FROM RUSSIA WITH LOVE

UK, 1963, 110 minutes, Colour.
Sean Connery, Daniela Bianchi, Pedro Armendariz, Lotte Lenya, Robert Shaw, Bernard Lee, Eunice Gayson, Walter Gotell, Francis De Wolff, Lois Maxwell, Martine Beswick, Vladek Sheybal.
Directed by Terence Young.

From Russia With Love was the second James Bond film. What is now called the franchise began with Doctor No in 1962 with a young Sean Connery as a suave James Bond. Connery was to continue until 1971, reprising his role in 1983 with Never Say Never Again. However, there was an interruption when George Lazenby portrayed James Bond in On Her Majesty’s Secret Service, 1969. Connery was followed by Roger Moore, Timothy Dalton, Pierce Brosnan and Daniel Craig.

In retrospect, this James Bond film seems quite restrained and straightforward. It remains close to Ian Fleming’s original novel.

The evil organisation SMERSH is taken over by SPECTRE. Audiences don’t see the boss of SPECTRE but see various agents, especially Rosa Klebb, portrayed in the now-classic performance by Lotte Lenya. Robert Shaw is the white-haired British villain who sets on Bond in order to kill him.

The film introduced some of the regulars for the future including Bernard Lee as M and Lois Maxwell as Miss Moneypenny. Desmond Llewelyn also appears as the quartermaster, Q.

The film is exotic in its locations, especially in Istanbul and on train rides towards central Europe, culminating in Venice. The film has a musical score by John Barry as well as its regular James Bond theme and the popular song sung by Matt Monro, ‘From Russia With Love’.

1.The popularity of the James Bond films? The background of Ian Fleming’s novels? Sean Connery as James Bond?

2.The initial James Bond films, relationship to the novels? The interpretation of Bond, suave, the 007, the training? The use of Q as his quartermaster with the gadgets? Under the command of M – with the various meetings? And the infatuated Miss Moneypenny?

3.The locations, Turkey, eastern Europe, Italy? Istanbul and Venice? The world of the gypsies? The musical score, song?

4.The title, the background of SMERSH and SPECTRE? The head of SPECTRE? His commissioning Rosa Klebb? His other agents, especially Kronsteen? Their going to work, tracking down Bond? Trying to kill him?

5.Tatiana, her background, under the command of Rosa Klebb? Her cover in Istanbul? The meetings with Bond, falling in love with him? Eventually confessing the truth? Helping in his work? The meetings with Ali Kerim Bey, his role in Istanbul, the tunnels, his information about the Russian embassy? His periscope?

6.The adventures in Istanbul, the dangers, the attempts to kill Bond? The various toughs? Going to the gypsy camp, the vivacity, the enjoyment? The attack on the camp?

7.The background of Red Grant, prison, his being commissioned to kill? His appearance, his being on the train, the attack on Bond, on Tatiana? His final confrontation with Bond and his defeat?

8.Ali Kerim Bey, genial, friends with Bond, in Istanbul, the information, the periscope? Spying on the Russians? His helping Bond escape?

9.The train ride, the dangers, Bond with Tatiana? The attack by Red Grant?

10.M, the supervision of the case, Bond reporting to him, the information? The staff? The seeming end of the adventure?

11.Kronsteen and his failure, Rosa Klebb and her being commissioned to destroy Bond? Posing as the maid? The fight with Tatiana, the fight with Bond? The stiletto in her shoes? Her death?

12.The happy ending – the comparative restraint in Bond compared with his later persona as regards drinks, ‘shaken not stirred’, his womanising …? An entertaining film and looking at in retrospect, the understanding for the future success of the series?

THE GREAT WHITE HYPE

US, 1996, 91 minutes, Colour.
Samuel L. Jackson, Jeff Goldblum, Damon Wayans, Peter Berg, Corbin Bernsen, John Lovitz, Cheech Marin, John Rhys- Davies, Salli Richardson, Jamie Foxx, Albert Hall.
Directed by Reginald Hudlin.

1.The popularity of boxing films? The serious boxing films? The race issues in the classic, The Great White Hope? This film as a spoof – management, individual sportsmen, agents? The media?

2.The title and the parody of The Great White Hope?

3.The world of boxing promotion, agents, television, boxers bought and sold? The expose – tongue-in-cheek? The African American perspective?

