, for the film?

16.The film's political consciousness, communication of information, critique? The presentation of facts but the importance of interpretation? The nature of decisions, the influences on decisions? Conspiracies?

17.The film's portrayal of the role of media: the newsprint media, permanence, setting agendas? The role of radio - especially interviews? The role of relationship and its ability to tell stories rather than set agendas and analyse? The comment of P.P. McGuinness? that the tabloid papers are for entertainment? Who judges what is to be put in? Editing and censorship? Seeing Paul Lyneham and his techniques for editing a television program, timing etc? Jude doing the same with her own research?

18.The role of a political film in Australia? Its potential audience? Its effect?

TIME GUARDIAN

Australia, 1987, 87 minutes, Colour.
Tom Burlinson, Dean Stockwell, Nikki Coghill, Carrie Fisher.
Directed by Brian Hannant.

Time Guardian is an Australian contribution to the Star Wars Star Trek movies. It is derivative of Star Wars, and especially the Star Trek series. It seems to have a dash of Dune as well as The Karate Kid.

The film was co-written by the director Brian Hannant and the Australian critic John Baxter. It is surprisingly derivative of the films in the genre.

Tom Burlinson is the star and Nikki Coghill the attractive heroine. Carrie Fisher and Dean Stockwell came from America to contribute their parts - Carrie Fisher well, Dean Stockwell might have phoned in his performance.

There are good special effects and sets contrasting with the use of the Flinders Ranges for the 20th century sequences. There is plenty of stunt work and action, the introduction of aboriginal themes. However, the screenplay is fairly basic in its use of words and drawing of characters. There is a theme song sung by Angry Anderson.

1.The popularity of this kind of science fiction? Star Wars and Star Trek? Derivation from the movies in the genre? Dune, The Karate Kid? And Australian version of Star Wars?

2.The set decoration, the special effects? The city? The futuristic atmosphere? Musical score?

3.The use of South Australian locations, the town, the desert, the ranges? Action? The final song?

4.The film as derivative? Its place in the genre?

5.The information about the future? The city, the neutron wars, humans and their survival, the robot Jindeckis? Battle for control? The visualising of the battles? Defeats? The time line and its energy?

6.Ballard as hero, his fighting, working with Petra and clashes? Entering the city, his contact with his teacher, the traditions? Clashes, council meetings? His macho style, advice? Going to the 20th century?

7.Anne, her geological work, giving the prospector the lift, the discussions, the atmosphere of mystery? The town of Midas? The hostility from Roy? The extraordinary storm? The puzzle, the mountains, the aboriginal drawings and the representation of the future city?

8.Life in the city, its being visualised (in Fritz Lang's Metropolis tradition)? The boss, the situation, Smith and his control, the council and their meetings?

9.Ballard and Petra, his training, their returning to the 20th century? The aborigines and their help? Anne and the Jindecki, rescued by Ballard? Anne learning from Ballard? Helping, the romantic swim? Into town, the truck and the death of the driver? The police suspicions, their being thrown in jail? The escape? Roy and his antagonism, taking the piece of the future machine, his greed, vanishing? The police chief and his fiddling with the bands, bringing the Jindecki? The destruction of the town?

10.The Jindecki's arrival, the fights and destruction, Petra and her dying to save the other two? The arrival of the city, the warriors and the battles?

11.Peace, the destruction of the chief Jindecki, taking out his heart - and the discoveries of his heart as a machine and its control by the leader, the death of the leader? Ballard in charge of the city? Anne with him?

12.Comic strip adventures, the appeal to the imagination, science fiction, clashes between good and evil?