MICMACS A TIRE-LARIGOT

France, 2009, 105 minutes, Colour.
Dany Boone, Andre Dussolier, Nicolas Marie, Jean- Pierre Marielle, Yolande Moreaux, Julie Ferrier, Omar Sy, Dominique Pinon.
Directed by Jean- Pierre Jeunet.

Once upon a time, there was a very strange, intriguing and enjoyable French comic fantasy, Delicatessen. In the 1990s it became something of a classic with its strange characters (odd-looking too) and bizarre goings on and humour. There was also City of Lost Children and Alien Resurrection and film buffs found a significantly different film-maker who had a rather wild and exotic visual imagination as well as flair for storytelling. By 2001, there was Amelie who charmed millions of people. On the other hand, there was the serious World War I epic, a Very Long Engagement, which starred Audrey Tautou who had been Amelie. Jean- Pierre Jeunet seemed to be something of a character, something of a movie magician. Then, some projects that did not eventuate – and no film for seven years.

The movie buffs breathed a sigh of relief when Micmacs appeared and, it seems, Jeunet has lost nothing of his magica qualities.

The story is rather preposterous (and some elements of wish-fulfilment) – but what does that matter when he tells it so entertainingly. Dany Boon (who made a comic impression in Welcome to the Sticks) is Bazil, whose father was killed by a landmine and who, as an adult, is wounded in the head by a bullet bouncing around his video store. He lives. But, wandering Paris, he comes across a group of eccentrics who work in a cave on all kinds of inventions. They welcome Bazil. In the meantime, two of the biggest and wealthiest arms dealers in Paris are rivals in getting contracts – and it is their companies who have been responsible for Bazil's situation.

This leads to all kinds of comic situations as Bazil and his friends (scientists, misfits, a surveyor who is a whizz at assessing heights, weights and distances, an a contortionist) eventually wreak mischief and then havoc on the two dealers.

Bazil is the innocent abroad who is a nice man who has been victimised – and he and his associates use comic means to achieve a comeuppance.

Plenty of smiles and some laughs. Fascination for the set designs and costumes. And a mischievous delight in following Bazil and co in their sometimes entertainingly outlandish escapades.

1. An entertainment? A fantasy? A contemporary message film about the poor? About arms-dealing? About international corporations and conspiracies? The style of parody, satire and fantasy?

2. The work of the director, his career, his range of fantasy – with the solemn and the serious, even violent touch? Sentiment? The visuals? The communities, eccentrics, odd characters, their appearance, clothes, activities? The blend of the bizarre and the sweet?

3. The visuals for the characters, the sets, Paris, the cave, the mansions? Real at times and stylised at times? The aural atmosphere of the film, sounds, music, different, eccentric?

4. The title and the group and their activities?

5. The introduction to Bazil? As hero? The story of his father, Algeria, 1979, the desert, defusing the bomb, his death? The hero father?

6. The introduction to the adult Bazil, working in the video store, reading, the vehicle passing, the bullet, the ricochet, the injury, the bullet in his brain, in hospital, saved but the bullet remaining? The risk for his dying?

7. No job, no home, wandering the city, begging? People helping? His encounter with the group, going to the cave, joining the group?

8. The portrait of the community – their characters, appearances, contributions? The expert on picking locks, the girl who was the contortionist, the ethnographer and his work with maps, the young boy, the inventor, the woman who was a personalised but impersonal calculator, the stuntman and his injuries? The cook and the mother of the group? The routines, life, meals, work?

9. The theme of the weapons dealers, as characters, rivals, their way of life, their meetings, the double-deals, their hostility, sabotage? Selling to suspicious regimes? The visit of the Africans and their pleading their cause, money? The French and the satire on post-colonialism?

10. The group, the decision to abduct the arms dealers, forcing them to confessions? Their treatment, the comic interrogations – and torture?

11. The decision to put the expose on the internet, shaming the dealers, their loss of reputation?

12. Bazil, his finding a meaning in life, the solving of the mystery of his father’s death, avenging it, his own accident? The film’s attitude towards arms dealers and contemporary dealings with suspect regimes?

13. A good-natured satire – and comically inventive?

CASE 39

US, 2009, 109 minutes, Colour.
Renee Zellweger, Jodelle Ferland, Ian Mc Shane, Kerry O’ Malley, Callum Keith Rennie, Bradley Cooper, Adrian Lester.
Directed by Christian Alvart.

Stories about government child care agencies can raise very sensitive issues, especially with examples of care workers failing to see the damage wrought on children by cruel or neglectful parents. These stories are usually told in television reports and documentaries or in telemovies.

On the other hand, stories about children who wreak destruction on parents and on carers are the material of horror and terror movies. And there have been many. The Bad Seed gave us a phrase to describe these children. More recently, we have seen Orphan, The Unborn, The Uninvited and many others. Which puts Case 39 in a group of films. It leads us to think that Lilith (now there's a name that dares a horror story) is a nice 10 year old and that her parents, trying to destroy her and send her to hell are monsters. But most audiences will be immediately on the alert and know that this is not the case.

Busy and harassed agent, Emily Jenkins (Renee Zellwegger) accepts case 39 from her organised boss, Adrian Lester. She is so charmed by Lilith and horrified by her interviews with the parents, with some help from her psychologist friend (Bradley Cooper) and her police friend and confidant (Ian McShane) that she takes Lilith into her home to care for her. As we all know, big mistake.

The several strands of interest in the story include watching Lilith exercise her sweetness and light until it turns nasty and diabolical, seeing how Emily manages and when she wakes up to the truth (and visits the poor parents in custody), and waiting for Lilith to exercise her diabolical powers on Emily's friends. There is quite a vivid scene as one victim confronts his fear of hornets who overwhelm him.