4.The champion, Damon Wayans and his comic style? The bouts, his skill? The cars, the Reverend Sultan buying him more cars? As a Brother? Used? Place in the team? The TV attention? The press? The hype for his fights? His relationship with Sultan? The choice of Terry Conklin as his opponent? Knowing that he could beat him – and his eating, getting fat – and the build-up to the fight?

5.Samuel L. Jackson as Sultan, his appearance, clothes? His screen presence, tone of voice? The hustling, the deals? The pseudo Reverend? The girls, the photos? His dealing with his champ? Knowing that he would always win? The marketability? His deciding on Terry Conklin? Building up the fight? Conklin as the Great White Hype? His dealing with Mitchell Kane, his opposition? Television exposes? His use of money, bringing him on board? The other members of his team – but the firing of Sol? His dealings with the people around the sport of boxing? Bambi and her presence? Hassan El Ruk’n and his management of his fighter? The fight itself – and some comeuppance?

6.Mitchell Kane, the TV expose, the crusader? Getting information? The interview? His meeting with Sultan, his being bought by Sultan? The reactions?

7.The picture of Terry Conklin, boxer, not so bright, his ability to fight? His being chosen by Sultan? The build-up, the training, the fight itself?

8.The managers of the other boxers, Hassan El Ruk’n? The various other characters on the periphery of the sport? Bambi and her role?

9.The boxing sequences, serious, comic?

10.The parody of the world of sport, of boxing films, of television coverage, of agents and promoters? How effective a spoof?

BIG DADDY

US, 1999, 93 minutes, Colour.
Adam Sandler, Joey Lauren Adams, Jon Stewart, Cole Sprouse, Dylan Sprouse, Josh Mostel, Leslie Mann, Allen Covert, Rob Schneider, Christy Swanson, Joseph Bologna, Steve Buscemi.
Directed by Dennis Dugan.

Big Daddy came immediately after The Wedding Singer which made a shift in tone for comedian Adam Sandler. He had appeared as something of an airhead in such films as Happy Gilmore and Billy Madison. However, with The Wedding Singer there was a blend of sentiment with the comedy. This continues with Big Daddy. He was then to make Little Nicky and to be a very successful star in the ensuing years. Direction is by Dennis Dugan, former actor, who directed Sandler in Happy Gilmore as well as I Now Pronounce You Chuck and Larry and You Don’t Mess With Zohan.

Sandler portrays a slacker, a lazy law school graduate who finds a young child at his doorstep. In order to make an impression on his girlfriend who wants to leave him, he starts to take care of the child – and gives it a very poor example in parenting. However, as might be expected, when the authorities want to take the child away, Sandler becomes more responsible and becomes a Big Daddy to the child.

The film has a very good supporting cast including TV host Jon Stewart, comedian Leslie Mann and Sandler’s friend, Rob Schneider. There is a funny cameo by Steve Buscemi as a homeless man – just as he had a cameo in The Wedding Singer.

1.The popularity of Adam Sandler? His comic persona? Screen presence? Visual humour, pratfalls, the lazy slacker, the airhead? Verbal humour?

2.The title, father and son themes? The American style? A portrait of the 90s? The dedication of the film?

3.The New York setting, authentic, the apartments, the streets? The songs?

4.Adam Sandler, the deadpan comedy, timing, having to grow up and take responsibility, relating to adults, to children?

5.Sonny (and the significance of this name for the immature man)? The credits, the stills, his father? His experience, study, lazy? His relationship with Vanessa? The surprise? The bet about Kevin and the engagement? His being a loser?

6.Julian’s arrival, Sonny not knowing about the child, his reaction? Letting the child stay? His relationship with Vanessa? Her wanting to leave? The comedy with the boy, the pathos of the boy and the man? Age five versus thirty-two? Their experiences? The personality of the boy? The attempts to be a father – but with a sense of freedom? Frankenstein? Eating, urinating? The friends? Toys, clothes, games? Exasperation and wet? The vomiting? The character of the kangaroo? The laughter, the car hit? The bonding? Telling the truth? Vanessa, the sunglasses? The supernatural and the cans, Hooter?

7.The school sequences, the kids at school, drugs and the playground? Sonny meeting Layla, sharing with her? The stories?

8.Sonny and his range of friends, the gay friend and his presentation, the cards, Phil?

9.Rob Schneider as Nazo, his comic presence, style?

10.The cameo of Steve Buscemi as the homeless man? Comic?

11.Vanessa, Sid, Hooters?

