IMPOSTOR

US, 2001, 96 minutes, Colour.

Gary Sinise, Madaleine Stowe, Vincent D'Onofrio, Tony Shalhoub, Tim Guinee, Mekhi Phifer, Lindsay Crouse, Elizabeth Peña, Shane Brolley.

Directed by Gary Fleder.

Impostor was originally intended to be one-third of an anthology film, The Light Years Trilogy.  When the project was abandoned, this film was expanded to a longer running-time and released as a feature film.

Gary Fleder, the director of such thrillers as Things To Do In Denver When You're Dead and Don't Say a Word, creates the atmosphere of Earth at the end of the 21st century.  There is  unrest in the galaxies.  There are weapons experts and security agent.  However,  the issue of identity is to the fore in this film (and the title).  The issues are the same as in Philip K. Dick's other story, Do Androids Dream of Electric Sheep, which was the basis for Blade Runner.  The characters do not know whether they are fully human or whether they are replicants. 

Gary Sinise is the central character, unsure of his identity, having difficulty in relating to his wife played by Madeleine Stowe, and his superior played by Vincent D'Onofrio.   The plot is quite complex as theories are given and visuals are produced to show how replicants can take over human beings, with the result that the hero does not know really who he is.  A similar use was made of replicants and clones in the Arnold Schwarzenegger thriller, The Sixth Day.

Critics were very harsh on Impostor, criticising it for not having the status of Blade Runner and Minority Report which was released at the same time.  However,  devotees of Philip Dick's science fiction praised the film and considered its modesty as a virtue and suggested that it remained close to the literary style, characters, themes and issues of Dick's literature. 

1. Science fiction from the early 21^st century? The setting Is Later in the 21^st-century? Alien invaders, the taking over of Earth, the creation of replicants, the infiltration by replicants, the bombs?
2. The visuals of Earth at this period, familiar sequences, forests, homes? The contrast with government, police, military, laboratories? The musical score?
3. Audiences interested in the stories by Philip K. Dick? The various film versions, comparisons? Similar themes, identity, replicants?
4. The political situation, Earth, protection from aliens, buildings, covers? The government, the Chancellor, totalitarian rule? The military? The Chancellor as target?
5. Audience introduction to Otham, to Meyer, their life together, his work as a scientist, replicants, bombs instead of hearts, their programming?
6. Maj Hathaway, attitude towards Otham, interrogation, to check whether he was a replicant, his escape, being helped by Cale, stalker, going to the hospital, Maher and her work there? The attempt to test his heart?
7. Into the woods, Hathaway and his pursuit, the memories of the happy time in the woods, the discovery of the actual body of Maher, the realisation that they were replicants, of them and is realisation, triggering the bomb, destruction?
8. News bulletin, the Hathaway and the of them is were killed? The government cover-up? Cale and his reflection about the reality of the people he knew?
9. A variation on the artificial intelligence theme, and alien invasions?

EMPIRE OF LIGHT

UK, 2022, 115 minutes, Colour.

Olivia Coleman, Micheal Ward, Colin Firth, Toby Jones, Tom Brooke, Tanya Moodie, Crystal Clarke, Monica Dolan, Ron Cook.

Directed by Sam Mendes.

The title sounds very grand, the overtones of Empire, the overtones of light. And, writer-director, Sam Mendes does have a grand perspective on the world of cinema, of moviegoing, of audiences caught up with light, images and stories.

In fact, the Empire of the title is the old cinema on the seafront at the British resort, Margate. The film is set in Britain, 1981, more specifically, England, and most specifically, Margate. Older audiences will feel very much at home inside the Empire, the familiar foyer, the glass ticket box, the ushers, the grand staircase, buying popcorn and refreshments, the two cinema halls, old-style auditoriums, proscenium, curtains… Which might make younger audiences realise how much they missed out on in the past, acknowledging that some cinemas like this do still exist, but we live in the 21^st-century world of streaming.

Sam Mendes has been very successful as a theatre director, many awards, and then his film career, already an Oscar in 1999 for American Beauty, then a range of films including Road to Perdition, two James Bond films, Skyfall and Spectre, and his emerging his audiences in the World War I trenches on a day mission in 1917. So, for Mendes, there is the Empire of theatre, the Empire of cinema, Empire satellite.

So, while we relive those old moviegoing days (as well as a visit to the projection room, the vast 35mm projectors, and roof and wall covered with posters and photos), this is the story of a middle-aged woman, unmarried, nervy, needy, Hilary – and another fine performance from Olivia Coleman (who is proof that a woman in her 40s can emerge as a star, television and cinema, Oscar for The Favourite).

We do see Hilary at home, quiet and lonely, and a visit to the doctor and discussions about her health, her lithium program, yet her seeming to be continually depressed – and a harsh reason aggravating the depression, the cinema manager, played by Colin Firth, uses and abuses her sexually, casually. But, a young man, West Indian heritage, comes to work at the Empire, Stephen, played with charm by Micheal Ward. Hilary is wary but they become friends when he shows her how to tend a pigeon, caught in the vacant upstairs, former cinemas and restaurant space, the pigeon having broken its wing. The two of them bond, affectionate, sharing time together, she mentoring him, and a happy day bus excursion to Hastings to the beach.

But, while Hilary seems to be more cheerful with Stephen’s influence, enjoying herself going to a dance hall, she does have some outbursts, even against Stephen, railing against men making decisions for women.

There is quite a dramatic, climactic sequence when the Empire holds the premiere of Chariots of Fire, speech by the manager, high moment in his career, and Hilary, in evening dress, coming to the stage, reciting a poem by W. H. Auden about dancing, then, feeling embarrassed, confronted by the manager and her denouncing him publicly, his wife looking on, he shaming her about her mental health.