German director, Christian Alvart, made the much more tense and eerie Antibodies and went on to make the eerie science fiction film, Pandorum.

Jodelle Ferland is very good as Lilith and gives some credibility to this not unfamiliar terror story.

1. A successful horror film? The films about orphans and bad seed? Family? Social carers?

2. The German director, the American perspective?

3. The realistic presentation of case workers, families, abuse in the families, judicial aspects, social concern? The story subverting expectations about social workers? About orphans?

4. Emily and her work, keeping busy, Wayne and his impositions and her clashes with him, Doug and the friendly relationship, the therapy for her clients?

5. Report 39, Wayne and his wanting Emily to take it? Her being busy? Lilith (and the ominous name)? Her parents, their look, their manner of speaking, reticence, the violent treatment, their wanting to kill their daughter, the oven? The contrast with Lilith and her charming presentation? Who to believe?

6. The reality for the parents, the ten years, the violence, the police raid, the threats, their arrest? Their seemingly cruel, in the kitchen, the oven for Lilith? The interrogations, the revelations about Lilith, her attitudes? Great attention? Lilith and her control, self-willed? The desperate parents, the different ways of trying to kill her? In jail and their reactions?

7. Lilith, her appearance, nice, seemingly the victim, sweet yet cajoling people she came in contact with? Emily believing her? Doug believing her? The applications for permission to adopt? Taking her to her house, all seemingly well?

8. Mike Barron, role as a detective, with Lilith’s parents? Friendship with Emily, help with cases? The talk, the interviews, the viewpoints of the parents? His changing attitude?

9. Doug, his work, his fears about hornets, the phone call, his interrogating Lilith, his death?

10. The story of Diego, the mobile phone call, his killing his parents? The irony of the calls coming from Emily’s mobile?

11. Emily, the reaction to the mobile calls, growing suspicion, discussions with Mike, Doug’s death and its effect? Wayne – and his fate? Going to see the parents, the mother and the experience of fire, the father talking about all the deaths, the family? His being killed by the inmates? Emily and her decision about school, Lilith’s behaviour at school, Lilith turning on her?

12. Mike, the phone calls, listening to the demonic voices? His believing Emily, their plan to kill Lilith? Mike and his fears, his death, seeming suicide?

13. Emily’s dismay, her plan, drugging Lilith, setting fire to the house, Lilith escaping? The final decision, the car, going to the river, drowning Lilith, Emily escaping?

14. Themes of evil children, demonic children, self-centred, exercising power, malicious? Credible or the subject for horror films and psychological case studies?

PLANET 51

US, 2009, 91 minutes, Colour.
Dwayne Johnson, Jessica Biehl, Justin Long, Gary Oldman, Seann William Scott, John Cleese.
Directed by Jorge Blanco, Javier Abad.

This is an animated film (from Spain – and work done in the UK - and a company that produces video games) with enough to appeal to children and enough to amuse relaxed adults.

The presumption is this: out there in space is Planet 51 with its own pace of development for its green (and, to us), alien looking characters; they have arrived at the stage where Earth was in the 1950s, and the designers, costumers and music directors have a great deal of fun re-creating the look and sound of the city to make it a parody (gentle) of Earth and life in Southern California in those days. It opens very humorously as the locals are watching a space horror flick, Humaniacs II, with mother dragging out a littly from such an unsuitable film! But, it reveals to us that the inhabitants have no idea about life in space and are focused on their own world. But..., there is a secret military installation (echoes of Roswell) to confront alien visits. The commander is General Grawl.

It is amusing and entertaining to watch a world that parodies our own. Then an alien from Earth (looking and sounding like an All-American? or Buzz Lightyear's brother) lands on the planet which he thinks is uninhabited, which leads to lots of humorous jokes with the human astronaut as the target of alien gags. Paralleling ET, the alien is saved by young children who try to get him back to his space ship, pursued by Planet 51 military (really dopey) and a mad scientist who wants to collect the astronaut's brain. And so on...

The voices are entertaining as well. Dwayne Johnson is the astronaut, Justin Long the nerdish hero, Lem, contrasting with the boisterous comics and move obsessive, Skiff, voiced by Seann William Scott. Jessica Biel is the object of Lem's affections while Gary Oldman voices the General and John Cleese the mad doctor. There is also a doggy robot who collects samples – very reminiscent of Wall-E.

Plenty of references to 50s small budget sci-fi movies as well as Star Wars and Back to the Future. Not an award-winner, but quite entertaining.

1. An entertaining animation, science fiction, space exploration? The spoof of America in the 1960s? The spoof of American and world attitudes towards aliens?

2. The Spanish contribution, style of animation, the planet, the American town, the aliens and their appearance, the contrast with the humans?

3. The strength of the voice cast and characters?

4. The musical score, the songs, America in the 1950s and 60s?

5. The humour in the parody, the parallel between humans and aliens, who’s the alien? The appearance of the aliens and their taking their appearance as normal? Their shock at seeing the human, Baker and his anatomy? Their fear?

6. The setting, the parallel with Americans and 50s and 60s B-budget science fiction, The Invasion of the Body Snatchers, the Humaniac series? At the cinema, the audience, fears? Isolation?

7. Lem, the hero, his work at the planetarium, meeting the people, explaining space, the size of space, the kids visiting? The gift? Lem and his awkwardness, at home, family, his longing to make an impression with Neera? His shyness and his longing?

8. Neera, her family, their attitude towards Lem, Neera more assertive? The barbeque?

9. Skiff, the opposite of Lem, his knowledge about movies, comics, the shop, his theories? The little boy and his expertise and tagging along? Glar, protest and singing, his love for Neera?