12.Sonny, the authorities wanting to take the boy away, the decisions? Brooks and the arrest? Preparing the boy to go?

13.The court case, the farcical aspects, the team, the judge, the witnesses? His final decision?

14.The aftermath – and hopes for the future? The comedy touches, the comic characters? The realistic characters and the important themes of parenting and adoption?

THE QUATERMASS EXPERIMENT

UK, 1955, 82 minutes, Black and white.
Brian Donlevy, Jack Warner, Margia Dean, Thora Hird, Gordon Jackson, David King- Wood, Lionel Jeffries, Sam Kydd, Richard Wordsworth, Jane Asher.
Directed by Val Guest.

The Quaterass Experiment is based on a series for television created by Nigel Kneale. It began in the early 50s and was developed into several series. There were also two films in the 1950s, a sequel to this film, also with Brian Donlevy. (There was a further film in 1967, Five Million Miles to Earth. The themes were used again in the early 21st century for television films.

At this time in the United States, there were quite a number of B-budget horror thrillers as well as science fiction films. This is an English equivalent – but done with something of the panache of British film-making rather than B‑budget American style. However, Brian Donlevy and Margia Dean were brought over to the United Kingdom – Donlevy is particularly stolid as Quatermass and Margia Dean does not make a good impression as the wife of the infected astronaut. However, the solid British cast led by Jack Warner as a Scotland Yard inspector (just as he was in The Blue Lamp and Dixon of Dock Green) with Thora Hird doing a comedy role, Gordon Jackson as a television producer, Lionel Jeffries as a representative of the Ministry of Defence. Jane Asher appears as the little girl who encounters the astronaut, played by Richard Wordsworth.

The film was directed by Val Guest, a prolific writer and director in British films from the 40s to the 80s. He directed the sequel as well as such science fiction films as The Day the Earth Caught Fire.

1.The impact of the film in the 1950s? Audiences unfamiliar with these themes? Space training and exploration in the 1950s, before the launch of Sputnik? The mysteries of outer space? The film capitalising on the unknown and the mystery as well as the threats?

2.The black and white photography, the London locations, the sets especially the zoo, the hospitals, Westminster Abbey? The musical score?

3.The title, the focus on Professor Quatermass? Quatermass as a scientist, rigorous with science, not wanting to speculate? With the hat and overcoat in the British style? The American actor and his rather stolid performance? His response to the missile crashing to Earth, inspecting the missile, the mystery of the disappearing astronauts? With the doctor, in the hospital? His work with Inspector Lomax? The gradual revelation of what had happened, his scientific theories? Working with the police? The laboratory mice and their expansion? The final confrontation in Westminster Abbey? His solution to electrocute the monster? The end with his going forward to start again?

4.The opening, the crash-landing of the missile, the people running into the house? The Ministry of Defence and its representative? His observations, his being part of the inquiry? The hosing down of the missile, opening it, the survivor coming out and collapsing? The disappearance of the other astronauts? The recovery of the camera and the film? The development of the film? Its being played, Quatermass watching it, his conclusions?

5.The survivor, his being infected, the revelation from the film footage? His being cared for by the doctor, asking for help? His absorbing creatures including the cactus? His being helped to escape from the hospital, his wife? His killing the helper in the lift? Frightening his wife in the car? His going through the city, killing the man in the shop, going to the zoo, killing the guard, absorbing the animals? His encounter with the little girl, taking her doll but sparing her? His finally being transformed into the monster? His death?

6.The doctor, his trying to deal with the situation? Speculations? The pressure from the wife, from Quatermass?

7.The police, Inspector Lomax, the sturdy man from Scotland Yard? In action, what was expected from a British bobby?

8.The wife, the mystery, her grief, helping her husband escape?

9.The episode with the little girl – the echoes of the Frankenstein incident, the monster with the little girl?

10.The science background of the period? Space exploration? Mysteries of the universe? A British take on these themes?

EVIL ALIENS

UK, 2005, 93 minutes, Colour.
Christopher Adamson, Emily Booth, Samuel Butler.
Directed by Jake West.

Evil Aliens is a spoof. It is made by a thirty-year-old director who knows his horror films, relishes the B-budget and extreme splatter films. He incorporates all of them into an absurd screenplay about aliens in Wales and indulges in all kinds of splatter sequences. The film will not appeal to mainstream audiences who will find it rather disgusting. However, it will appeal to that coterie of experts on the smaller-budget, poorly-acted, eccentric horror movies.