Along with the issues of mental illness, there are the racial issues of England in the late 1970s, early 1980s. Stephen is attacked in the street. There is a cavalcade of bikers coming into Margate followed by a large crowd of skinheads who attack the cinema, bash the staff, are brutal towards Stephen.

One reviewer referred to the scenario as muddled. Yes, there are many themes interwoven but not muddled, rather dramatised in their complexity.

So, cinema themes and the reality and what is the magic of cinema, Mendes naming quite a few of his favourites with glimpses of scenes from Stir Crazy (mixed race comedy with Gene Wilder and Richard Pryor) and a wonderful climax for ourselves and for Hilary as she watches Peter Sellers in Being There.

1. The title? The Margate cinema, the Empire? The world of cinema, in the cinemas, the light, the stories, and empire?
2. England, Margate, 1980-1981? The seafront, the outside of the cinema, the interiors, foyer stairs, auditoriums, projection room, the abandoned and old restaurant? Homes and flats, hospital? The trip to Hastings on the beach? The musical score?
3. The work of the director, writing and directing here, his own love of cinema, age 16 at the time of this story? His career on stage? Career in cinema, Oscar, James Bond, 1917…? Love for cinema, the titles chosen for the notices outside the Empire, the films screened, the clips from Stir Crazy, and the screening of Being There and its meanings for Hilary? The projection room, Norman and his stories, the range of posters and photos all over the wall, roof? The audience seeing this part of the empire through the eyes of Stephen?
4. Cinema going in 1981, the numbers, ticket sales, cues, food and popcorn, the range of patrons, friendly, Mr Cooper and his arrogance and racism? The range of the staff, Neil, sympathetic, intervening with Stephen and Hilary? Janine, her look? The other young men? Norman, his story, leaving his family, not seeing his son in London, his love for film, showing Stephen how to make the connections between reels? His screening Being There for Hilary?
5. Hilary’s story, her age, living alone, working at the cinema, the various jobs, from sales to cleaning up popcorn? Her interactions with the staff? Being called by Ellis to his office, the sexual encounters, then disregarding her? Visits to the doctor, the lithium treatment? The screenplay’s gradual revelation of her mental condition? Meeting Stephen, the episode with the pigeon and its broken wing, his tenderness? The attraction, the kiss? The relationship, their being together? The trip to Hastings, the sandcastles, her unexpected outburst against men’s control? Returned home? Her not coming to the cinema? Stephen and his influence for her betterment? The preview of Chariots of Fire, her speech, her reading of Auden’s poem, the dress, leaving, the confrontation with Ellis in the foyer, speaking bluntly, his wife discovering the truth? Her embarrassment and not coming to work? Ellis calling her schizophrenic?
6. Stephen story, background, hoping to study architecture, not getting in, jobs, coming to work at the cinema, meeting the staff, friendly, the racial situation in 1981, references to all the riots? His being attacked in the street by the skinheads, the police moving them on, the bikie Convention in Margate, the skinheads, bashing on the locked cinema doors, breaking the glass, coming in, the fights, bashing Stephen, being taken to hospital, the long time in recovery? His mother, the nurse? Her talking with Hilary and encouraging her? His gradual recovery, Hilary going into care, his meeting Ruby, meals at home, walking with her, the encounters with Hilary on the garden seat? His recovery, getting into architecture, Hilary happy for him, the gift of the book by Philip Larkin, the poem, Trees, “Afresh… Afresh… Afresh…?
7. Hilary, her age, prospects, the romantic touch, going to the dance hall, her initial awkwardness, later dancing happily? Socialising at the cinema? But the manifestations of her erratic behaviour, mental condition? At home, Stephen trying to help, social work, coming in, taking her away? Her months away? Her return, to the cinema, talking with Norman, Stephen having talked about films and how she should see them? The request to Norman? Alone watching Peter Sellers, tears, his character, on the spectrum, the “Holy Fool”? Hilary and her joy in watching the film, the story, identifying, in the Empire of light?
8. Stephen and his mother, her work as a nurse, wise, advice?
9. The staff at the cinema, Neil and his presence, observing, advice? Janine?
10. Ellis, the manager, cheating on his wife, his use and abuse of Hilary, saying his wife didn’t know, the premiere of Chariots of Fire, the preparations, the crowds, his speech, Hilary and the poem, his anger, confronting her, his wife? And his moving on?
11. The complexities of the themes, cinema and its role, storytelling, images and light, the world of the cinema auditorium, and the theme of love, deprivation of love, sex, abuse, mental conditions, and the racial situation and political situation of England, 1981?

MINE

US/Italy/Spain, 2016, 106 minutes, Colour.

Armie Hammer, Tom Cullen, Clint Dyer, Annabel Wallis, Geoff Bell, Juliet Aubrey, Ines Pinar Mille.

Directed by Fabio Guaglione, Fabio Resinaro.

Mine has a gruelling story. And, audiences watching it will find much of it gruelling. It is a war film, set in North Africa, American marines and snipers, on a mission to capture an important local target, tipped off that he will be present at a wedding. However, the two snipers are surprised to find that there is a wedding celebration, the radio authority telling them to shoot. However, at some stage, the groom stands in front of the target, the shot is lost, but there is a reflection and the locals realise that they are targets and escape.

The film focuses on the two Marines and their attempt to get back to base, having to walk through the desert, enormous sandstorms, and, as the title indicates, mines.

One of the men, played by Tom Cullen, stands on a mine, loses his legs, eventually shoots himself. The other man, played by Armie Hammer, stands on the mine and is transfixed. The bulk of the film shows him standing, unable to move, talking with his friend, dismayed at the friend shooting himself, stranded in the desert, eventually able to make some radio contact told to wait for more than two days for a rescue.

