WEDDING DAZE (THE PLEASURE OF YOUR COMPANY)

US, 2006, 90 minutes, Colour.
Jason Biggs, Isla Fisher, Joanna Gleason, Edward Herrmann, Margo Martindale, Ebon Moss- Bachrach, Joe Pantoliano, Matt Molloy, Jay O. Sanders, Chris Diamantopoulos, Michael Weston.
Directed by Michael Ian Black.

Wedding Daze is a likeable little comedy about love and marriage. Its heart is in the right place about love and commitment – but the screenplay, written by director Michael Ian Black, is sharper in its humour than expected with a number of funny remarks and wry comments.

Jason Biggs (looking better than he did in his American Pie days) is Anderson, so besotted with Vanessa that he dons a Cupid costume to surprise her in a restaurant with his proposal. She is really so surprised that she literally drops dead. Where to go from there, especially as he cannot get her out of his mind?

When his best friend (Michael Weston) urges him to snap out of it, he suddenly proposes to Katie, the waitress at a diner (Isla Fisher) and she accepts. We are then filled in with her background and a proposal she had received the previous evening and refused.

By this time we have a cast of amusing supporting characters: Katie’s father who is in prison, her highly strung mother and her stepfather who makes Jewish toys (like a Jupla!), Katie’s would-be fiance who is a wiz at movie charades, two Russians at the diner who want to be in the circus, and Anderson’s sex-obsessed parents.

Stir this all together, add some misunderstandings plus Dad’s escape from prison as well as the group borrowing a test-drive car and a wedding in Atlantic City that actually has everyone ending up in jail, and you have a better than average trifle in favour of true love.

1.A popular entertainment? Wedding froth? Love and fidelity?

2.The suburban settings, the various homes, apartments, restaurants, workplaces? Authentic feel? The musical score?

3.The fantasy notion – the death, the grief, the dare, the proposal, the consequences, the marriage? The fantasy sequences with Vanessa reappearing to Anderson? Her freeing him at the end?

4.The opening, Anderson, his dressing as Cupid, Ted and his reaction? The fight? Anderson going into the restaurant? Vanessa waiting, the waiter and his chatting her up – and the irony of their meeting in eternity after he killed himself for her? Anderson’s entrance, people’s surprise, his wanting the proposal to be memorable, Vanessa collapsing and dying? Her funeral?

5.A year of grief, Anderson in his apartment, the mess, his emotional mess? Going out with Ted? His seeing Katie across the diner, his sudden decision to propose to her? Her acceptance?

6.Tracking back to Katie’s experience, her fiancé and his proposal, his charades, her mother and stepfather and their enjoyment? The build-up to the proposal, her mother saying yes, her saying she wanted more time? The background to her accepting of Anderson’s proposal?

7.The time together, wandering around, talking, going to the rubbish dump at the top of the hill? Her realising the truth? His admitting it? Yet their liking each other? Her decision to move in, going home, packing up? The help from Matador at the diner, and the advice from Jane? Anderson and his tidying up?

8.Katie’s father in prison, his fight in the inmate, his apologising? Love for his daughter, the background of his marriage to Lois? The news about the wedding, his escaping from jail, his arriving at Lois’s house, the clash with her husband? His going to the shop – the hold-up to change clothes? His reconciliation with Lois, their going to the wedding?

9.Anderson and Katie and their meal with Lois and the stepfather? The tension, his attempt to do a charade, The Apple Dumpling Gang? The discussion about the Jewish toys, going to the basement, seeing the toys? The attack by William?

10.Going to visit Lyle and Betsy, the different parents, the sex obsession, discussions, the ring, the girls in the parlour? Their way of talking, support of their son? Betsy and her threats to Katie, the memory of Vanessa?

11.The build-up to the wedding? Ted and his being persuaded to borrow the test car? Their driving down to Atlantic City? The arrest because of the car? The arrest because of Katie’s father escaping? The hold-ups? The wedding ceremony, Vanessa appearing and freeing Anderson? The happy occasion? Everybody being arrested? In jail? Lyle and Betsy and their arrival?

12.The happy ending, good wishes from everyone? People being reunited? The sheriff giving his good wishes? His deputy teaming up with William?

13.The family material – but with the fantasy touch? And, especially, the sharp observations and jokes?

MAGICIANS

UK, 2007, 90 minutes, Colour.
David Mitchell, Robert Webb, Peter Capaldi, Steve Edge, Jessica Stephenson, Darren Boyd.
Directed by Andrew O’ Connor.

British audiences might be familiar with comedy duo of David Mitchell and Robert Webb from The Peep Show. Others may have seen them in a series of commercials (irritating ones) for Mac computers at the expense of all others. They always have an air of competitiveness about them with Mitchell usually precise and prissy and Webb laid back and nonchalant.

They bring these aspects of their personas to the roles of two magicians, childhood friends, who fall out when one has an affair with the other’s wife – and she is accidentally guillotined during an act. Needless to say, they find it difficult to get jobs after this. We see a few mildly amusing attempts to find work.