10. The attention to detail in the characters of the aliens, the town, their daily business, the clothes? The parallels?

11. Charles Baker, landing, the effect, like The Day the Earth Stood Still, Earth’s attitudes towards aliens and presuppositions, the ship, wanting to plant the flag, his numerous fans, the countdown to his leaving? His being isolated, his fears, seeing the aliens? Being chased by them? The alien reaction? The fear of an invasion?

12. Charles Baker as the all-American, with more than a touch of Buzz Lightyear?

13. Lem, his taking in Baker, hiding him, sympathy and understanding, trying to avoid General Grawl and Professor Kibble? The military intentions, the psychological intentions?

14. Rover, the robot dog, Skiff and his love for the dog?

15. Base Nine, Grawl and his set-up, Kibble and his laboratories?

16. Lem, the group combining with him, the rescue of Charles Baker and his returning to Earth? The aliens returning to their ordinary way of life?

17. The film relying on humour, irony, parody and gentle satire?

THE PRINCESS AND THE FROG

US, 2009, 97 minutes, Colour.
Voices of: Anika Noni Rose, Bruno Campos, Keith David, Michael- Leon Woolley, Jennifer Cody, Jim Cummings, Peter Bartlett, Jennifer Lewis, Oprah Winfrey, Terrence Howard, John Goodman.
Directed by Ron Clements and John Musker.

An enjoyable Disney feature although the opening does not bode well with a rather soppy song and some gooey scenes of mother reading The Frog Prince to two little girls. Then the title comes on and the film picks up considerably.

US commentators were quick to point out that this seems to be the first mainstream American animated film to feature an African American lead. Though Disney had some elements (a song in Dumbo, a Southern setting in So Dear to My Heart), it is surprising that it was only in 2009 that this breakthrough in colour has arrived.

And breakthrough it does. The setting is New Orleans just prior to and during World War I. And setting is very important for the liveliness of the show. This is New Orleans, the home of jazz, with plenty of music and song (and an alligator, very friendly despite his big teeth, called Louis who plays trumpet!), with foot-tapping rhythms, colourful characters in even more colourful costumes, and some voodoo into the bargain.

And, Disney has not forgotten an array of animals, some cuddly (well it is difficult to cuddle frogs but one would if one could, even though the heroine screams at the prospect of kissing one, but that was before she was transformed into a frog herself) and friendly, like glowworms, and some fiercesome, like gnashing alligators.

And there are lots of songs that have tunes and rhythms, the work of Randy Newman who has composed for so many of the Pixar films (like Toy Story and Monsters Inc). Every principal character gets a showstopper – which means that The Princess and the Frog is going to follow Beauty and the Beast and The Lion King and be transformed into a spectacular and joyous theatrical event.

And the characters are strong. Tiana (Anika Noni Rose) is no blushing violet but rather a strong girl with an ambition to open her own restaurant (daring for the times) and working hard for it. Charlotte, her featherbrained wealthy white friend wants to marry a prince. Prince Naveen (Bruce Campos) arrives, penniless and disinherited and is conned by the sinister Shadow Man, Dr Facillier (Keith David is compelling in this role). There are also the above-mentioned creatures and some parents (Oprah Winfrey as Tiana's mother, Terrence Howard as her father and John Goodman as Charlotte's father).

Plenty of colour, action, humour and, surprisingly a final deathbed scene and funeral before the happy ending and a witty way of remembering that it is a princess (even if she looks like a frog) who has to kiss and redeem Prince Charming. Entertaining.

1. The popularity of this Disney film? Oscar nomination? A 20th century fairy tale?

2. The African American setting and characters? The African American heroine, the Indian hero? The African American villains? The affluent white people in Louisiana? Audience comments and critical comments on this choice by the Disney studios?

3. The hand-drawn traditional animation, the characters, the backgrounds? The Disney style? Colour, design, realism and fantasy, the choreography?

4. The range of songs, the showstoppers, the songs illustrating characters, romance, comedy, danger? Related to character and plot? The different atmospheres?

5. Louisiana, New Orleans in the Jazz Age, World War One and its background? The background of Tiana and Charlotte as little girls, the stories of the Frog Prince? Her growing up, working as a waitress, life in New Orleans, her hopes, to buy the restaurant? Her love for her father and devotion to him? His experience in the war? Her mother’s support?

6. Tiana and Charlotte, as young girls, growing up, the white and black contrast? Charlotte and her ambitions to marry somebody wealthy?

7. The news of Prince Navine, his arriving in New Orleans, the background in India, his personal extravagance, working with Lawrence, going to the city, the welcome, wanting to find a rich wife, his vanity and his response to the women’s reactions?

8. Charlotte, her hopes, her rich family, the big daddy? The caricature of the white southern families? The ball? Inviting Tiana, asking her to cook?

9. The introduction to Doctor Facilier, the associate henchman? The voodoo background, his song, the eerie visualisation of the voodoo? His voice, powers? His wanting Navine’s powers? Abducting Lawrence, bribing him, transforming him into the prince? Lawrence awkward as the prince? Navine being turned into a frog?

10. Tiana, the banquet, Navine, Charlotte? Her missing out on the bid for the restaurant? Her encounter with Navine, kissing him and her becoming a frog? The reverse of the fairy tale? Pursued by Doctor Facilier, their going into the swamps, searching for Mama Odie?

11. The details of the life in the swamps, the range of animals, insects, Louis, fireflies, alligators? The eeriness, the comedy? Finding Mama Odie, her refusing to change them – wanting to teach them a moral lesson and the real motives for their change?

12. The clashes between Tiana and Navine, yet falling in love? The importance of Navine’s blood, Doctor Facilier wanting it for Lawrence, to maintain his presence as Navine? The sinister aspecs of Facilier’s pursuit?

