Provincial-elect, Stephen Hackett, has named the Provincial Council which will begin office on Juy 1^st

Stephen’s ministries have included Education, St John's Darwin and Monivae, Chaplain at the University of New South Wales, early parish appointment to Park Orchards-Warrendyte, parish priest appointments in Casuarina, NT, Camp Hill, Queensland and Moonah-Lutana, Tasmania. He also served as Viar General and Chancellor the diocese of Darwin. Since 2016 he has served as Secretary of the Australian Catholic Bishops Conference.

Kimi Vunivesilevu and Peter Hendriks

Kimi, First Councillor, from Fiji, is parish priest of Kippax, ACT, and Chaplain at Daramalan College.

Peter is currently Deputy to the Provincial and will be Second Councillor and Secretary. Peter has worked in Education at Monivae College and has been parish priest of Nightcliff, NT.

Dominic Gleeson is community leader at Douglas Park, has been parish priest and community leader in Adelaide, has served as Deputy Provincial, has worked in formation, currently Pre-Novitiate Director.

Phil Hicks has just celebrated 50 years of ordination, has served in all our colleges in Australia, colleges in Ulapia and Hagita, has worked in formation and until recently was parish priest of Coogee.

Pat Mara spent several years with the Tiwi people on Bathurst Island. He is the parish priest of Randwick.

Thoi Tran arrived in Australia by boat from Vietnam, was one of the founders of the MSC presence in Vietnam, community leader, in Vietnam for almost 19 years. He is currently parish priest of Coogee.

AKA

France, 2023, 122 minutes, Colour.

Alban Lenoir, Eric Cantona, Thibault de Montelembert, Sveva Alviti, Saidou Camara, Lucille Guillaume, Kevin Layne, Hugo Dillon.

Directed by Morgan S. Dalibert.

The title indicates that this is an action drama about undercover agents, also known as…

The film is quite exciting, action French style. The opening is particularly striking, exotic, Africa, a dangerous situation, a reversal of roles, the targeting of the villain, the escape of the hero. That is just a prologue, as the hero, Adam Franco (Alban Lenoir, who appears in many action films including the two Lost Bullet actioners as well is American films, Taken, Erased) meets his controller, is given a new target. The situation is quite complex, the target a drug dealer from the Sudan, linked with the businessman Victor Pastore at footballer turned actor, Eric Cantona).

Adam, a loner with no connections, is shown ingratiating himself with the businessman, getting a job as part of security, some camaraderie with the others while asserting his toughness and independence. In the background is the businessman’s family, his alienation from his wife who runs prostitution under the cover of his club but who is in league with a rival gangster, his disaffected student daughter, and his little son who forms a bond with Adam. When the rival gangster abducts the boy, Adam has to juggle between his infiltration and getting information about his target and rescuing the boy.

Which leads to quite a lot of action and fighting.

There is a switch of sympathy at the end of the film when Adam finds his Sudanese target and finds that all is not as he has been told – that the target is innocent, a victim, come to Paris for an operation on his sick daughter, and the government Minister who has hired Adam actually wants to get rid of the target with whom he had dealings in the past, shady dealings.

Audiences who like this kind of undercover action story will find a great deal to enjoy in AKA.

1.     The title, indication of undercover agents, identities, challenge to identity, assuming identities, keeping cover, dangers?

2.     The opening, the North African setting, the operation, the introduction to Adam Franco? The situation, undercover, tracking down criminals, dangers, violence?

3.     The French settings, the city, government offices, drug dealers, mansions, schools, outings and fairs? Clubs, streets, locations for violence? The musical score?

4.     The film indicating the dangers for undercover agents, assuming a personality, keeping consistent, judging situations, relationships, but all the time detecting, communicating? The employment of undercover agents? Here the controlling agent, the liaison with the government Minister?

5.     The story of Adam Franco, age, personality, background, individual, individualist? Seeing him in the initial action? The discussions with Kruger? The new target, the background of the Sudan? France and the colonial connections? Business deals? Allies? Drug dealers and their wealth? Adam inserted into this context? The effect on him personally? And the two agents covering him, observing from their cars? The dangers for them? Leading to their deaths, Mona, wounded, the information to Adam?