Armie Hammer gives a tour de force performance, one of his best. And most of the action depends on him, standing, kneeling, thirsty, hungry, the blazing sun, the sandstorms, the threat of prowling animals and attack, a visit from a local Berber who philosophises with him about the meaning of life, eventually does give him something to drink, and the daughter of the Berber, also something to drink, and her playing with the toy soldier.

There are also hallucinations, of his friend coming alive and giving him advice, especially in the confrontation with the beasts. He imagines he sees the vehicles coming to rescue him. But, most of all, there are a number of flashbacks to his past, his relationship with his girlfriend, their clashes, his violent attitude and behaviour, leaving her, and memories of his father and his brutality, punching his son, and the violent treatment of his mother, and her death in hospital.

Which means that the scenario is something like a purgatorial experience for the Marine, an experience of dying over a long time, memory surfacing, his having to come to deal with his life.

There is an irony in his stepping off the mine and discovering what was really in the ground.

The Canary Islands stand in for North Africa.

1. Title? The mines in the ground? The meaning of mine and possession, of Mike and his life, his memories, good and bad, Jenny, mother and father?
2. The film as a kind of purgatorial experience, the experience of a long dying, of memories and the purging of memories and feelings?
3. The North African desert, filmed on the Canary islands? The vastness of the desert, the long shots, the isolation of individuals in the desert? Remote, helpless?
4. The mission, the two snipers, the target, arrival, the authority on the radio, determined that the target should be shot? The discovery of the wedding, the ceremony, bride and groom, rituals, Mike and his wariness about the shot? His companion urging him on? The work of a sniper, patient, focusing? The groom standing in front of the target? The shot lost, with the reflection, the group escaping, the attack on the snipers?
5. The escape, walking through the desert, the two talking together, the past friendship, Tommy stepping on the mine, losing his legs, his reaction, talking with Mike, his eventually shooting himself?
6. Mike, standing on the mine, alarm, keeping his foot on the mine, standing, kneeling, manoeuvring, talking with Tommy, the effect of Tommy’s death?
7. The bulk of the film, Mike and his isolation, radio contact, the long delay in rescue, the sandstorms and their vastness, thirst, hunger, reaching for his pack? Reaching for the flare? The many hours, night and day?
8. Seeing the Berber in the distance, his walk, zig-zag as if avoiding the mines, coming to Mike, the language, English, coming close, tantalising Mike, the water? The visit, discussion, meaning of life, taking steps forward, risk? His return visits? His little daughter coming, the water, the toy soldier, her return with her father?
9. The importance of the flashbacks? The opening farewell to Jenny, memories of her, the memories in the desert, at home, in the bar, his violence, the punch, at home, clash, leaving, looking back? Memories of his childhood, his father violent towards his mother, his father turning on him, punching him, the repeat of that scene?
10. The animals and their attack, the tactics, his imagining Tommy alive and advising him, the discussions?
11. The radio contact, the further delay in rescue? His desperation, day and night, heat and cold, water, trying to reach the flare, trapped? The final despair, stepping off the mine, no explosion, digging it out, the tin with the toy soldier and the irony? The red of the flare in the sky?
12. The final hallucination with his father, the gun, ready to shoot, the father approaching, the embrace, the mutual embrace?
13. The return, Jenny waiting for him, a future based on this experience?

10 DAYS OF A GOOD MAN

Turkey, 2023, 124 minutes, Colour.

Nejat Isler.

Directed by Ulux Bayraktar.

A Turkish private eye drama, based on a novel by Mehmet Eroglu who co-wrote the screenplay.

As with any private eye story, there are complexities, wheels within wheels. Nejat Isler plays Sadik who admires the American private eye stories, having a copy of Robert Altman’s version of Raymond Chandler’s The Long Goodbye on his television, a big poster behind it, close-ups of Elliot Gould as Marlowe, Sally dialoguing with Marlowe about his case and what Marlowe would do.

It emerges that Sadik has spent time in jail, taking the rap for his wife and her business deals, her divorcing him and remarrying, and again becoming involved in shady deals with her new husband. She also tells Sadik that she is pregnant.

However, the audience has been alerted with a bizarre sequence at the opening of the film, two masked characters in ritual costume and dance, attacking a victim, with knives, slitting his throat – and then seeing the body being buried. The victim is a young man, Tevfik, whose mother is anxious about her son’s disappearance, ask a former colleague of Sadik to employ him to investigate and find her son.

As indicated by the title, the action takes place over 10 days, each signalled clearly.

But, there is quite a range of characters. Sadik at one stage is abducted and brought to confront a man who calls himself Sir, brutal, seen torturing victims with a grotesque spanner like tool. And he has various henchman who reappear throughout the film. Then there is the sister of the man who has disappeared, angry with her mother, teaming up with men, very assertive, wanting money for education, tangling with Sadik but eventually on side with him supplying information, her brother’s phone…

Then there is the husband of the solicitor who asked him to take on the job, also with criminal connections. And, there is the underage prostitute who lives in the building where Sadij lives, naive, ingenuous, helped by Sadik and beginning a relationship with him. And, he has many dreams, to the music of Vivaldi’s various seasons, of living in luxury life on a tropical island.

For those who enjoy the complexities of the private eye genre, there is much to keep the interest going, especially when the masked characters of the prologue are unmasked, albino twins who are seeking ultimate pleasure which they know comes from evil.

However, Sadik is able to confront those who need confronting, refuses to help his ex-wife and records a confession from her husband, arranges all kinds of setups when the disappeared man appears, Sir and his henchmen, the twins, a violent confrontation.

While it seems that he can go on his island trip with a friend, an actress, and the young prostitute whom he has rescued, there is to be a sequel: 10 Days of a Bad Man.