The screenplay falls back on the convention of the contest for the best magic. Will they combine? If they do, will the past be forgotten? Has the husband overcome his paranoia? Is the friend still too casual? And what of the woman who really wants to be an assistant – and is very keen on the guillotine trick until she hears the truth? And the competitors?

Fans of Mitchell and Webb may well enjoy Magicians. Others will find it sometimes amusing, sometimes so-so and filled with far too much schoolboy smutty innuendo which is unnecessary to the plot.

1.The popularity of David Mitchell and Robert Webb on television? On commercials? Their transferring their persona to this story?

2.The British setting, the theatres, restaurants, the Channel Islands, the hotel, the competition for magic? The TV channels? The beaches? A believable setting? Musical score?

3.The title – plainly stated? The central characters, their work and skills? The competition?

4.The credits, the photos and the friendship between Harry and Karl? Their work together, performance? The affair, the guillotine, the death of Harry’s wife? His blaming Karl? The aftermath?

5.Harry, trying to get jobs, doing magic tricks in the shops? Linda and her admiration? The complaints and his being sacked? His memories of his wife, antagonism towards Karl? His needs, after Social Services handouts? His seeing the information about the competition, ringing Karl, the formal phone call? Their meeting? The past? With Linda, her audition with her dance, her helping him, his assistant? Her eagerness about the guillotine act? His not telling her the truth? Going to the Channel Islands, at the hotel, the bonding, his suspicions of Linda and her behaviour? Karl and his concern? Warning Harry, warning Linda? The performance, Linda pulling out through fear, his confrontation with Karl, the truth about the relationship, Karl and his being willing to risk his life, the success of the act? Their winning?

6.Karl, working with Harry, the affair and his being caught, Carol’s death? His agent, Otto? Otto and the desire to be on television? His auditions with Karl, intruding into office meetings? The suggestion that he do memory tricks? The girl and her believing him? His response to Harry’s phone call, going to the Channel Islands? Karl on the beach, the audition for the television? The trick with the bucket on his head and his being buried in the sand? His being unwilling to do the mind-reading? The performance, the preparation with the stooge, throwing the ball, the stooge tripping and becoming unconscious? Karl and his confession? His discussions with Harry, volunteering, the reconciliation?

7.Linda, in the shop, following Harry, the audition, helping him, the training, her changing rooms – and Harry thinking she had left and his going to London and back? The performance and her withdrawal? Harry bringing her up on stage at the end?

8.Tony White, crass, talking about women all the time – and then stealing his son’s trick? And his prize?

9.The other magicians, the various performances? Audience interest in magic?

10.Otto, his push, with Karl, the innuendo about their relationship? The TV officials, Otto’s failure? Going on television – and making a mess of things?

11.Peter Capaldi as the manager of the jury, his comments, the interviews, the auditions? His reaction – and enjoying the touch of the sensational?

12.How humorous was the film? The appeal of the central duo?

DAWN ANNA

US, 2005, 90 minutes, Colour.
Debra Winger, Alex Van, Sam Howard.
Directed by R. Less Howard (Arliss Howard).

Dawn Anna is based on a true story. It focuses on a single mother with four children. They are very agreeable children – and very supportive of their mother. In fact, the film gives something of a glowing picture of potential family relationships, even in difficulties. Dawn Anna is also a very dedicated and an expert teacher.

As the film builds up the story of Dawn Anna as a teacher, getting a new job, she physically collapses. It emerges that she has a very difficult disease, which requires brain surgery. The film then moves into a story about courage in overcoming an illness. She is supported very much by her children as well as a co-teacher, a shy man, who is in love with her. The film is very strong in its portrait of the support that loving family can give to someone trying to recuperate from illness.

For those who don’t know, the film moves to something of a surprise as we discover towards the end that Dawn Anna teaches at Columbine High School in 1999. In fact, the film is the story of a mother of one of the victims of the random shooters at Columbine. The film then focuses sadly on the event itself, the uncertainties of students and parents, the news of the death of a child in the school.

The film was written by Arliss Howard and his brother James Howard (and his son Sam appears as Jason, one of Dawn Anna’s children). Arliss is directing his wife, Debra Winger. Debra Winger gives a fine performance – and had proven herself as a strong actress in the 1980s with such films as An Officer and the Gentleman as well as Terms of Endearment.

The film is inspirational – and is very moving, especially those who know nothing about Dawn Anna’s story and discover what happens in terms of her teaching and family, in terms of her illness and recuperation, in terms of Columbine, step by step.

1.The impact of the film? Based on a true story? A sufficient film with its portrait of Dawn Anna as mother and teacher? Sufficient in its portrait of an illness, support and recuperation? Sufficient in its presentation of the tragedy of Columbine High School and its repercussions? The combined effect?

2.The Colorado settings, homes, schools – ordinary and realistic settings? The musical score?