6.     Victor Pastore, his past, dealings, secrecy, links? The Sudan? His wealth, his second wife, no love lost, her work with the prostitutes, the club and the cover, the clients? The daughter, rebellious, the studies? The young boy, his age, growing up in this situation?

7.     Adam, the interview with Victor, Adam’s techniques, ingratiating, yet tough, no holds barred, his being employed? Meeting the other members of the group, challenging the authority of the head security guard, his being warned? Interactions with the others, a certain camaraderie?

8.     Pee Wee, his place in the household, security, his friendship with Adam, communications? His connections with Moktar?

9.     Moktar, the Sudanese background, being targeted, Adam to find him, that he was back in France, the link with Victor, the drug dealing?

10.  The series of action sequences, Adam and his defending the fellow security guards, further ingratiating himself, getting more responsibilities?

11.  The human touch, bonding with the little boy, the criticisms of Helene, driving the boy to school, clashes about picking him up? The birthday, the boxing and the boy enjoying the practice, Adam and his advice?

12.  Amet and the other thugs and gangsters in the city, Victor’s wife and her connection, to betray him? The violence, the abduction of the boy?

13.  Adam, Helene, liking Adam, trusting him, wanting him to help? His behaviour towards her?

14.  His being on guard, if the challenge of the abduction, his going into action, the fights, the rescue?

15.  The alert, the group detecting that he was undercover, the fights, the dangers?

16.  Adam finally tracking down Moktar, the presence of Pee Wee, Adam and the confrontation, the twist in the plot, the revelation about Moktar, his being the target of the Minister, concern about his daughter, the operation, his being in France? The explanation, his killing himself? Pee Wee and his working with Adam, the rescue of the daughter?

17.  The final violence, the shootouts?

18.  The Minister, the revelation, his motivations, his connections with his officials, with Kruger, targeting Adam?

19.  The ending, the newspapers, the expose of the Minister?

HARD FEELINGS/ HAMMERHARTE JUNGS

Germany, 2023, 102 minutes, Colour.

Tobias Shafer, Cosima Henman, Axel Stine, Doris Golpashin, Yuna Bennett, Tom Beck, Au/Ra, Vivien Konig.

Directed by Granz Henman.

This German film has been labelled “a raunchy comedy”. And, in many ways, it is. And, judging by responses, most have stayed with the raunchy aspects of the comedy. However, there seems to be a more serious undertone to the themes which might be well worth considering, especially for those young audiences who are responding to the raunchiness.

This is the story of Charley, bullied while young, criticised for his “small dick”, and this continuing into his teenage years at school, mocked by everyone at the swimming pool, comparisons made with the popular youngsters at the school. Charley has had a lifelong friend, Paula, also looked down on by the other students. There are scenes in both households, Paula and her widowed mother and her rather smart younger sister; Charley at home with his earnest parents who seem to be falling out of love with each other, on the verge of separating, the mother using a dating service, the father, handyman at the school, lodging there.

But, the main inventiveness of the plot is that Charley’s penis has a voice, Willie, and Paula’s vagina also has a voice,. Part of the comedy is the dialogue between genitals and characters, the genitals solely focused on sexual stimulus and activity, raunchy in their dialogues with their owners. Charley and Paula, on the other hand, are more traditional in their approach to sexuality, having a more mature approach than some of the others in school who vaunt their sexuality, their dating, performance.

The drama is in Charley being led on by the glamorous student at the school, drinking, thinking he has been involved in some sexual activity, spurning Paula. Paula, on the other hand, has teamed up with the jocks star of the school, found his sexuality inadequate and he starts spreading disgusting stories about her.

The point for this film being something of a moral fable is the emphasis on a more holistic approach to sexuality than mere concentration on those voluble genitals. And, the subplot involves Paula relying on her mother and sister, Charley involved in supporting his father, urging his parents to get together again.

As with the society which puts light value on experiences of sexual intercourse, this is offered as the solution to the problems. On the other hand, it does highlight sexuality values, personal values, and something of an ethical moral code, exemplified by Charley and Paula, and criticised in the other characters.