13. The firefly, being useful, being comic? Louis and his musical ambitions – and the overtones of Louis Armstrong? The contribution of the slapstick comedy, the verbal wit?

14. The plight, Facilier and his power, the authentic kiss, Tiana and Navine becoming themselves, marrying, Charlotte accepting this, the restaurant?

15. The variation on the Frog Prince – adapted to America, to the 20th century, to New Orleans?

CHLOE

Canada, 2009, 96 minutes, Colour.
Julianne Moore, Liam Neeson, Amanda Seyfried, Max Thieriot, R.H. Thomson.
Directed by Atom Egoyan.

A film about adult issues designed for a thoughtful audience.

Chloe is based on Anne Fontaine's French film of 2004 with Fanny Ardant, Emmanuelle Beart and Gerard Depardieu. This time the wife is played by Julianne Moore, the prostitute, Chloe, by Amanda Seyfield and the husband by Liam Neeson. A very strong cast and strong performances.

Catherine (Moore) and David (Neeson) have been married for 20 years but each has become involved in their professional life, she a gynaecologist, he an arts lecturer, that they have grown used to each other and take each other for granted. When Catherine suspects David of having an affair, she pays for Chloe to make advances to David and report back to her. As always, events do not follow expected paths and people distort the truth, fantasise and are seduced by desires they were not aware of.

Director Atom Egoyan usually writes his own screenplays (Ararat, Adoration) but did not write this one. It is more straightforward than his usual films even though Chloe's reports and behaviour need our constant evaluation. At times, the film is quite explicit in its presentation of the relationships bringing forcefully to audience awareness the strange attractions and the moral dilemmas the characters, especially Catherine, find themselves in - and the mature response the film demands from its audience.

1. A drama, marriage and sexuality, prostitution, psychological drama? Psychosexuality?

2. The remake of a French film – adaptation to Toronto?

3. Toronto, the city as a character, homes, workplaces, restaurants, concert halls, lecture rooms? The realism? The musical score?

4. The growing surrealism of the story, Catherine’s world, Catherine losing her grip, her perspective on David, Chloe and her world, her fantasies? David and Catherine as fantasy objects? Max as a fantasy object?

5. Catherine and her age, gynaecologist, her skill with her work, her interactions with her clients? The emphasis on sexuality, birth? At home, her relationship with Max and his offhandedness, the difficult teenager? Her relationship with David? Their working, getting used to each other over the years, being away for their work, the phone calls, the distance between them? The effect on Catherine, her sense of identity, ageing, as a woman and wife, sexuality? Open to change and experimentation?

6. David and his charm, strong personality, in class with the students, at dinner with Catherine, seeing Chloe? The students, affairs or not? The audience perceiving him with Catherine’s eyes? The lies?

7. The dinner, Chloe and her client, Catherine’s comments, going to the ladies’ room, the accident, the encounter, Catherine helping? The idea of spying on David? Contacting Chloe, the contract, her reporting?

8. Chloe and her age, behaviour, callgirl? Her attitude? Her manner, clothes, clients? Her discussions with Catherine, agreeing to the contract?

9. Meeting with David, the rendezvous, the meals, the hotel room, the sexual encounter, mementoes? Her reporting this to Catherine? The irony that she was making it all up? The attempt to kiss Catherine, her refusal?

10. Max, adolescent, distant, his girlfriend at home, his mother’s disapproval, his music, the recital?

11. David at the recital, flirting? Catherine’s reaction? With Chloe, the report, the encounter, the effect? The phone call next day and urging the relationship to stop?

12. The build-up to the clash with David, the revelation of the truth?

13. The photos, Chloe and blackmail, payment, Chloe and her lack of relationships?

14. Chloe, coming to the house, learning about Michael? Catherine’s drastic confrontation?

15. David, his reaction to Chloe, the audience seeing the truth about him?

16. Chloe at home, the relationship with Max, the fight, the clash with Chloe and her falling to her death? Melodramatic or too melodramatic for this film? Catherine keeping the hair clasp?
.
17. A heightened psychosexual case study?

IRON MAN 2

US, 2010, 124 minutes, Colour.
Robert Downey Jr, Gwyneth Paltrow, Don Cheadle, Scarlett Johansson, Sam Rockwell, Mickey Rourke, Samuel L. Jackson, Clark Gregg, John Slattery, Gary Shandling, Paul Bettany, Kate Mara, Leslie Bibb, Jon Favreau.
Directed by Jon Favreau.

Described as 'eagerly anticipated sequel' in the press notes (and that is correct), it is not necessarily as enjoyable as the original film was. That will depend on moods and tastes, of course, but the sequel, well made as was to be expected, is sometimes new but often enough a replay variation on the first film.

Robert Downey's Tony Stark is as entertaining as ever. The world knows he is Iron Man and he is revered as the saviour and enabler of peace. However, a number of people disagree – and that is where some of the good drama takes place. Most obviously, this is with the new villain, Ivan, played with relish and dissheviled glee by Mickey Rourke. His causing mayhem with his powers and his electric currents emanating from his body at the Monte Carlo Grand Prix starts the action sequences. And by the end, especially in the showdown with robots galore and Ivan being terrible again, there is enough clunking, chunking, thunking, plunking (and some bunk as well) to shatter eardrums and nerves.

The other villain is Sam Rockwell as a would-be Tony Stark (the press notes referring to him wittily as a polyester imitation). He is an arms dealer with a gift for patter and Rockwell relishes his role as well.

Garry Shandling, who has the last line insult to Iron Man, is a hostile senator in a government hearing. He and others feel that Iron Man's suit is the equivalent of a weapon which rogue individuals or states could reproduce (with some mockery at North Korean and Iranian nuclear ambitions). In fact, the US government is wary. Samuel L. Jackson' s division has their eye on Tony and has its plant, Scarlet Johansson (who gets a chance to do martial arts with flair at the end), in his office. Even the government liaison, Rhodey (Don Cheadle replacing Terrence Howard), Tony's good friend is now wary.