3.Debra Winger’s performance as Dawn Anna? A strong performance? Dawn Anna as a strong person? Her marriage, her absent husband, the children, their growing up? The details of the household, her getting her children up, meals, shopping, getting them to school? Their discussions and resolution of squabbles? Their support of their mother and her teaching? Dawn Anna as a good teacher, seeing her in action? Her applications for further jobs? Her confidently telling the interviewer that she was the person for the job, and her getting it? Collaborating with staff? Seeing her with her students, her manner of dealing with them, discipline? Her skills – a bright future? Financial support for her children? The volleyball coaching, the discussions? Her meeting Bink? The friendship, going out with him? Falling in love – but his reticence?

4.The collapse, the diagnosis of the illness, the response of the family, of Bink? Her decision about not having brain skull surgery? Her decision about less intrusive procedures? In hospital, the procedures, the aftermath, her having to come to consciousness about her identity, speaking, recognising words, her recovery? The long period, taking her home from hospital, the IV? Bink and his contribution? Her recovery? In the school, the five years passing, her daughter and the volleyball team? Bink and his proposal, her acceptance, the marriage? Idyllic? The revelation about Columbine, her driving to school, hearing the news, concerned about Lauren? The people coming to identify Lauren, the issue of the tattoo? The truth of her death? The funeral? Dawn Anna and her support for children, and the information about her anti-violence stances? A rounded portrait?

5.The children, their relationship with their mother, at ease, in the house, Kristin, her boyfriend (and his calling Dawn Anna by her name and her telling him off)? Josh, his moodiness, photography? Lauren, her devotion to her mother? Matt and his being a stand-by?

6.Bink, the meeting at volleyball, the discussions, his attraction? Living with his mother, shy? Taking Dawn out? The support when she became ill, the family’s wariness, accepting him? His devotion over the years? A good man, his final proposal, her acceptance? His support at the time of Lauren’s death?

7.The background of schools, teaching, excellence in teaching, student response? Dawn’s explanation of why she wanted to be a teacher, looking for those moments when everything clicked for the student?

8.The teachers and their support of Dawn Anna, in her collapse, financial support?

9.Kristin, Shane and his nervousness, the proposal, Dawn accepting him – and allowing him to call her Mother?

10.The medical background, the hospitals, the doctors, the interviews, the recuperation?

11.An interesting film, human interest, its range of subjects?

RESIDENT EVIL: APOCALYPSE

US, 2004, 98 minutes, Colour.
Milla Jovovich, Sienna Guillory, Thomas Kretschmann, Sophie Vavasseur, Jared Harris, Mike Epps, Sandrine Holt, Iain Glen.
Directed by Alexander Witt.

Resident Evil: Apocalypse was written by Paul W.S. Anderson who wrote and directed the original Resident Evil, an adaptation of a computer game. This film seems to be very much indebted to Dawn of the Dead as well as Twenty- Eight Days Later, most of the action consisting of infected semi-humans tracking down, pursuing and destroying the remnant humans.

The film also continues the main storyline with Milla Jovovich reappearing as Alice. She and a young girl are infected with a particular virus which has transformed the inhabitants of a city. The Umbrella Corporation, the company making the virus, want to recapture the people who have not been transformed and do further experiments, especially making them biological weapons.

The film is mainly action rather than characterisation – with some touches of sentiment. Milla Jovovich this time is matched by Sienna Guillory as a tough agent.

1.The popularity of this kind of film? Computer games story? Action?

2.The locations, the re-creation of a futuristic city? The action at night, in the dark? The conventional locations? Transformed by the virus-infected creatures? The special effects for the pursuits, destruction, battles, the monster creature? The helicopter, explosions? All the ingredients from the computer game? The musical score?

3.The title – and the adding of Apocalypse? The dire end of society? Doom and destruction? The possibilities of survival?

4.The continuity with the original film? The filling in of background from the first film? The Umbrella Corporation and its officials? Ruthless? The virus, its spreading? Their trying to take Doctor Ashford and finding him? The technological means for tracking and surveillance? His daughter and their wanting her? Alice escaping and their tracking her down?

5.The warriors, Jill, her being helped by L.J., Terri and her camera, filming? The action sequences, destruction of the monsters? Split-second timing? Escapes?

6.The monsters themselves, the zombie attitudes, behaviour? The creation of the monster, Nemesis? The police, the guards?

7.Doctor Ashford, his capture, the blackmail, Angie and her being saved by Alice and Jill, L.J. with the comic touches? Terri and the other members of the team and their being destroyed? The children in the school and Terri’s death? Alice and her blunt assessment of the truth? Explaining how companions would turn and have to be shot within hours?

8.Major Cain, his ruthlessness, tracking down Jill and Alice? Creating Nemesis? Getting them to confront each other? The helicopter, Doctor Ashford? Their escape, his being kicked out of the helicopter, his being destroyed – especially by Doctor Ashford?