Not essential viewing, of course, but, in these permissive days, it could well serve as a moral talking point, opportunity for teenagers to have some discussion about sexuality and personal issues.

JOYRIDE

Ireland, 2022, 95 minutes, Colour.

Olivia Coleman, Charley Reid, Lochlann O'Mearain.

Directed by Emer Reynolds.

Joyride is a brief Irish film, small-budget. It is a road film, an unlikely duo driving through the Kerry countryside.

The odd couple comprises a 14-year-old boy, Charlie Reid in his first screen performance, very convincing, and Oscar-winning veteran, Olivia Coleman as the solicitor in the town, having given birth to a baby, wanting to get to the town where her sister lives and entrust her with the child.

The film introduces Molly, Charlie Reid, singing in the pub, raising money for his dead mother’s charity, remembering scenes on the beach with her. His father is a Rogue, takes the money, Molly getting it back and rushing into a taxi, not noticing Joy and the baby in the back.

Antagonism at first, then cooperation, a whole lot of incidents along the way, taking different cars, some crashing, breaking through a police barrier, diluting the pursuing father on a ferry.

A lot of close-ups of the baby, its various moods, and the difficulty for the mother in feeding, with Molly showing great tenderness towards the baby.

There is a dramatic crisis the end, the rogue father and his opting for money rather than for his son in the water, rescued by Joy.

A small film, well acted, Irish atmosphere.

1. An Irish story, characters, situations, emotions?
2. The title, a road film, the roads of Ireland, cars, trucks, ferries? The musical score?
3. The focus on Mully, age 14, singing in the pub, raising the money for his dead mother’s charity, the flashbacks to him on the beach with her, her photo? His father, a rogue, stealing the charity money? The audience, the applause, Mully confronting his father? Taking the money?
4. Getting into the taxi, driving, the discovery of the baby, the discovery of Joy? His dilemmas, driving, Joy and her reaction?
5. Joy’s story, solicitor, in the town, knowing Mully, his father, friends from school with his mother? Her unexpected pregnancy, giving birth? Wanting to get to her sister’s house, giving her the baby? The plan to take the plane journey and escape?
6. The interactions between the two, Mully, assertive, the issue of the money, his care for the baby, tender? Joy, her determination, the interactions with Mully, hostile, assertive, the care for the baby, its crying, the milk? The driving, the crash, no more milk? Breast feeding the baby, the baby and willing, Mully encouraging the baby and Joy?
7. The back stories, gradually emerging, Joy and her work as a solicitor, her skills, no explanation of the pregnancy? Mully, the clashes with his father, the phone calls? The father and his plan to meet the couple at the ferry?
8. Characters along the way, the diner, caravans, the ferry and the woman selling the food…? Particularly Irish?
9. The bonding between the two, supporting each other, the baby, decisions about where to drive? Getting the ferry, the pursuit by James? The friendly captain on the ferry?
10. The variety of cars, taking them, crashing, the device of getting through the police barrier, Mully in the boot, discovered, Joy driving off?
11. Joy, going to her sister, the bonds between them, taking the baby? Going to the plane, buying the clothes, the ticket, demanding to get off the plane, the encounter with Mully?
12. The return, on the beach, Mully going into the water, the flashbacks for Joy, with her demanding mother, supervision, her sister, Joy floundering the water, her mother leaving her, eventually rescuing her?
13. James, the money, not going after his son, Joy rescuing him, audience harsh judgement on James, and hopes for Joy and money for the future?

ROSIE

Ireland, 2019, 86 minutes, Colour.

Sarah Greene, Molly Mc Cann, Darren McKenzie, Ruby Dunne, Ellie O'Halloran, Moe Dunford.

Directed by Paddy Breathnach.

Rosie is an Irish drama, with a top screenplay by novelist Roddy Doyle (The Commitments) and directed by veteran Irish director, Paddy Breathnach (I Went Down, Blow Dry, Viva). It was strongly topical at the time of its release at the end of the 2010 is. It continues to be relevant, with the problems of high rental, scarcity of accommodation, evictions, families living in cars and the consequences for relationships.