1. A Turkish thriller, private eye investigation?
2. The Turkish settings, the city, contemporary, modern in style, very Western? No glimpses of the monuments or the touristic aspect of Turkey? In the dreams of the tropical island, the rowing boat, the companion, Vivaldi’s four seasons?
3. The 10 day structure, audiences identifying with this, the days passing, the developments? The time pressure for a resolution?
4. Sadik as the private eye, his apartment, his devotion to The Long Goodbye, Elliot Gould as Philip Marlowe, on the television, Sadik always watching him, conversing with him about his case? The landlady and her complaints? The young girl, prostitute, his helping her, beginning a relationship with her? The actress, the friendship over many years, her memory fading, her career fading, friendship?
5. The prologue, the masks, the costumes, the murder, the burial? The young man, his mother concerned, her contact with the solicitor, the solicitor persuading Sadik to take on the case, his visit to the mother, her devotion to her Nightingale son, meeting Pinar, her age, manner, saucy, money for education, her relationship with the solicitor’s husband?
6. The complication with Sadik and his being abducted, the garage, the torture chamber and the victims, the tool? Sir, the confrontation, sodic making his case, promises to Sir, let go?
7. The complications with his ex-wife, going to jail for her, the business complications? Pregnancy issues? Her remarrying, the new husband, shady deals, the law after them, their wanting Sadik to take the rap and go to jail again, the money? His confrontations with them, the husband’s confession, being taped, his abandoning his wife?
8. The solicitor, friendship with Sadik, contact, her husband, his behaviour, offenders? The divorce, Sadik promising compromising photos?
9. Pinar, her connections, behaviour, change of heart, Sadik helping her, money for education, her giving him her brother’s phone with the links?
10. The phone call, the woman, her affair, Sadik trapping the missing man and the woman, tying them up, Sir and his thug, shooting him, the car? The visit to the twins, albinos, the comments, sadistic, the pleasure of evil?
11. Sakid his bringing everyone together, the confrontations, the burning of the house? His having the car, the money?
12. The solution, the decision to go for the island, the actress and the young girl? But the promise of a sequel…?

PARADISE HIGHWAY

US, 2022, 115 minutes, Colour.

Juliette Binoche, Frank Grillo, Morgan Freeman, Hala Finley, Cameron Monaghan, Veronica Ferrers, Desiree Wood.

Directed by Anna Gutto.

The drama does not exactly live up to its title. This is no Paradise. And the highways are those of the southern states of the US, Tennessee, Mississippi…

In fact, this is a Juliette Binoche film. She has shown over several decades her versatility and a wide range of roles, French dramas and comedies, arthouse films, and quite a number of films internationally, even venturing into the world of Godzilla. But, we have not seen her in a role quite like this.

She plays Sally, a tough truckie, swearing-mouthed, driving her cargo around the highways, in radio contact with a number of her sister-drivers who do come to her help in times of trouble. She has a brother, strange to see her billed along with Frank Grillo who is best known for action thrillers, especially with Bruce Willis. He is in prison, bashed in prison, about to get out, but influenced by some of the thugs, and getting Sally to drive a special cargo.

So, while the film has the elements of drama and thriller, it has a strong social conscience because the cargo is a young girl (very vigorous performance by Hala Finley) who is to be delivered to traffickers. But, the young girl shoots the trafficker and she and Sally have to escape, to hide, and the police and the FBI become involved.

On the one hand, we have Sally and the girl able to escape the police, though Sally does go to the truckstop and gets drunk, and there is some sighting of the young girl. There is an escape, Sally drunk, and the girl driving the truck, evading the police on a side road. They then make contact with the brother who has come out of jail.

On the other hand, we have the earnest young FBI agent, Cameron Monaghan, rather wet behind the ears in terms of practical work, but working with an ex-agent who allows himself to go rogue when needed, and expected performance by Morgan Freeman. They work together, trying to solve the mystery of the dead trafficker, pursuing Sally, finding Sally and the girl.

In the meantime: Sally sells her truck, and plans to go to Florida with the young girl, caring for her. But, her brother is still in league with the traffickers and there is a violent showdown.

Very mixed reviews of the film, some condemning its cliche and predictability, others consider it a very serious drama about social issues and amazed at the performance by Juliette Binoche.

1. A message film about human trafficking contained in a trucking thriller? Dividing the critics, dividing audiences, those focusing on the thriller aspects, those concerned about the social theme?
2. The title, the open roads and highways, bridges, the towns, the truck stops, police precincts? The musical score, the use of One Thing and Another, and during the final credits?
3. The cast, wide-ranging, Juliette Binoche and Frank Grillo as brother and sister? Accents? Morgan Freeman, his age, agent consultant? The truck drivers, Desiree Wood as a driver and is film consultant on trucking?
4. The southern states, Tennessee, Mississippi… The police, human trafficking in young girls?
5. Sally’s story, audience surprise at seeing Juliette Binoche in this role, tough, age, driving, swearing, drinking, her bond with her brother and the prison visit and phone calls with him? Memories of their childhood, later visiting the home? Her skill in driving, being asked to deliver the little girl, and willing, the pressure on Dennis from gangs within the prison, bashing him, making demands? Sally, the driving, the contact with the other women, the sisterhood of the drivers? The hostility of Leila, conflict between the two? The drive, arriving at the destination, the car and the dealer, Leila shooting him? Sally leaving him to die? Their escape?
6. The introduction of the two traffickers, the contract with them, issues of the delivery, the money, getting in their car, driving, the death of the trafficker? The continued pursuit, where of the police, the buildup to the final confrontation? The link with Dennis?
7. The murder scene, local police, the FBI, the young agent, nicknamed Yale, working with Derek, the banter between the two? Yale is very earnest, wet behind the years? Jerry, his age, his methods, working with Yale, their travels together, going to the truck stop, the interrogations, meeting Sally? Finding the leads, the pursuit of the truck, Sally invading them? Continuing to travel, Yale and is learning on the job? Derek and his conversations with Sally, his concern?
8. Sally, at the truck stop, concealing Leila, Leila and the African American woman and her son, a moment respect? Sally, in the bar, dancing, drinking, escorted to the truck, the two women wanting Leila, Leila and the baseball bat? Sally being kicked? The escape, the police pursuit, Sally drunk, Leila guiding her, the side road and concealed?
9. Dennis, released from jail, the going to the house, Sally and the scene of her selling her truck, wanting the money to look after Leila? Leila is a strong personality? The decision to go to the dealers and by Leila? Dennis going, meeting with the dealers, the gun, the shooting, the husband killed? Sally, the confrontation with Dennis?
10. Meeting with Yale and Garrick, the conversations between Sally and Garrick, his letting him go, the future?
11. The effect of the film as a drama, is a thriller, social concern?