9.Jill, Alice, the female heroines? Alice and her being taken, her being studied in the laboratory, her being purified, her memories coming back? Her escape, being rescued by Jill and the group? The irony of Doctor Isaacs and his ruthlessness? Alice’s attack on him? His reprogramming Alice as a weapon – and letting her go? A suitable ending for this kind of film?

CURACAO (DEADLY CURRENTS)

US, 1993, 90 minutes, Colour.
George C. Scott, William Petersen, Julie Carmen, Alexei Sayle, Trish Van Devere.
Directed by Carl Schultz.

Curacao is an average thriller set in the rather exotic island of Curacao in the Antilles. It is a haven for all kind of outcasts.

George C. Scott portrays a Dutch-born Australian who was captain of a ship, guilty of scuttling it for insurance and who has retreated to the island. William Petersen is a former CIA operative who killed a traitor operative but was exiled by the CIA. Julie Carmen is a past lover who is also a CIA agent.

The film is complicated in its presentation of the sinking of the ship, Scott and Petersen in Curacao, a South African agent played by Alexei Sayle trying to recruit Petersen, the Chinese who engineered the insurance fraud also trying to get the document saved by the captain.

With these kinds of interactions, the film builds up to a dramatic climax – as well as something of a dramatic anticlimax.

The film was directed by Australian Carl Schultz who in the 1970s and 80s directed a number of significant films including Blue Fin, Goodbye Paradise, Careful, He Might Hear You and Travelling North. He went to the United States where his career was less distinguished. However, he made over twenty episodes of the Young Indiana Jones series.

1.The popularity of this kind of thriller? Ingredients? Conventions? Conventional?

2.The Curacao setting, the island, the island lifestyle? Musical score?

3.The opening, the storm, the captain, his log, the documents? Joshua watching him? Setting the explosion? The large explosion, the men diving overboard, thirty-six dying? Joshua not dying?

4.Cornelius in Curacao, running the bar, his relationship with Jan, passing him off as his son? His friendship with Stephen? In the bar, the talk, his life? World-weary? His going to the bank, the terrorist hold-up, his confrontation of the young soldier, getting the gun, shooting him, saving everyone? His heroism publicised in the papers? People converging on Curacao: Joshua, the South Africans, the Chinese? The death of Jan? Cornelius getting Stephen’s help? His disappearance? His finally reappearing at the end, having set everything up, Stephen doing his dirty work for him? Remaining on the island? A George C. Scott character – declaiming his lines as if he were reciting Shakespeare?

5.Stephen, former CIA, his relationship with Diana and her wanting him to go to Philadelphia? His friendship with Cornelius? At the bar? His back-story about the traitor agent, killing him, being exiled by the CIA? His being approached by Seemuller? Julia and her arrival, telling him that the CIA wanted him to accept? His not wanting the money? Listening to Cornelius’s story, the disappearance of Jan – and their finding him killed in the boat? The death of Joshua? His taking the job, the meetings with Seemuller? Setting up the Chinese after their accosting him? His bringing back Cornelius’s boat, getting the documents? The set-up for Seemuller to destroy the Hong Kong agents and vice-versa? Julia coming to his rescue and saving him? His not staying with her? Their talking frankly about their past? His meeting with Cornelius – and going off, with some integrity?

6.Julia, the Cuban background, relationship with Stephen, working with him? Coming to Curacao, giving the agency information, their relationship, no future, her being a career woman? Saving his life?

7.The background of the South Africans, the apartheid system, the officers and their setting up insurance scams? Seemuller and his sinister aspects, meetings, his death? Henry Rawlings and the recruiting? The black stalker?

8.Diana, the rich woman from Philadelphia, the affair with Stephen, wanting him to go back to Philadelphia?

9.The hold-up, the terrorists, the heroism in the bank, the publicity, the celebration for Cornelius? The role of the police, the later investigations?

10.Popular ingredients – how well handled?

GO GO TALES

US, 2007, 95 minutes, Colour.
Willem Dafoe, Bob Hoskins, Matthew Modine, Asia Argento, Roy Dotrice, Lou Doillon, Riccardo Scamarcio, Stefania Rocca, Sylvia Miles, Burt Young, Joe Cortese, Anton Rodgers, Frankie Cee, Anita Pallenberg.
Directed by Abel Ferrara.

Abel Ferrara has had a long career of blunt and direct films, many of them drawing on his life in rougher areas of New York, many of them drawing on the city’s Catholic traditions. This one, as the title indicates, is on the rough areas rather than anything religious.

It is a dark story of a strip club in the city, managed by Willem Dafoe though financed by his brother, Matthew Modine. Times are hard, customers are not coming in – and they are relying heavily on Asian businessmen visiting the US. The girls are complaining that they are not being paid. The cantankerous woman who leases the building (a screeching Sylvia Miles) also wants to close down. Meanwhile, Mafia type interests…

That description possibly makes the film sound more interesting than it really is. Despite brief running time, it is heavy going unless the audience is checking out what happens, especially with the girls, in clubs that they would never visit themselves.