Sarah Greene is a strong Rosie, mother of four children, wife to John Paul who has to keep working after the family is evicted because the landlord wants the house and land for redevelopment. For much of the film, Rosie and the children are in their car, even having to spend the night in the car. And there are consequences for the young children, problems at school and the authorities wanting reassurance that the family is stable, one of the little boys running off to the old home to play on the trampoline, care for the youngest children.

The film is quite harrowing to watch because it is so well written and so well acted. Many audiences will identify with the situation, with the characters – but it is an appeal for compassion and understanding.

1. Dublin, 21^st-century, the homeless? A Roddy Doyle script? Insight? Compassion?
2. The city of Dublin, ordinary streets, homes, hotels and interiors, schools? Authentic feel? The musical score?
3. The action taking place over two days? The effect? Identifying with the family, with Rosie, the children? In the car?
4. The situation, the landlord selling the house, the family homeless? Arrangements for hotel accommodation, booked out? Continuous phone calls? Travelling around in the car?
5. Audience identifying with Rosie, her age, background, bad memories of her father, clashes with her mother, not wanting to stay in the family house, her sister also not visiting? Young with her first child, the other three? Her relationship with John Paul? Strong, moments of desperation, emotional, the impact of the refusals at the hotels, the night at the hotel and managing? Getting the children to school, picking them up? Kayleigh and her disappearance, tracking her down, at her friends? The discussion with the school principal? The girls criticising for the sister being smelly? Her losing her temper with the children, dragging Archie from the trampoline?
6. John Paul, love for Rosie, his work, overtime, the phone calls, coming to meet them, discussions with his boss, the meals, in the car, the search for Kayleigh? His sitting out in the parking lot?
7. The four children, their ages, personalities, the three girls, Archie? In the car, behaviour according to their age, squabbling, wanting to go to the toilet, the dolls, the visit to the old house, the trampoline? Kayleigh, at school, going off with her friend? The two girls, travelling, at school, smelly? Needing to go to the toilet? The grandmother? The experience of being in the car, homeless, the hotels? The final, sleeping in the car?
8. Work situations? Hotels, accommodation, the city of Dublin’s help? Booked out? Getting ready for bed in the toilet at the diner?
9. Rosie’s mother, memories of the past, Rosie resenting her father? The invitation to stay? Her having to make an ultimate decision about staying?
10. A gruelling experience to watch, identifying, compassion?

ASPHALTE/ MACADAM STORIES

France, 2015, 100 minutes, Colour.

Isabelle Huppert, Gustave Kervern, Valeria Bruni Tedeschi, Tassadit Mandi, Jules Benchetrit, Michael Pitt.

Directed by Samuel Benchetrit.

This is a very personal film by its writer-director, Samuel Bent to treat, using some of his stories from his 2005 collection of short stories, Debut des Chroniques de l’Asphalte. This is a story of French suburbs, drab in appearances, old, sometimes crumbling, lifts not working… But, behind the surfaces, the potential for friendships, and, in this film, some very unlikely friendships.

The film has a very strong cast of veteran French actors as well as American Michael Pitt and the director’s son, Jules, as an aspiring actor.

The more familiar story is that of the ageing actress who has fallen on hard times, no work, living alone, but befriended by the young aspiring actor on the same floor of the apartment block. And, she is played so well by Isabelle Huppert (who has definitely not suffered the same fate in her own career).

There is the pathos of the story of a wheelchair bound man, Gustave Kerven, attracted by a woman on the same floor, Valeria Bruni to destiny, and their relationship.

There is also an unlikely story of an astronaut who has fallen from the sky onto the roof of the building and who is cared for by one of the tenants. Michael Pitt is the astronaut. Tassadit Mandi is the sympathetic woman.

Humane, often endearing, often irritating, often provocative.