Given that Tony is having difficulties of the heart – his booster against the ill chemical effects of wearing his Iron Man suit is becoming less effective – and he is still squabbling with his assistant Virginia 'Pepper' Potts (a not very lively or persuasive Gwynneth Paltrow). Plus, Tony sees some old footage of his father and his advice to his son. Legacy is important to him.

Director Jon Favreau's part as Tony's driver and bodyguard has been amplified and his in front of camera scenes indicate how much he is enjoying directing the film.

Robert Downey's pep speech at the Stark Expo at the beginning is a tour-de-force of 'I am' and it is gratifying to note at the end that he concurs with the psychological report that states his is extreme narcissism.

All going commercially normally, Iron Man will be back.

1. The anticipation of this sequel? Fulfilling expectations? Continuing the story and themes? Repetitions of incidents and style from the first film?

2. The American setting, New York City, Flushing Meadow and its elaborate show business style? The contrast with Washington DC, the Senate hearings? Prisons? The contrast with Russia, the squalor? The sequences in Monaco, the views of the city, the sea? The racing, the crashes? The pounding score?

3. The special effects, the expo, the air technology, the flights, the racing and the explosions, the battles?

4. Robert Downey Jr as Tony Stark, continuing his character from the first film, now accepted worldwide as Iron Man, the saviour of the world, privatising peace? His arrival at the expo, his suit? Applause, the keynote speech – and his focus on ‘I’ and ‘us’, on legacy? His indebtedness to his father – and the video clip of his father and the explanations, the expo? Pepper as his secretary, assisting him? The problems with his heart, the metals from the suit and their effect on him, the elements needed to preserve his life? His emotions, his tests, his matter-of-fact attitude towards Pepper?

5. His being summoned to the Senate hearing, the senator and his insidious questions, Tony and Pepper’s reaction, his replies, Justin Hammer and his presence, speech, aping Tony Stark? Tony and his win, Rhodes and his presence, the concerns about the government, the slides? The issue of whether Tony’s iron man suit was a weapon and needed to be nationalised for security?

6. Tony working in the lab, the puzzles, the search for the element? His handing over the administration to Pepper, her surprise? Natalie at work, his reaction? Rhodey and the suit, the fight? Rhodey and his going to Hammer for the weapons, the tests of all the weapons, Justin’s spiel, the reaction and buying the goods?

7. The Russian sequences, Tony’s speech on television, Ivan’s father, the partnership with Howard Stark, his presence in the US, the defection, his being sent back to Russia, his bitterness? His bequest to his son? Ivan in prison, release? Creating a new suit? Ivan and his building it, the details of these scenes, his going to Monaco to confront Tony?

8. Monaco, the race, Pepper’s presence, concern, the crashes, the fight with Ivan, Ivan being taken, imprisoned, Tony’s visit to him? Ivan in prison, the treatment, the set-up for his being freed, the explosions, Hammer and his using Ivan?

9. Justin Hammer, his style, polyester version of Tony Stark, his vanity, his speech to the Senate, with Ivan, the contract, Ivan at work, the plan, Hammer disappointed, confronting Ivan?

10. Tony, the edgy relationship with Pepper, her trying to run the business, her criticisms of him, avoiding him? Natalie and her presence, her siding with Pepper? The gift of the videos of his father, his father’s explanation, the new element, the experiments, success, reinvigorating his heart? Going to the expo?

11. The demonstration, the suits, the robots, the forces, the attack, people fleeing, Rhodey and his suit, being manipulated, forced to attack Tony, Tony and his flight, the strategies? Pepper being rescued?

12. The finale, the fights, the strategy for Ivan to destroy them, Rhodey and Tony and their blocking his rays and repelling them and destroying him?

13. The character of Happy, bodyguard, driver, wisecracks, his loyalty to Tony?

14. Natalie, the discovery of what she really was, the spy for the government, the encounters with Nick Fury, his giving the information to Tony, the briefing meeting with Natalie?

15. Natalie and Happy, going into the complex, Happy and his fighting the one opponent while Natalie disposed of so many of the guards with her martial arts?

16. Love, standing on the roof, Pepper and Tony – a future or not?

17. The medal, Tony and his joking? His achievement, survival – and into a sequel?

REVANCHE

Austria, 2008, 121 minutes, Colour.
Johannes Krisch, Irina Protapenko, Andreas Lust, Ursula Strauss, Johannes Thanheiser.
Directed by Goetz Spielmann.

Revanche: revenge,vengeance, retaliation.

This is a well-made Austrian film, a serious drama with touches of police and crime thriller. But, mainly, it is about the inner lives of five people who are interconnected by a tragedy.

There is symbolism in the credits sequence, a still camera focussing on a pool when, unexpectedly, a stone is tossed into the water and the splash sends out ripples. At the end credits there is silence except for birds chirping, sounds of a storm and then rain falling. Apart from a few slight tracking shots, all the sequences are comprised of fixed camera shots, movement within the frame but action sometimes outside the screen frame. A more contemplative style of film-making.

The early part of the film spends a great deal of time and attention on two of those people. Tamara is from the Ukraine, one of the many women from Eastern Europe who are caught up in prostitution. She works in a brothel in Vienna. Fairly impassive about what she has to do for customers, she is concerned about money and future security. But, she is in love with Alex, a middle-aged man from the country who is a general rouseabout in the brothel.

At the same time, we see the tranquil life of a married couple, he, Robert, mowing the lawn, she, Suzanne, cooking the evening meal. He is a local policeman who, by chance, is caught up in a bank robbery getaway and fires a shot after the car. There is a great deal of reflection on bad luck and chance.