1.Audience interest in the story of a cabaret, Manhattan, go-go dancers, lap dancers? The business side of the club? The impact of the film?

2.The work of Abel Ferrara, his career, background, autobiographical stories? The seedier side of New York City? Sleaze? The 21st century?

3.The production done in Rome, the Italian studios standing in for New York City? Authentic? The interiors of the club, the street scenes? The club and its environs, the dance floor, the tables, the stage, the offices, corridors? The dingier aspects? Dark? Credible?

4.The range of music, background, songs, accompanying the performances?

5.The title, the emphasis on the dancing, the strips, the lap-dancing, performance? The range of European stars in the roles of the dancers? The world of the dressing room, Ray and his involvement in the club, the management? Johnie and his owning it? The girls and their complaints, the issues of money, the girls wanting to go on strike?

6.Ray Ruby as manager, his character, his committing his life to the club, loving it, the difficulties? His penchant for gambling? His assistant, Jay, his going down the street, the issue of buying the lottery tickets, his friends? The tickets and the desperation of wanting the winning numbers, watching the television with Jay? Losing the ticket? His work with Jay, the presence of Lilian Murray, her leasing the club? His relationship with Johnie, as his brother, indebted to him for the money? The MC and his role in keeping things going, The Baron? The various customers, the Englishman, Aunt Sin, the regulars? The man who won the record? The young man who helped out – and discovered his wife as a dancer and his going berserk? The Asian clients, enticing them in, pressuring them to stay? His relationship with the girls, with Monroe? His acting, singing, compering? Growing desperation, the plea to Johnie, to Lilian? The Mafia types who were present, his helping them, welcoming them? His finally finding the ticket? The happy ending?

7.The contrast with Johnie, the hairstylist, his reputation, his money, coming with the dog, with the girls, with Monroe, his performance with the dog, manner, his relating to people, his decision to stop the money and close the club?

8.Lilian, old, loud, at the bar, complaining, the issue of the lease? Her continuing to screech throughout the film?

9.The range of clients, the English, Burt Young as the regular who won the competition, the Mafia types, the Asians, the bus tours – and their leaving?

10.Bob Hoskins as The Baron, his role in the club, supporting Ray, the problems, handling them?

11.The range of staff, the difficulties, the lights, the solarium and burning the dancer, the possible fire, having to cope?

12.The Italians and the gangster background, their continuing to help? The young man, studying to be a doctor, discovering his wife there?

13.The Asian visitors, trying to bring them back, not just having them come in for a moment?

14.The variety of dancers, their personalities, the French, Monroe and her style, dominance? Relationships?

15.The change of pace at the late night, the auditions, the people coming in for the auditions, the sudden transformation of the various personalities, the girls doing ballet, the recitations of Shakespeare, Johnie and the dog? A different atmosphere?

16.The film as a slice of New York life – a blend of sleaze with affection? For those outside this world, a slow film, not so engaging? For those interested in the New York world?

JJAKPAE (CITY OF VIOLENCE)

Korea, 2006, 93 minutes, Colour.
Directed by Seung- wan Ryoo.

We would not be surprised at the end of this urban action thriller to see it dedicated to Quentin Tarantino. Not only is it the kind of film he admires, it pays homage to him (or imitates him) especially in the final banquet scene where everybody coming out of the theatre is probably saying, “Kill Bill”. The two heroes take on wave after wave of bodyguards and henchmen and, especially, a glamorous henchwoman, and vanquish the lot – though not without a downbeat ending.

The core action could take place anywhere. The special effects and stunts are very Asian. A Seoul detective in an overbusy precinct gets a call to persuade him to come to a childhood friend’s funeral. We have seen the killing by thugs in a street in the opening credits. As the friends and associates gather for the wake, people want answers. The detective stays behind in the regional city and discovers quite a tangle of political and financial corruption, kickbacks, frauds and swindles – and some getting rid of opposition and hindrances to casino development plans by murder.

As the plot gathers pace, mysteries are solved but an even greater mystery is opened up as to what makes the villain of the piece tick. This is the most interesting aspect of the drama, especially with the flashbacks to teenage years in the mid-1980s when five young men enjoyed the rough and tumble with local gangs and promised to come together in twenty years when they are successful. That becomes sadly ironic when we realise that friendships can be deeply contaminated and lead to envy and brutality.

There are plenty of fights with the detective played by an action star who does his own stuntwork (Jung Doo-hong) and the director himself getting in on the act for the grand finale.

The Korean film industry has shown itself more than adept with this kind of film, sometimes realistic, sometimes cartoonish as it blends serious issues with hyper-martial arts.

1.The popularity of this kind of action film in the Korean industry of the 21st century? The influence of the Hong Kong film industry? The police story? Political corruption? Action?

2.The homage to Quentin Tarantino, Kill Bill? The reprisal of the popular Hollywood ingredients of the childhood friends, their growing up, separating, clashing? How well used? The familiar stories of political corruption and building development, casinos?