FLASHBACK/THE EDUCATION OF FREDRICK FITZELL

Canada, 2020, 97 minutes, Colour.

Dylan O'Brien, Maika Monroe, Hannah Gross, Emory Cohen, Keir Gilchrist.

Directed by Christopher MacBride.

For streaming release, the production went by the more direct title, Flashback. However, it had the far more literate original title.

Audiences will be bewildered at first, identifying with Fred and his ordinary life, marriage, job, presentation to the company. However, especially with his visits to his mother in hospital and their effect, he begins to get a sense of the past. What emerges is a psychedelic/surreal journey for Fred and for the audience.

The focus is on the drug, Merc, indulged in by Fred and the others at high school, especially by a homeless man who keeps appearing to Fred in the present and is revealed as a child in the past. He also rediscovers Cindy, his relationship with her in the past, trying to find out what happened to her and told she has disappeared. However, in his continual returns to his high school past, he rekindles his relationship with Cindy – falling in love, and, with the power of the drug and its effect to introduce the taker into a multi-verse, he travels all over the world with Cindy.

Eventually, experiencing breakdown in the present, he has to make decisions, return to his wife, complete his work for the company, visit his mother in hospital – with the realisation that the image of an open mouth that has tormented him is that of his reprimanding mother from the past.

Dylan O’Brien, especially with the series Teen Wolf for many years, then the Maze Runner films, and moving into more adult roles, The Outfit, has been building up his career.

1. The direct title? The original title and its overtones?
2. The 21^st-century setting, the business world, hospitals, home life? The contrast with high school, earlier decades, the drug scene? The musical score?
3. A surreal film, different time phases, intercut, time travel, the drug and its power, releasing individuals, their lives and choices, relationships? Drug dependence? Multi-verse travel?
4. Fred and his story, initially, his mother in hospital, concern, his marriage, his work, presenting the production? His crises?
5. His experiences, fantasies, nightmares, the mouth, seeing the homeless man, memories of school, the child, the high school, memories of Cindy, to school, the Merc, its prevalence, the group, taking it, the experiences, the uncut drug?
6. Fred, the effect, recovering his past, in an out, encountering Cindy, returning to the past, the relationship with her, in love, the multi-verse travel?
7. The drug takers, the dealers, a destructive world, the power in the drug, unleashed, the consequences?
8. Fred, the experience of the multi-verse travel, his option, returning to his wife? The problem of the presentation, collapse, return to complete it? The visit to his mother, the recognition of the mouth, his mother reprimanding him?
9. The overall effect of this kind of psychedelic dramatic journey?

FARMING

UK, 2018, 104 minutes, Colour.

Damson Idris,, Kate Beckinsale, John Dagleish, Adewale Akinnuoye Agbaje, Gugu Mbather Raw.

Directed by Adewale Akinnuoye Agbaje.

No, this is not an agricultural film as the title seems to suggest.

Rather, it takes us back to the 1970s and 1980s in the UK, the particular phenomenon of African families, in this case from Nigeria, bringing a child to the United Kingdom, entrusting the child to foster care so that it will be educated and have a future.

The film announces that it is based on a true story – in fact, it has been written and directed by

Adewale Akinnuoye Agbaje who has had a prominent film and television career. The director plays the role of his father in this film.

Audiences are introduced to the African setting, life in Nigeria, the difficulties for a family, wanting the betterment of their children, going to England, going to Essex, and finding a foster carer. However, the caring is more than a touch Dickensian in the 20^th century, Kate Beckinsale playing Ingrid, the matriarch who at some stages has 10 children in her care. She can be harsh, care-less, sometimes caring, comparing notes with the other mothers in the town.

The boy grows up, racially abused, verbally and physically, resenting being black, a powerful scene where he scrapes himself to remove the black colour and covers himself with talcum powder. But, not what the audiences might have been expecting, he actually identifies with the local gang in Tilbury who have been persecuting him, becoming part of the gang, the gang leaders pet, trying to prove himself as violent and racially hostile as the gang itself. There does not seem to be a redemption.

However, there is a sympathetic character in the film, Miss Dapo, played by Gugu Mbathe Raw, very sympathetic, almost too good to be true, not seeming to make headway with the boy but eventually an influence which leads him to breaking out of his entrapment, further education, career, and in a collage at the end, an honour from the Royal family.