1. The title, asphalt and the streets, the city streets, the neighbourhood, run down, the apartment blocks, the interiors, staircases, elevators? The hospital? The city views, the roof? And the looking to the sky – and space? The musical score?
2. The focus on people in the apartment block? Downstairs, the store, Dede and his friends, deals? Sterkowitz on the first floor, the others upstairs? Charlie living with his mother? Jeanne and her moving in? Madame Amida and her son in prison?
3. The images of the sky, the sequences in the spacecraft, John and his presence, the exercise? The group looking at the sky, the space landing, on the roof of the building? John Emerging? Bewildered? NASA and the contact, his having to wait two days? The satire on the ineffectiveness of NASA and communications, tracking devices, using the ordinary phone? Finally sending a helicopter?
4. Sterkowitz and his story, his age, the community meeting about the elevator, the decision to buy the new one, to forbid Sterkowitz using it, his agreeing? In his apartment, buying the exercise bike, his collapse, to hospital, his condition, return in the wheelchair? The irony of the staircase, his timing the usages of the elevator, moving out at night, to the hospital, to get food? Meeting the nurse, the break, working during the night, the smoke? The conversations, increasing night by night, her not being married, not having any story, Dowdy and her appearance? Sterkowitz and the attraction, building up the story about his being a photographer, finding his mother’s camera, taking photos from the television, building up his album, showing it to the nurse? The talk about travel? His asking to photograph her? His being caught in the lift, missing the meeting? Getting out of the wheelchair, stumbling and walking, the final encounter, telling the truth, taking the photographs? The future?
5. John, meeting Madame Amida, not speaking French, not speaking English? Her welcoming him, food, couscous, letting him use the phone, her son’s room, his clothes? John feeling more at home, the meals, the talk, sharing songs, sleeping? The bond between the two? His finally leaving? The back story of Madame, her son in prison and her visits, her watching soap opera, John knowing the stories and telling her what happened, her disillusionment? A pleasing story of friendship?
6. Charlie, his friends, going to school, his lifestyle? The encounter with Jeanne, her being locked out, getting Dede to open the door, the lift doors stuck and his kicking them? Discussions with Jeanne, her room, not unpacking, her story being an actress, finding the VHS, watching the film, Woman Without Arms (and actual sequences from Isabelle Huppert’s The Lace maker)? The photos? Her moods, the friendship? The discussions about the audition, Charlie encouraging her, her drinking, collapse on return, his caring for her? Reading the play, the discussions about rehearsals, wanting the younger role, urging her to the older role, the interpretation of a gripping Agrippina? Her getting some confidence?
7. Small portrait of a cross-section of ordinary people?

BELIEVE ME: THE ABDUCTION OF LISA McVEY

Canada, 2018, 87 minutes, Colour.

Katie Douglas, David James Elliott, Rossif Sutherland.

Directed by Jim Donovan.

A Canadian feature film about an actual case, set in Florida, the abduction of an 18-year-old girl, Lisa McVey by a serial killer, Bobby Joe Long, raped and then helped in captivity, continual rapes, his decision to get rid of her, hopefully and his letting her go.

This is very tough material. Lisa had been living with her neglectful grandmother and her boyfriend who molested Lisa. When she returns from her abduction, many do not believe her because of the details of her ordeal, but a Detective, Pinkerton, believes her and works with her to identify the abductor. The screenplay follows this in some detail, an intense investigation.

The perpetrator was a serial killer, responsible for a number of crimes in Florida, arrested and then tried, receiving the death penalty.

Katie Douglas plays the young Lisa effectively. Receive Sutherland is the abductor. David James Elliott is Pinkerton, the detective. The actual Lisa makes an appearance as herself.

The film had television and streaming release. In addition to its television broadcast, the film also received a special theatrical screening in Tampa, at the very same theater where Bobby Joe Long was arrested in 1984. The screening of this movie was attended by the real Lisa McVey Noland (Wikipedia)

A postscript revealed that Lisa lived happily with Aunt Carol, Uncle Jim, and Lorrie for many years. Pinkerton remains friends with Lisa to this day. As it shows an adult Lisa near the same tree before she drives off, the post-script continues by stating that Lisa became a deputy sergeant in Sex Crimes, working to protect young people from situations similar to hers. Bobby Joe Long remains on death row. A later airing of this film added that he was eventually executed in prison via lethal injection in 2019.