3.The initial murder, the back alleys of the city? The bars and restaurants? The shadows on the wall? Setting a tone? The transition to Seoul, the crowded police precinct, the tough fat men wit their tattoos, asleep at the desk, the inspector? The crowdedness in the precinct? The violence? Setting the tone?

4. The phone call, the police officer being asked to come back home, the death of his friend? His return? Meeting the widow and her grief? Meeting his other friends? The ceremony, his reverence to the dead man? The meal? The drunken friend and his praising the dead man, helping him to study law? The other members of the group, the focus on Pil-ho? His being in charge? His friendship with the police officer, their memories? The other young friend?

5.The flashbacks, the young men twenty years earlier, as a group, going out together, getting into fights, fighting the gangs, running away, jumping the weir, returning, the end of the day and their battles? Having the bottle, hiding it – and the promise to meet again in twenty years, after they had all succeeded? The continued flashbacks and the various aspects of the personalities? When they were young?

6.The situation in the city, the unknown attackers of the owner of the bar? His being a petty criminal? The flashback, the re-creation of the bar situation, the young men, the challenge, trashing the bar, the owner and his pursuit, his being killed?

7.Pil-ho and his connections, wanting to investigate? The discovery by the audience about the casino, about the bosses from Seoul, their stances, business deals and corruption, Pil-ho and his having to make things easy with local authorities? The issues of people’s land, being reclaimed? The gradual revelation of Pil-ho as the villain, his seeming respectable, his organising killings, the fact that he had killed his childhood friend, the young man and his parents and their deaths, the funeral? His apology and being too busy to come to the funeral? His double deals, the money?

8.The police officer, his concern, his friend, the investigation? The discussions with Pil-ho? Pil-ho taking him to the sauna – as he had taken others to the sauna, threatened torture, made them agree to deals? The bashing of the officer? The revelation of Pil-ho as the complete villain?

9.The building of the casino, the press conference, the photos, the taking over of the land? The build-up to the celebration, the dinner?

10.The officer, his discussions with the widow, her being torn between her brother and her husband? The young man, joining forces?

11.The two men going to the dinner, Pil-ho and the Seoul authorities, their praising him, then starting to criticise, seeing him as local, not polished? His growing anger, resentment? His memories of the past, how everybody had put him down? Motivation for his later career?

12.The two and the Kill Bill style fight, the choreography, the range of enemies, the guards, the men at the table, Pil-ho’s personal guards, the Seoul guards? Fighting their way through? The final confrontation? The officer and his being wounded, his death? The young man surviving after killing Pil-ho?

13.The final scene, the memories of the past, the bottle, the talk about what would happen in twenty years’ time – and the irony of what actually happened?

DADDY AND THEM

US, 2001, 101 minutes, Colour.
Billy Bob Thornton, Laura Dern, Diane Ladd, Kelly Preston, Andy Griffith, John Prine, Jim Varney, Brenda Blethyn, Ben Affleck, Jamie Lee Curtis.
Directed by Billy Bob Thornton.

Daddy and Them was produced in the late 1990s but was not released until 2001 and then only in a limited way. Billy Bob Thornton had made a great impact with his Sling Blade, which he wrote and directed, performed in and won an Oscar for best screenplay. After Daddy and Them he directed All the Pretty Horses from Cormac Mc Carthy’s novel – and has not directed since, concentrating on his acting career which has been very successful and prolific (ranging from Bandits to The Alamo to The Man Who Wasn’t There).

This film is set in Arkansas and Tennessee, a picture of a dysfunctional southern family. The characters are exaggerated – in order to make the point about the types of characters that they are and their interactions. This makes for some satiric humour.

Billy Bob Thornton and Laura Dern play a cantankerous couple with Diane Ladd (Laura Dern’s actual mother – Rambling Rose, Wild at Heart, Inland Empire) as an interfering mother. Kelly Preston is her glamorous sister. They all travel to Little Rock when Billy Bob’s uncle is arrested for attempted murder. We then meet the Montgomery family with patriarch, Andy Griffith, not quite in the grip of things and visiting English psychologist Brenda Blethyn, the wife of the accused. There is a very amusing interlude with northern lawyers who squabble and then break up – played by Jamie Lee Curtis and Ben Affleck.

The film is certainly eccentric, has a blend of reality and dreams, shows dysfunctional people – and the interactions in the extended family. However, it ends with a note of hope.

1.A portrait of a family, ordinary, extraordinary? Squabbles and fights? The ethos?

2.The work of Billy Bob Thornton, as writer, as director, as actor? His perspective on the south, on characters, on the family?

3.The Arkansas and Tennessee settings, the ordinary working life of ordinary people, homes, church? The contrast with the city, courts? The open road? The blend of the ordinary, realism – and the interludes of dreams?

4.The heightened nature of the writing, the characterisation, the satire and pathos?