The other character is Alex's grandfather, an 80 year old farmer, who lives near the policeman and his wife, the wife being kind to him at the supermarket she runs and giving him lifts to church as well as encouraging him to take up playing the piano accordion again. Alex stays with him, chopping his wood supply.

The bank robbery is not shown, just the getaway and the shot. But, this episode has repercussions for all the characters, especially for retaliation for the shot fired.

The film is very emotional, especially in portraying grief and depression. One can understand the feelings of the characters, the most puzzling of whom is the policeman's wife. Her feelings and motivations are quite complex and we might still wonder at the end what they really are.

Strong performances, dramatic without being melodramatic, ensure audience involvement in the lives of each character, the audience all the time being challenged as to where their sympathies lie and whether there should be revanche or not.

1. The impact of the film, the title, revenge, retaliation? The tone?

2. Austrian perspectives, character and society, issues?

3. Vienna, the brothel, the hotel, the rooms, the bar, detail? The time spent in the first part of the film creating this atmosphere?

4. The contrast with the village, the homes, farms, shops, the police station, the woods and the pool?

5. The musical score, the sounds and the absence of sound? The stone in the pool at the beginning and the shock for the audience? The end, the birds, the storm, the rain, the silence?

6. The photography, the fixed-frame scenes, the drama, confined? The possibility for the audience to contemplate the characters and the interactions? Themes?

7. The opening, the pool, the stone, the noise, the ripples? The contrast to the home, Robert mowing the lawn, Suzanne cooking and looking out the window? Preparing the audience for contemplating the characters?

8. The contrast with Tamara, her room, prostitute, from the Ukraine, her language, need of money, her jobs, clients and her attitudes towards them, their crass behaviour? Her coldness? Alex’s arrival, the bond between them, the relationship, sexual encounter, the shower, dressing, the detail, their plans? Establishing their characters strongly?

9. Tamara, the interactions with the boss, the plan for the visit, coming to her room, the provocation, his not touching her, Alex and his hiding under the bed, hearing the proposal for Tamara to move into a hotel, different clients, money? In the bar, the clients in the bar, the other women? The dressing room? Tamara and her smoking? Her hopes?

10. Alex, his jobs in the brothel, the background of his family, the love for Tamara, the need for money, the opportunity for opening a club, the decision about the robbery, the car, Tamara in the car? Robert, asking Tamara for her documents? Alex and the gun, forcing Robert to lie down in the street, driving away, Robert shooting, aiming at the tyres, killing Tamara? Alex gradually aware that she was dead?

11. The news of the robbery, the mystery, the death, the effect on Robert, discovering that he had killed someone? Going to the authorities? The support of his fellow policemen? The photo of Tamara, his wanting to deny it, depression, at home, unable to talk to Suzanne? With the men at the office, the photos? His going on his runs, to the pool, worrying? His not going to church? His walking away from the group meeting, the authorities and their treatment of him? The encounters with Alex, his saying that he was willing to die? His key question to ask why Tamara was in the car at the time of the robbery? His future, the issues of Suzanne’s pregnancy, the difficulties with Robert, Suzanne announcing that she was pregnant?

12. Alex, pulling off the road, his grief at Tamara’s death, going to his grandfather’s house, the audience knowing the grandfather, the old man, his driving, Robert and Suzanne and their comments, Suzanne helping? The old man and the death of his wife, looking after the cows, the wood needing chopping, his illness, eighty? Alex arriving, chopping and sawing all the wood? Staying? Their talks? Suzanne, giving the old man a lift, to church, their help in the supermarket, encouraging him to play the accordion? Alex ordering her away?

13. Suzanne’s response, inviting Alex to the house, the visit, the sexual encounter, her fright, his returning, seeing the photo, the story, Suzanne knowing who the woman was, keeping the secret? Asking Alex to keep the secret?

14. The grandfather, the illness, playing, Alex caring for him, sitting and dying?

15. The film portraying the inner lives of the central characters? The title and its relationship to each of them?

16. The pregnancy issue, for Robert and Suzanne, for Alex, for the future?

17. The end: the birds, the silent background to the bird, the storm sounds, the rain…?

THE LAST SONG

US, 2010, 107 minutes, Colour.
Miley Cyrus, Greg Kinnear, Bobby Coleman, Liam Hemsworth, Alec Beals, Kelly Preston, Nick Lashaway, Carly Chaikin, Kate Vernon, Melissa Ordway, Nick Searcy.
Directed by Julie Anne Robinson.

Check the credentials before making a decision whether to see The Last Song or not.

The first thing to note is that it is a dramatic star vehicle for Miley Cyrus, better known for her Disney television series, movie and concert tours as Hannah Montana. She is more of a presence on screen rather than an actress, though she is still young, 17, and time is on her side.

The second thing to note is that the film is based on a novel by Nicholas Sparks. That is enough to turn the anti-weepie crowds away (and there are plenty of tears here). While Sparks has worked on this screenplay himself, he has such a following (and with film versions of Message in a Bottle, A Walk to Remember, The Notebook, Nights in Rodanthe and Dear John) that devotees of his stories can get quite upset when the film does not meet their experience of the novels – and comments from dissatisfied fans seem to indicate that this is the case here.

The niche market seems to be teenage girls who can identify with Miley Cyrus and the situations in the story and respond very well to heartthrob, Liam Hemsworth (all the way from Australia to Georgia) with, maybe, an appeal to their mothers who take them to see The Last Song.

So, all in all, it is a romantic tearjerker, American style.

Miley Cyrus' character, Ronnie, is initially a surly pain in the neck, especially to her father because of her resentment at his having left his wife (Kelly Preston), her brother (a lively Bobby Coleman) and herself. But, you know it is going to end well, even if tearfully – the point is seeing how the film gets there and how it takes you along.