1. Based on a true story? The final images, Lisa as an older woman, police, grandmother?
2. The Florida settings, the city of Tampa, the trailer-type neighbourhoods, the streets, buildings and apartments, police precincts? The musical score?
3. The first half of the film, the impact for women watching the abduction, the imprisonment, the rapes and assaults? The impact for men? The second part of the film and the police procedural?
4. Lisa, her age, at the diner, her charm with customers? Riding home? Her grandmother and her harshness? The man in the house, sexual abuse, the arrangement, the grandmother approving? The contrast with Lisa’s sister, living with her mother, the mother hard and judgemental? The phone calls between the sisters?
5. The abduction, at night, the revelation of stalking, the blindfold, not preventing Lisa from seeing so much detail? The apartment, the shower, the assaults? The sandwich? Lisa in the bathroom, leaving the fingerprints? Noticing the detail? The hairpin in the apartment? Her blood in the car? Her pleading with her character, talking about looking after her father? His decision to let her go, under the tree? The symbol of the tree of life?
6. The police investigation, the serial killer, the women, torture and deaths? The link with the abductor, Lisa, her story, not being believed, her grandmother and the phone call to the police, the officers listening to her story, thinking she was making it up? Her growing desperation? The title of the film?
7. Pinkerton, his status in the department, listening to Lisa, empathy? Her gradual revelation, her father not permitting the hypnosis, the revelation that h was not her father, his abuse, his arrest? The grandmother sitting alone?
8. The developments, Lisa and her memories, the details, what she saw under the poorly fitting blindfold? The sketch? Informing about the fingerprints? The important driving, her memories, finding the area, the tree?
9. The other detectives, seeing the abductor, the photo in the car, the car details, eventually arresting him? His admitting his guilt, saying there was something wrong with him?
10. Lisa, reunited with her sister, her sympathetic uncle and aunt? Her 18^th birthday?
11. Lisa, as witness, helping to solve the case? And her subsequent life and career?

Some images for tomorrow’s celebration, the Feast of Our Lady of the Sacred Heart

A mother in every culture.

MSC Media and Communications in Vietnam

A report from our confrere, Bang, who was a delegate to the Chapter.  ·

We have some hard times in doing some kind of Media in Vietnam, especially while our MSC community in Vietnam is not registered to the government.

However, there is some good news and development in this aspect of the Media fields.

We have produced some kind of magazine which is called "Dakilos or Amans", since 2021. And We try to keep doing this continuously each year.

• We are starting to establish our MSC Vietnam website. It is in a process of working with the Web-designer. (We have done the outline description and document, photos and some needed material (facebook, youtube......) We hope and try our best in order to run it during the 20 years of Jubilee of MSC in Vietnam on 21/10/2023.

- We have the group of "Young Lay MSC" associates. They also develop in doing some media work in Cyber world by establishing their Youtube channel to make an Audio Book each year. They are doing well now.

• Besides all those mentioned, we try to translate and distribute the MSC Magazine from the Australian Province, Bulletin News from General Team to our Family members from both Brothers and Sisters MSC Congregation. And We also have produced the Calendar to distribute to people, particularly to our benefactors with the purpose of promoting Vocations to our MSC as well.

Postscript - Good News: Approval received for the Facebook page, functioning.

And a page

And another page

THE MOTHER

2023, 115 minutes, Colour.

Jennifer Lopez, Lucy Paez, Omari Hardwicke, Joseph Fiennes, Gael Garcia Bernal, Paul Raci, Edie Falco.

Directed by Niki Caro.

Thumbnail review: action show with mother searching for her abducted daughter, fights and shootouts. For audiences who do not like this kind of thing, read no further. For audiences who do, they can check out how The Mother works.

While watching the Mother, audiences might be thinking of Taken (and it several sequels) – an abducted child, a parent determined to find the child, no holds barred. But, instead of Liam Neeson, here is Jennifer Lopez.

Halfway through this film, the narrative seems to come to a conclusion. But, there is more, almost like the sequel being within the first film.

The Mother begins with Jennifer Lopez, who never has her own personal name, is always The Mother, being interrogated by the FBI, a sudden explosive intrusion, deaths all round, the villain escaping an exploding fire, the sympathetic FBI agent, William (Omari Hardwick) surviving – and the villain having stabbed at the pregnant Mother who then gives birth. For everyone’s safety, the baby is adopted out. And The Mother hides out in the snowclad wilds of Alaska.