5.Ruby and Claude, the initial arguing, Ruby and her being cantankerous, criticising Claude, his relationship with her sister Rose when she was young, her own relationships with musclebound men? The suspicious nature of Ruby, wanting fights? Language, ignorance – but Claude and his quotations? Rose and the past? His own attitude, his straightforwardness? Ruby’s mother, continually making mischief, remembering the past? The mother and rose arriving? The drive to Little Rock? The discussions in the car, Claude and his exasperation, getting out and walking?

6.The situation in Little Rock, Hazel and his assault, it turning out to be attempted murder? The later insertions of the story, his victim, the reasons?

7.The gathering, the title, Daddy and his patriarchal position, his wife and her failing memory? The various brothers? The introductions to Julia? The comments on the English? The meals, the discussions? The father and his mixing up Ruby and Rose? The decision to visit the prison? Their all coming? The shooting practice sequences? O.T’s wife and her silently wandering off to pick flowers?

8.Hazel, the attack, the lawyers, in the court, the charges? The family’s support?

9.Julia, British, love for Hazel, the background to their marriage, the complaints about not being invited? The visits and the discussions?

10.The humorous interlude with Lawrence and Elaine Bowen, her dominance, his trying to explain things? The disputes, the advice – and the family witnessing the break-up? The comic turns by Jamie Lee Curtis and Ben Affleck?

11.Claude and Ruby in Little Rock, the ups and downs, in the room, Rose present, the mother, her interventions? The tantrums?

12.The brothers, the drinking, the outings, the cars, the crashes, the ambulance? The effect?

13.The decision for everybody to go home – what had been achieved, in strengthening family bonds, in support, in truth being told?

14.The years passing, Claude and Ruby and their talking, lying on the bed looking out the window, the kids? An upbeat ending?

CATS AND DOGS

US, 2001, 87 minutes, Colour.
Jeff Goldblum, Elizabeth Perkins, Alexander Pollock, Miriam Margolyes, voices of Tobey Maguire, Alec Baldwin, Sean Hayes, Susan Sarandon, Joe Pantoliano, Michael Clarke Duncan, Jon Lovitz, Salome Jens, Charlton Heston.
Directed by Lawrence Guterman.

What an idea for a conspiracy theory film! Cats and dogs struggle for global supremacy. One might say 'it's reigning cats and dogs'.

Perhaps a warning is called for. Cat-lovers beware. The cats are the villains of the piece. The dogs are still our best friends.

According to the witty screenplay, this war between cats and dogs has been going on for millennia. The principal of the dog secret service agents (voiced by Alec Baldwin) explains to the eager young recruit (voiced by Toby Maguire) that, according to Egyptian art and hieroglyphics, cats used to rule the world. They even dominated humans, making them build the pyramids. But, then, the dogs leapt to the defence of the humans, defeated the cats who have been trying to regain power ever since. And, another thing, the dogs have been keeping it quiet so they don't disturb us humans. It' a bit like the Toy Story movies. The Toys have lives of their own, but they are so quick pretending to be lifeless toys when humans are around, that we don't know the truth. (Just as well the movies let us know all these activities happening behind our backs!)

But now, an ambitious Persian cat, Mr Tinkles, has a master plan and starts catnapping dog agents, especially the pet of the family where the father, a very eccentric inventor, is trying to produce an antidote to dog allergies... You get the picture!

This is a very entertaining fantasy. It combines live action, including most of the animals, a number of extraordinarily engineered puppets and some computergraphics. Like last year's Stuart Little, this blend of human comedy and animals-acting-like-humans-comedy will prove popular with both children and adults. Since Cats and Dogs adds a touch of James Bond espionage and action (and Mr Tinkles looks remarkably like the cat belonging to Bond-nemesis, Blofeld), the film is both funny and exciting.

The voices are excellent and they include Susan Sarandon, Jon Lovitz and Joe Pantoliano (and, briefly Charlton Heston). But the best is Sean Hayes who brings a very clever mix of domination, sarcasm, sinister plotting and insinuating evil to the voice for Mr Tinkles. One way, however, that Mr Tinkles keeps getting his comeuppance is by being treated in a little-pet, pussy-pussy, fussy and smothering manner by Miriam Margoyles as the household maid. His final retribution at her hands (for pet photos) is very funny indeed.

Having animals talk has always been a great comedy ploy. One remembers Francis the talking mule and Mr Ed. More recently we have had Eddie Murphy as Doctor Dolittle and a gallery of funny-voiced animals (especially in the recent, very enjoyable Doctor Dolittle 2). When the animals ape human stories, they offer another pespective on human behaviour. Doctor Dolittle 2 is a plea to save animal species and the forests. Cats and Dogs mocks the ambitions and cruelty of mad dictators.

Oh, there are some humans in the film, but it is the cats and dogs who matter. Our lives are in their hands!

1.An entertaining fantasy? Playful? Serious? Comic?

2.The ordinary suburban atmosphere, homes, sports arenas? The contrast with the world of the cats and dogs? The headquarters? The espionage and covert action effects?