It is summer on the Georgia coast. Turtle eggs play a significant role (and there are some nice National Geographic sequences in there). So does making a stained glass window for a burnt church. There is scenery, fashion, teen angst, bonding, friendship, falling in love, illness, death, fights, snobbery, sense of betrayal, reconciliation and Greg Kinnear's performance as Ronnie's father to take it up a notch or two.

1. The work of Nicholas Sparks? The novels, the film adaptations? Americana, tears, love, illness, death…?

2. Miley Cyrus as a star, Hannah Montana, television and film, concerts, this film as a star vehicle for her dramatic career?

3. The Georgia island, the beaches, the houses, the church, the mansion?

4. The range of songs, for a young audience? The final song and sung by Miley Cyrus?

5. The introduction with the church, the burning, the rescue? The tone? The later information about the church, Steve Miller and his being present, blamed? The importance of the stained glass window? Steve making it, Jonah helping him as an assistant, Ronnie and Will helping when Steve was ill? The truth, the group of boys, the truth being the cause of the break between Ronnie and Will, the funeral and the focus on the window?

6. The family, the past, Steve walking out, the reasons, Kim and her having the children? Bringing them to Steve? The plans for her to remarry? The last summer for Steve and his children? The change, sadness? The mother taking Jonah away, Ronnie staying with her father, death and the funeral?

7. The focus on Ronnie, Miley Cyrus, her acting style? Her resentment of her father, failing her studies, her piano skills and not following them through, accepted at Julliard? Not reading her father’s letters? Arrival, walking past her father, her clothes, going to the beach, the girls laughing at her, Will and his spilling the soda, her antagonism towards him, getting back late, the room and sharing it with Jonah, not wanting breakfast, vegetarian, her meeting with Blaze, Marcus and his juggling, Blaze and her jealousy, setting Ronnie up in the shop for shoplifting, going to the police, her father rescuing? Paying? The doomed holiday?

8. Jonah, younger, his age, precocious? Love for his father, wanting to be with him, getting money from Ronnie to cover for her – and later being able to give her the money for the dress for the wedding? Apprenticed to his father, working with him, the importance of being with his father?

9. Ronnie and Blaze, the shoplifting, Marcus, the violence towards Blaze, Ronnie taking a stance, Blaze and her antagonism, later, Ronnie giving her the money, Blaze and the new opportunity, working at the wedding, Marcus turning up, causing a scene? Will fighting him?

10. The raccoon and the tortoise eggs, Ronnie saving them, building the ramshackle shelter, spending the night? The raccoon appearing? Will and his help, staying, Steve drawing the line in the sand?

11. Will, his first encounter with Ronnie, at the diner, talking with her, the volleyball, helping with the tortoises?

12. The change in Ronnie, talking with Will, going out, change of character, watching the volleyball, Will and his team winning, Ashley and her nasty stories about Will, Will and his explanations? Taking Ronnie to visit his parents, the piano and her playing, the mother and her snobbery, the father and his gaffes, the meal, the reality of their son and the accident, Will surviving, the mother blaming herself?

13. The scene of the freeing of the baby turtles, exhilaration, Steve’s collapse?

14. Steve’s illness, in the hospital, the truth about his cancer, the reactions, Jonah and his grief, Ronnie and the reconciliation with her father, the group working on the window?

15. The last weeks, Jonah going with his mother, Will and Scott and the truth about the fire, Will exerting pressure, Scott telling Steve, Steve forgiving him, Ronnie overhearing and upset, telling Will to go? Steve, his message to his daughter, for reconciliation? His death?

16. The funeral, Ronnie playing the piano, Will talking, the range of guests including Will’s parents? Back on the beach, forgiveness and reconciliation?

17. An American weepy for teenage audiences? An emphasis on feelings – and yet the possibilities of resentment, change, reconciliation and love?

THE PASSION OF DARKLY NOON

UK, 1995, 101 minutes, Colour.
Brendan Fraser, Ashley Judd, Vigo Mortensen, Loren Dean, Grace Zabriskie.
Directed by Philip Ridley.

The Passion of Darkly Noon comes from writer director, novelist Philip Ridley. Over twenty-five years he has made only a few films, fifteen years between Darkly Noon and his horror film, Heartless.

The film is eerie and apocalyptic in its conclusion. It focuses on religious people in the southern US, thought of as different, persecuted by townspeople. Brendan Fraser portrays Darkly Noon, a young man whose parents have been killed, wandering the forests and rescued by a young coffin maker, Loren Dean, and cared for by Callie, Ashley Judd, and her de facto husband, Clay, Vigo Mortensen. Nearby is a hostile neighbour, played by Grace Sabriski, who blames Callie as a witch for destroying her family.

Darkly Noon is a very proper and reserved young man, becomes infatuated with Callie, does not understand his passion. He listens to the neighbour, he imagines his parents (up a tree), giving him advice. While he works with Clay, and Jude befriends him, he becomes more obsessed in his inner life, ultimately painting himself red and attacking Callie with dire results.

The film is atmospheric, sets up a picture of isolated life in the southern United States.

1. The impact of the film? As portrait, drama, passion, apocalyptic climax?

2. The southern setting, the forest, the isolated house, the buildings? The musical score?

3. The title, the focus on passion, felt passion, enthusiasm for the Gospel, sexual passion? The way that Darkly Noon’s name was found, pinpointing words in the bible?

4. Darkly Noon and his wandering the forest, his age, appearance, suit and tie? His collapse on the road? Being found by Jude, the rescue, bringing him back to the house, Callie looking after him?