1. Based on a true story, actual events? Based on the writer-director’s own experience? His memories, interpretation, ultimate success?
2. The situation in the UK, the 1970s and 80s, the experience of racism, migrants from Africa? Policies of assimilation? Racial superiority?
3. The background of Nigeria, Nigerian society, difficulties, poverty, lack of education?
4. Parents, wanting the better for their children, going to England, farming their children, paying substantial amounts of money, the fostering parents and families?
5. The experiences of Enitan, in Nigeria, his age, young, with his parents, family, needs? Possibilities for education? His being taken to Essex, his parents, handing over the money, their hopes, Ingrid, the many and foster care? The home life? Enitan growing up in this context?
6. Ingrid, as a person, as a foster mother, sometimes harsh, sometimes caring, the many children, her treatment of them, assumptions about them? The other women in the town, the meetings, the discussions?
7. The police, in the town, discussions with Ingrid, dealings with the gang?
8. Enitan, into adolescence, the racial prejudice, at school, verbal attack, the physical attack, violence? The consequences for an adolescent boy, the scene of scrubbing himself, the white talcum powder, wanting to be white?
9. The group at school, the local gangs, Levi and his leadership, the other members of the gang, there are attacks on Enitan, this taking its toll? The personalities of Levi and the gangs, the racial attitudes, their behaviour, moral and amoral perspectives?
10. The treatment of Enitan, brutal, the effect on him, his gradually identifying with them, wanting to be part of the gang, Levi taking him on, almost making him a pet, his moves with the gang, the range of behaviour, breaking the law, brutality?
11. The possibilities for saving him? The visit of his parents and their concern?
12. The importance of Miss Dapo and her influence, as a person, her role, official, society, concern, compassion for Enitan? Trying to deal with him, the various reactions on his part? Her perseverance?
13. The overwhelming portrait of racial hounding, persecution, humiliation, the effect on Enitan? Ultimately destructive? But the possibility of some kind of redemption, the final collage of his change, education, degree, the royal family? The fact that the fictitious Enitan is now the writer and director, an actor of the father’s role, in this film?

THE BAD GUYS

US, 2022, 100 minutes, Colour.

Sam Rockwell, Marc Maron, Awkwafina, Craig Robinson, Anthony Ramos, Richard Ayoade, Zazie Beetz, Alex Borstein, Lilly Singh.

Directed by Pierre Perifel.

There is a special Australian interest in this very American animated production. The series of The Bad Guys, graphic novels, designed for children’s audiences, was written by Australian author, former actor, Aaron Blabey. He also serves as executive producer for this film.

So, what would we expect, if we did not know the series, from a movie called The Bad Guys? Whatever it might have been, most audiences will be satisfied, many will be highly entertained.

The characters are well drawn, quite individual, a charming wolf who is the mastermind of The Bad Guys, a slithering snake who wants to be bad, a petite tarantula who is adept at computers and technology, a rather cumbersome shark with a genial personality able to adapt to many situations, and a piranha who likes baring teeth and taking over. And there are some other interesting principal characters, the governor of the state, a pleasant and attractive fox, a do-gooding Professor, minute, a a guinea pig, and a large, forward bending, teeth baring, intense police chief. And, as can be seen by the credits, there is a very talented voice cast.

One of the main advantages for all audiences is that the screenplay is quite humorous, a lot of repartee and banter, some ironies, not just for the young but engaging enough to entertain older audiences.

Various schemes, robberies, betrayals, double crosses, villainous twists.

Actually, it wouldn’t be too bad to watch it again!

1. The popularity of Erin Blabey’s books, graphic novels series? Characters, adventures?
2. The style of the animation, each of the distinctive characters, settings, conventions, prisons, cells, public meetings, the laboratories, special effects and stunts? The musical score?
3. The title, the group of animal characters, their reputation, philosophy of life, camaraderie? An interesting group of characters? Plus Professor Marmalade, plus Diane, plus the police chief?
4. The dialogue, the humour, wit, repartee? Engaging for younger audiences? Entertaining for adult audiences?
5. Audience interest in each of the characters, Wolf as leader, his appearance, manner of speaking, self-confidence, thinking himself as a Big Bad Wolf, mastermind, the various crimes and robberies, his plans, and the audience seeing the room with its vast amount of stolen objects? His repartee? Wanting to be bad, experiencing good, the alarm at his tail wagging?
6. Snake, drawing, voice, characteristics of snakes, wanting to be bad, feeling betrayed by Wolf when he becomes good? Skills in the plots, slithering, x-ray eyes? Voice?
7. Tarantula, many fingers, adept at technology, her voice, loyalties?
8. Shark, large, variety of voices, impersonations, as female, as male, improvising, meeting people, singing, providing diversions?
9. Piranha, teeth, small, vicious, taking over at times, performing and attracting attention?
10. Diane, the governor, the smooth fox, charm, political career, condemning the Bad Guys, her interviews? Her wanting them to be reformed? Handing over to Professor Marmalade? Her supervision, the revelation that she was a jewel thief, her reform, being good, helping people?
11. Professor Marmalade, all the awards, his reputation, doing good? His very British voice? Guinea pig? Diminutive?
12. The police chief, large, her teeth, her walk, vigorous, always on the attack, wanting to get the Bad Guys?
13. The situations, Wolf and the old lady and helping her, being entrapped by Marmalade? The robberies, the set-ups, the manoeuvres, Wolf and the temptations to goodness? The failure of the operation, their being arrested, imprisoned? The professor and his taking over, wanting them to be good, the various trainings, testing, the different reactions and humour?
14. The meteor, the exposition, the plan, Wolf and his second failure? The manoeuvres of all the other Bad Guys to distract? Wolf and his being taken?
15. Professor Marmalade, the revelation of who he was, his plans, his testing them, tricking them? The meteor and its power?
16. Snake, disappointed, separating, going with the professor, the helmet, the meteor? Collaborating with him, the public gathering?
17. Wolf, his reform, the meteor which was only a lamp, the group, the disappointment of their walking out on him, the return and reconciliation, Diane, the car chase,?
18. Snake, the revelation, his saving the day, wanting to be good?
19. The police chief, her role in the arrest, Wolf and his smooth talking with her and her reputation, her speech?
20. And the happy ending for all – and a happy and humorous experience for the audience?