3.The cats and dogs in ordinary life, with the humans? Behind the scenes with their talking, plotting?

4.The role of cats and dogs: the cats and their dominance, the hieroglyphics about Egypt and Butch’s lesson to Lou? The images of the cats?

5.Mr Tinkles, the James Bond-style villain? Sean Hayes’ voice performance? His appearance? His being fussed over by Mr Mason’s maid? His resentment of it? His plan for world power? His subordinates, Calico and doing his will? The Russian cat? Mr Tinkles? and his control, television performances for the dogs? The plans, the attacks, trying to get Professor Brody’s formula? To alienate humans from the dogs? His plan in action, abducting the Brody family, tying them up, the broadcast? The reversal of the formula? The using of the mice, sprinkling the mice? The confrontation with the dogs, with Lou? His defeat? The humour of his retreat, getting a plane out of difficulty, back home? The maid and her sisters? The dresses, the posing for the pet photos? His comeuppance?

6.Lou, the foundling, taken in by the Brody family, the boy and his wariness, getting to like Lou, Lou and the ball? Lou and the instructions from Butch, the information? The difficulty with the cats, Lou and his ingenuous behaviour, revealing his presence? Attacked by the cats? His going to headquarters with Butch? Overhearing Butch and his decision about the Brody family? His friendship with Ivy and her support? Going to the rescue, taking the research? The attack on Mr Tinkles and the cats, his seeming to be dead, alive, well, staying with his family?

7.Butch, the old dog, chasing the cats? The contact with headquarters? An agent? His relationship with Ivy, Ivy and her appearance, friendship with Lou, explaining things to Butch? Helping out at the end, tracking down the cats?

8.The other dogs, Peek, Sam, Sam and the hair getting in his eyes? The range of dogs?

9.Headquarters, the mastiff in charge, Charlton Heston’s voice? Salome Jens as the collie at headquarters? The orders, control, the meetings? The dogs assembling, having to keep order? The decisions, the broadcasts?

10.The family, Scott as an ordinary young boy, his harassed mother, the absentminded professor father? Forgetting to go to the soccer match? His getting a formula, for the protection of dogs? Getting the enmity of the cats? The abduction, tied up, the mother screaming? Their release – and the happy ending?

11.A comedy and fantasy idea? How well thought out, performed? The comic parody of human behaviour?

PAST PERFECT

US, 1998, 92 minutes, Colour.
Eric Roberts, Laurie Holden, Nick Mancuso, Saul Rubinek, Mark Hildreth, Emily Perkins.
Directed by Jonathan Heap.

Past Perfect is an uneasy combination of a police action thriller with science fiction, time travel. On the police action level, it is routine as Eric Roberts (as frequently) is targeting a brutal youth gang. Laurie Holden portrays his associate. However, when a number of the members of the gang turn up dead, the film switches to time travel. Nick Mancuso plays someone from the future who has been sent back in time to execute potential criminals so that they will not fulfil their crime destiny. Saul Rubinek is his bespectacled assistant.

The focus then is on one of the gang, Rusty (Mark Hildreth) and the attempts by the policeman to confront the man from the future. The future man is relentless and is finally destroyed – because the present can be changed from the future. Whether this makes logical sense, is another matter. However, it is reminiscent of the basic premise of the Terminator films.

The film is action-packed, shows a particularly brutal youth group. Eric Roberts does this kind of role without worry.

1.The impact of the film? As police thriller? As science fiction – futuristic?

2.The city settings, the dark areas, alleyways? The open road, tunnels? Police precincts? The tall buildings? Atmosphere? Musical score?

3.The title – and is reference to the future, to rectifying the past?

4.The police thriller: Dylan Cooper, his work, confronting the young thugs, Willy not sure, but think that was the name you said – checked IMDB and that was the killer) and his brutality, firing the gun? The members of the gang? His pursuit? His working with Ally? The car chase, the helicopter – and his losing his trousers? The arrests? The puzzle about the deaths? The encounter with Stone? The encounter with Rusty, his mother, the issue of his father’s death? The Bookkeeper? The final confrontation, on the building, hanging by the ledge? The present being changed? The irony of the opening and the closing of the film in the future – with the ageing Eric Roberts as the judge? Sending people back into the past?

5.The members of the gang, their brutality, the drugs, confronting the drug dealers, the shootouts, the stairwells? The pursuits? The Korean and his brutality? The pursuit by Stone, the deaths of the members of the group, the taking of their eyes? The sentence being read out? The Bookkeeper? The resurrection of some of the gang?

6.Rusty, his place in the gang, his attitudes, caught? With Ally? With Dylan? Confronted by Stone? The end, his making decisions – especially about Ally and Dylan and his father? The future?

7.Stone, the man from the future, relentless, his pursuing the young people, the brutality, their deaths, taking their eyes? The meek bookkeeper? Stone’s death – and the Bookkeeper stranded in the past?

8.How well did the film combine police action with the theory of time travel, the future rectifying the past?,