5. The signalling of the days of the week that Darkly Noon was with Callie, the build-up to the final night?

6. Callie, living in the forest, beautiful, loving Clay, supporting him? Friends with Jude? Clay wandering off but always coming back? His not being able to speak? Their not being married, but de facto married? Callie and her being a free spirit? Her care for Darkly, calling him Lee, the clothes, going to the springs, listening to his story, his name, rescuing the bible? Awareness of his attitude towards her? Her joy with Clay coming back, their life together? Her welcoming Jude? Quincy and his visit? The criticisms of Roxy, her explanations?

7. Clay, Roxy’s son, the background story, Roxy’s husband and his attack on Callie, Roxy blaming Callie? Her meeting Darkly in the woods, explaining the situation to him, Callie’s rebuttal? Clay and his being comfortable with Callie? The hard work, carpenter, Darkly working with him? Communication without speaking?

8. Jude, friend, building the coffins, going to town, always planning to go away? Rescuing Darkly, becoming friends? His decision to leave, asking Darkly to come with him? His understanding what was happening to Darkly?

9. Darkly, his recovery, the death of his parents and the effect on him, his religious beliefs, primness and prudery? His attraction towards Callie, watching her, the sexual scene? His being at the spring, reserve? His observations, beginnings of jealousy towards Clay, watching Clay and Callie, listening to Roxy, imagining his parents giving him advice, their being in the tree, their being in the house?

10. The final night, the build-up and his inner voices, painting himself red, the weapon, coming into the house, the fire, setting the house alight, the attack on Callie? The fight with Clay, Clay’s injury? Jude, his coming to the house, the gun, shooting Darkly? Rescuing Callie?

11. The overall effect of the drama, getting to know the characters, understanding the inner lives and passion?

KILLING ME SOFTLY

UK, 2002, 104 minutes, Colour.
Heather Graham, Joseph Fiennes, Natascha Mc Elhone, Ulrich Thomsen, Ian Hart.
Directed by Chen Kaige.

Killing Me Softly is an extraordinary misfire. It is based on a psychosexual thriller by the husband and wife team Nicci French (Nicci Gerrard and Sean French). This would provide the basis for a very interesting film. However, it has been directed by the famous Chinese director, Chen Kaige (Farewell My Concubine, The Emperor and the Assassin). It does not work, this meeting of English sensibility and Chinese art.

The subject is familiar from many romantic thrillers (one might think of Rebecca). A young woman is attracted by a silent and commanding man. She abandons everything for him. The impassioned relationship, of course, leads to disaster and the revelation of the truth about the mental stability of the man. While this is familiar, it is always good ingredients for a psychological study. It is material that a director like Adrian Lyne would have relished (from 9 1/2 Weeks to Unfaithful).

Chen Kaige has decided to let London be one of the principal characters of the film. As an outsider, he has an eye for cityscapes and there is quite a range of views of London and its atmosphere. However, he does not seen to be able to judge well British behaviour, especially in an impassioned situation. The danger is that the sex sequences seem more ludicrous than passionate. Joseph Fiennes, always an enigmatic and rather distanced actor, does his best with the laconic role of a celebrated mountain-climber who is involved in a passionate relationship. Heather Graham, who has proven that she is good at serious drama as well as comedy (From Hell, The Guru, the Austin Powers films, Boogie Nights) does her best at impersonating someone who might fall for this handsome stranger and become embroiled in a passionate and mysterious affair. Natascha Mc Elhone portrays the hero's suspicious sister.

There is a heightened climax with a melodramatic and violent ending the killing is not always done so softly. What might have been an interesting drama, ends as a film which many audiences have felt embarrassed watching, leading to unintentional smirks and laughter.

1. Adaptation of a thriller? Romance? Sex drama? Melodramatic?

2. The adaptation, the treatment by a Chinese director? In London? Particular perspective?

3. London, the familiar landmarks, flats, offices, shops, the streets? Realistic atmosphere? The sequences in the Himalayas and the atmosphere of mountain-climbing?

4. The plausibility of the characters, the plot, the entanglements? Madness and obsession?

5. Alice, in the United Kingdom? Her work in London? Enjoying London? Her relationship with Jake? Her work, computers, games? Her co-workers? Her voice-over – touching the signal, with Adam? Looking, following, in the shop? Their meeting? The passion? Her bad feelings about Jake, the separation? The love for Adam, sharing, the exhilaration? The wedding? Meeting Deborah, her friendliness and support? Glad that she was Adam’s sister? Klaus, the people at the shop, the mountain climbers? The ceremony, the mountain climbers welcoming Alice? Her beginning to be suspicious, the visit to the missing girl’s mother, the explanation? Finding the letters? Adam and his suspicious behaviour, not telling the truth? Her escaping from the house before he arrived? The tension? The psychologist? The police? The going to the spot in the mountains, where the honeymoon was? The confrontation with Adam – and the revelation of Deborah, her fight, her madness, her death? The reconciliation with Adam?

6. Adam, his background, the sequence on the mountain, the loss of life, his blaming himself? His book? The chance encounter with Alice at the signals? In the shop, the relationship with Alice, passionate? Sharing everything, the wedding, the honeymoon and the hiking, the friends? The suspicious behaviour, from the point of view of the audience? His becoming aware of Alice’s behaviour? His relationship with his sister? The revelation that he was not mad, Deborah’s madness, his reaction, her death?

7. Deborah, initially charming, welcome Alice, understanding? Sharing? The revelation of her obsession, relationship with Adam, her destructive attitude, death?

8. The climbing friends, Klaus in the shop, support of Adam, the marriage, the friendship?

9. The police, listening to Alice, no grounds for arrest? Her fears, his violent reaction? The truth?

10. The supporting characters, the mother of the girl who disappeared? The various people at the workplaces? Giving a realistic background to melodramatic relationships and violence?