CLOSE

Belgium, 2022, 104 minutes, Colour.

Eden Dambrine, Gustav De Wale, Emilie Dequenne, Lea Drucker, Igor Van Dessell, Kevin Janssens,

Directed by Lucas Dhont.

A small film in many ways, confined to a somewhat small world, but providing a dramatic microcosm for some important emotional experiences. And, it has been acclaimed, Grand Prix at Cannes, Oscar nomination amongst others. And deserved.

This is a story of friendship, two young boys, Leo and Remi, neighbours, who have known each other for years, are best friends, playing together, using their imaginations to create games in some old ruins, exhilaratingly running through the fields of flowers and crops, enjoying sleepovers, sharing family meals, one listening to the other play the oboe, and their imagining that their friendship will be like this forever.

Writer-Director, Lucas Dhont (whose previous film was Girl, the story of a boy who saw himself as a girl and wanted to be a dancer) introduces us into a happy world, where people are happy, ordinary life, work in the fields, work in hospitals, no one anticipating that harsh realities could enter into their lives.

And, the performances by the two boys, their first film roles, Eden Dambrine as Leo having to be the anchor of the whole film, Gustav De Wale as the sensitive Remi, are extraordinarily real and convincing. They elicit sympathetic responses from us, which will be important in what is to follow.

We now live in a world, a world of social media, everything available, which means that we are probably all too self-conscious, especially in a world which has become more and more sexualised, sometimes incapable of recognising authentic friendships and relationships.

And that is the tragedy of Close. Even the schoolchildren at their new school start asking questions, (which we, the audience, maybe despite ourselves have already been thinking and wondering) snickeringly raising their eyebrows, insinuating about the relationship between Leo and Remi. And despite children aged 13. So, what will happen, Leo becoming conscious of how is talked about, some homophobic slurs, and his beginning to distance himself from Remi, at school, at home, fewer sleepovers, his taking up ice hockey to keep away from Remi.

The dramatic happens. The film is skilful in helping us to appreciate what was happening to Remi and his being hurt by Leo’s rejection of him. We appreciate Leo’s self-assertion but regret that he has to do it at Remi’s expense.

So, this is a very sad film, the effect of the tragedy on Remi’s parents, a poignant scene where his father breaks down at a meal at Leo’s house where his reliable older brother speculates about his future and the father weeps. The mother is stronger and tries to fathom with Leo what has happened.

Can there ever be a happy resolution to this kind of breaking of friendships, no possibility of recovering the past, having to live and make one’s life even with the consequences?

Yes, the Belgian microcosm, a universal celebration of friendship and a challenge to the threats to enduring friendship.

1. The directness of the title? Its meaning? Friendship?
2. The Belgian setting, universal application? Children’s friendships? The breaking of friendships? Consequences?
3. The town, homes and interiors, the fields, the flowers, sowing, harvest? School? The excursion to the sea? The surrounding countryside? The musical score?
4. The introduction to Leo and Remi, 13 years old, the long friendship, happy in each other’s company, in the dark, in the ruins, playing the imaginary game, running through the flowers, the games, the bike riding, the sleepovers, Leo and the meals at Remi’s house, eating spaghetti technique…? The boys comfortable in each other’s company, talking, affectionate? Remi playing the oboe, at the concert, Leo’s response, not able to play? An unselfconscious friendship?
5. The transition to middle school, the other students, the first day, Remi and Leo cycling together, together in the yard, in class, the reaction of the other students, the girls and the intimation of the relationship, the faggot slurs, the effect on each of the boys, defences, hurt, the taunts against the girls?
6. School, the classes, the friendly teacher, the children explaining themselves? In the yard, the fights? Football?
7. Leo and his reaction, distancing himself from Remi, Leo moving off the bed, Remi on the bed, the fight? At school, Leo mixing with the others? Remi on the outer? Leo and his decision to play hockey, the many scenes in the swift transition to Leo and the hockey, on the ice, training, practice, falling, success? Remi coming to watch him, Leo’s hostile reaction?
8. The bus trip, the children enjoying themselves, Remi’s absence? The return, the children to meet their parents, Leo’s mother, finding it hard to tell Leo what had happened? His reaction?
9. Leo’s family, supportive, seen at work, at home, Charlie, his studies, dependable, Leo confiding in him, his wetting the bed and going to Charlie’s bed? The continued effect? The funeral? The therapy class and everybody giving their opinions of Remi, praising? Leo’s reaction?
10. The meal, Remi’s parents, Charlie talking about his future, Remi’s father breaking down and weeping, his mother leaving? Leo’s consciousness?
11. Remi’s mother, her work in the hospital, her friendship, talking to Leo, asking him about his pushing Remi away? Leo and the effect, refusing to answer? Then getting the bus, going to the hospital, Remi’s mother driving him home, his blaming himself, her telling him to get out, his running away, her chasing him, the hugging, reconciliation?
12. The effect on Leo, continuing at school, classes, hockey? Continuing the work of the family?
13. His going to visit Remi’s parents, finding that they had moved away?
14. Children, friendships, innocence, contemporary self-consciousness, sexual relationships, the sexualising of friendships, homophobia, consequences?

ANT-MAN AND THE WASP: QUANTUMANIA

US, 2022, 124 minutes, Colour.

Paul Rudd, Jonathan Majors, Evangeline Lilly, Kathryn Newton, Michael Douglas, Michelle Pfeiffer, Corey Stoll, Bill Murray, Katy O'Brien, William Jackson Harper, Randall Park, David Dasmalchian

Directed by Peyton Reed.