Then 12 years pass. And, the film goes into desperate action, William letting the mother know what is happening, the abduction of the child to Havana, William and the Mother in pursuit, desperate car chases (smashing every obstacle in the way, the Mother too responsibly callous in her pursuit), desperate chases on foot, shootouts, and Jennifer Lopez is right in the middle of it all (which could make Liam Neeson and other action stars somewhat envious!). And, in the no holds barred scenario, men and women do battle, fight one-to-one, as equals.

Once the danger is settled, the daughter continues to be in danger from the villains (who are portrayed by Joseph Fiennes and Gael Garcia Bernal). So, moving somewhat into Jack London territory, White Fang territory, The Mother trains her 12-year-old daughter in survival techniques as well as military action, setting up the sequel within the main feature, quite an attack by white clad snow bike riders, desperation for The Mother, the daughter rising to the occasion.

The film is been directed by New Zealand’s Niki Caro who rose to prominence with The Whale Rider, moved to the United States and has made a number of successful films including North Country, The Zookeeper’s Wife. This film is also a star vehicle for Jennifer Lopez, entering the action hero stakes. (It is alarming to read so many of the comments on the IMDb hostile to Jennifer Lopez, criticising her for having a vanity project, wanting to point out how many inadequacies, highly personalised and offensive trolling. Critics were more positive and the public liked the film)

Once again, for audiences of this kind of action show, worth a watch.

1. The popularity of this kind of action show? Abductions in search? Confrontations, violence? But with a female lead?
2. The structure of the film, two films in one, the first half introducing The Mother, her situation, her daughter, the adoption, her 12 years hidden in Alaska, going into action, the abduction search, resolution, then a second half, like a sequel, training her daughter in the wilds of Alaska to build up to the final confrontation? Dramatically effective?
3. The Mother, Jennifer Lopez in the role, convincing as an action hero? The initial interrogation by the FBI, her determination, military background and record, skills, sniper, the background of the men in the arms deals, her discovery of the children in the van, her going to the authorities? The safe house, the attack, the FBI agents, Adrian and his viciousness, stabbing the pregnant Mother, her setting the flames, the explosion? Her surviving, giving birth, William and his injuries, hospital, Adrian escaping with burns to his face?
4. The birth, the Mother wanting the child, the agency speaking straight about the situation, the adoption? William and his promises?
5. The Mother, travel to Alaska, her contact in the store, comrades in the past, the hut, her isolation, in the wilds? 12 years?
6. William contacting her, her travel to Cincinnati, seeing Zoe, her parents, with her rifle, the message concerning the abduction, the two vans, her shooting, the deaths, the van getting away with Zoe, William and the Mother going to Havana, tracking down the abductor, the foot chase, the car chase, knocking everything out of the way, the interrogation of the abductor?
7. William, continually helping, gratitude for her saving his life? His reaction to her interrogation techniques and torture? Going to the mansion, killing all the guards, finding Hector, the flashbacks to the taking of the children, exploiting them, her killing him, the house on fire?
8. The rescue of Zoe, her fears, loving William, the return to the US, the diner, Zoe asking whether the Mother was her mother, the Mother’s reticence? Almost at Cincinnati? The pursuit, the crashes, Adrian and his confrontation, William’s death? The Mother suspicious, on the motorbike, rescuing Zoe?
9. The second part of the film, Alaska, Zoe’s reluctance, animosity towards her mother, the guns at her training, the shooting of the deer, Zoe refusing to eat the meat of deer and rabbits, the encounter with the wolf and the cubs, her hand being bitten, the doctor, the information going on to the computer, making it available for the pursuers?
10. Jons, fighting the past with the Mother, the store, his helping her, his talking with Zoe? Zoe reading her mother’s letter and explanation?
11. Being in ready for the attack, Zoe and her survival skills, shooting? With her mother on the tower? Adrian and the villains, the white uniforms, the snow bikes? The action, sniping, picking off the attackers, the buildup to the confrontation with Adrian, the Mother fighting him hand-to-hand, unconscious, his taking Zoe, the Mother shooting, the car crushing, Zoe coming to rescue her mother?
12. Comparisons with male action heroes, the relationship with her abducted children, the emphasis on motherliness, distance, bonding?