Ant-Man’s alter ego, Scott Lang, asks throughout the film about the world being taken seriously. He gets his answer and this third episode in the ant man franchise. It is taken seriously – and, sometimes, it isn’t. And, once again, is played by Paul Rudd, always a pleasant and genial presence.

Here we are back in the Marvel Universe, the Ant-Man, going into the other world to fight the good fight. At the opening of this film, is cheerfully walking along San Francisco’s streets with the song in the background, “welcome back…”, Everybody greeting him as a celebrity cause is save the world! We have to do so again?

And we meet his family, Michael Douglas back again as Hank, the scientist who developed miniaturisation and contact with ants, his daughter Hope, The Wasp scientist, Evangeline Lilly. And, their daughter, Cassie (Kathryn Newton) is now more than a precocious teenager. She has continued the family experiments, has constructed an armour suit for herself, but also a top-class machine for surveying the Quantum world. She wants to press the button to inaugurate action – but is warned against it by Janet, Michelle Pfeiffer, who, we know, spent 30 years in the Quantum world before returning to her family.

And, just in case, there is a prologue when Janet encounters Kang (Jonathan Majors is a powerful presence, a powerful villain), helps, fights against, betrays him and escapes this subterranean world.

With Cassie pressing the button, the whole family has to go into the subterranean world – an extraordinary creation, visually, with a myriad of creatures that would put some of the Star Wars collection to shame! In fact, this looks like a very high budget special effects creation with action sequences and stunts to match.

Looking back, the events are predictable enough, all the members of the family having the opportunity to show their talents – even to Scott going into a world of probabilities, other Scotts emerging, thousands, millions, a huge tower of Pisa of Scotts! The doctor summons help from his ants. Hope becomes The Wasp and intervenes. Cassie shows her courage. And Janet has to confront Kang all over again.

And there is an interlude with Bill Murray is a Lord of the Quantum World, full of his kind of repartee and nonchalant acting style – but rather is relevant to the whole adventure.

Compared with some of the Marvel adventures, this is rather low-key, but designed for the very wide younger audience.

1. Marvel Universe? The comics from the 1960s? The later development in the film catalogue? Connections with Captain America, The Avengers? The popularity of Ant-Man? The Wasp?
2. The third in the series, popularity with audiences, the character of Scott Lang, the character of Hope? The background of the doctor and his associates, experiments, miniaturising humans? The previous adventures? The back story of Janet, 30 years away, her return – and the opening sequence indicating her initial encounter with Kang?
3. The introduction to this story, Scott and his voice-over, carefree, everybody greeting him in the street, having saved the world, celebrity, his autobiography, the reading, the audience and applause? His relationship with Hank, with Janet, with Hope, with Cassie, her now grown-up? The possibility further adventures?
4. Cassie, precocious, and experiments, developing her own suit, the machine, its capacities for exploring the Quantum world, her pressing the button, Janet upset, the consequences?
5. The special effects and visuals of the Quantum earth, the range of characters, masks, unusual creatures, the semi-humans, the terrain, the vast, an empire, modern, yet Kang’s rule, the rebellion, the experience of the multi-verse? Atmosphere, action and stunts, the musical score?
6. Janet, key to this story, her 30 years away, the experience of Kang? Saving him, the bond, his turning against her, the war, her attempt to destroy him, her return to Earth? Her not revealing this story to the family? Her quest, to find Kang, to destroy him?
7. The arrival in the Quantum world, Cassie and Scott, separated from the others, their encounter with all the creatures, the creature with no holes, the warrior leader, the mind reader, drinking the ooze and everybody able to understand English!
8. The interlude of the Bill Murray character, not exactly the Marvel Universe, typical Murray, repartee, in the context of this world, his leadership, discovering human aspects?
9. Darren, his role in the past, greed, betrayal, Kang using him, his being reduced, the face within the helmet, mechanical legs, his voice? His confronting Scott? Memories of the past? Working against Scott and Cassie? Cassie eventually confronting him, a dick? Injuries, confrontation with Kang, change of heart, wanting to do good, dying happy?
10. Scott, the ability to reduce, be gigantic, fighting with Kang? The capture of Cassie? The other group, being captured, Janet going on her own, to find Kang, to confront him? Hope and the doctor? The vehicle, the doctor driving, the sleeves? The movement around this world?

11. The doctor, hearing the ant sounds, summoning them secretly, their coming in to swarm, allies?
12. Kang, as the villain, as a personality, in the introduction, the conflict with Janet, his role in the underworld, the multiple Kangs, the multi-verse, his being the conqueror, the various henchman, warriors, the going into action? His ambitions? Wanting the core of the centre, to enable him to achieve absolute power? Janet and her thwarting him, the fights between them?
13. Cassie, liberating the warrior, the call to Revolution, Kang on the screen, Cassie then appearing on the screen, her appeal,, the rebels? The action fights? The creature with holes, seven holes? Kang, his warriors, weapons, turning the rebels back?
14. The buildup to the confrontation between Scott and Kang, the probabilities, the other Scots, even Baskin’s, the multiple replicas, the huge tower of replicas, its collapse? Scott tall, reduced, tactics? The final confrontation?
15. Hope, becoming The Wasp, allied with Scott?
16. Cassie, the final heroics? The family all united?
17. Going into the machine to get back to the world, Scott delayed with Kang, the confrontation, Kang wanting to get into the vehicle? The final rescue by Hope?
18. The return to the world, ordinary, Scott and his celebrity?
19. The final credits, the focus is on Kang rather than on Ant Man and the Wasp? Indications of sinister adventures for the future?