This film focuses on a tabloid TV presenter, played by Emily Booth, who wants to revive her career. A Welsh farm girl claims to have been impregnated by aliens. The presenter and her crew go to Wales, find the girl with three inbred brothers. There is also then a mysterious circle – but it has been fabricated by the TV presenter.

The crew makes a reconstruction of the abduction. But cattle are mutilated, the spaceship is actually present, they want to photograph the invaders. What follows is a series of attacks, the young girl transformed into an alien, the brothers battling the aliens, the killing of a gay actor. When the mother ship arrives, then there are even more aliens who attack the presenter, impregnating her.

The screenplay becomes even more absurd. The film crew escape, but they cannot get off the island. The rest of the plot includes the UFO inspector having a liaison with an alien dominatrix, rescuing the television presenter. However, ultimately everybody is dismembered and destroyed. There is a powerful combine harvester sequence where most of the remaining cast are pursued.

Finally the writer-director has tongue firmly in cheek when everything is destroyed and only the sound man survives by swimming back to England – but the videotape that he has taken, with all the evidence of the invasion, has been ruined.

One for the splatter archives!

FEED

Australia, 2005, 101 minutes, Colour.
Alex O’ Loughlin, Patrick Thompson, Gabby Millgate, Jack Thompson.
Directed by Brett Leonard.

Here’s one for the ‘don’t have to see’ list. It’s a police investigation story with touches of horror – and plenty of ugliness. It states that it is based on fact – and has a scene reminiscent of the recent German cannibal to prove it. It is a story of a psychopath who feeds obese woman and members of an internet club place bets as to when the women will die.

Once upon a time, American director, Brett Leonard, made some interesting Stephen King adaptations (Lawnmower Man, Hideaway) and the thriller, Virtuosity. Here he is in Australia, with the help of Jack Thompson, and with Thompson’s son Patrick as producer and star.

It’s not quite as gross to watch as the plot suggests but it is unpleasant, the sociopath being a psychosexual criminal and the detective being something of a psychosexual obsessive himself. The characters elicit very little empathy, even the victims, so we are left with the bizarre and the ugly.

1.The impact of the film? Ugly? Sickening? Entertaining?

2.The Sydney settings, the police work? The transition to the United States? Ohio? The Carter household? Credible or not? Musical score?

3.The character of Phillip Jackson, as a policeman, sexual deviant crime? His visit to Germany? The issue of the cannibal and his case? His relationship with Abbey, her infidelity, his sexual relationship with her? His becoming obsessed with the website, the clients involved in fat? Overfeeding girlfriends? The disappearance of the women from the site? His idea of the site owner, feeding the women to death? Bets on the time of their death? His explaining this to his colleague, to his boss? Abbey leaving him?

4.His travelling to Ohio, his looking for the website operator, Michael Carter? Carter’s sister? His intrusion into the house? Carter throwing him out? The hotel, Carter giving him drugged coffee?

5.Carter, his victim, Deidre? The background of Carter killing his fat mother? The kidnapping of Carter’s wife? The victims and their remains? Carter’s mode of operation, feeing Deidre? Deidre not wanting to leave? His gun, wounding Carter, Deidre shot?

6.The finale, Jackson, Carter’s sister, eating, Carter as emaciated, chained in the attic?

7.The B-budget, the acting style? The ugliness of the characters and stories? The possible use of symbols for a consumerist society and its eating itself to death, destroying victims? Or reading too much into what is a low-budget horror film for genre fans?

CHICKEN LITTLE

US, 2005, 81 minutes, Colour.
Voices of: Zac Braff, Garry Marshall, Don Knotts, Patrick Stewart, Amy Sedaris, Steve Zahn, Joan Cusack, Wallace Shawn, Harry Shearer, Fred Willard, Catherine O’ Hara, Patrick Warburton, Adam West.
Directed by Mark Dindal.

Definitely one for children to review to tell us whether it is funny, whether they liked the story, whether they liked little Chicken Little, his father and the other characters in the town. They would have to be film buffs to tell us whether they appreciated the references to science fiction movies and parodies of Close Encounters and, especially for 2005, The War of the Worlds.

While the film is geared to children, it is one of those raucous entertainments with a lot of shouting, a lot of misunderstandings as well as expecting children to be more knowing in their behaviour, more than a touch worldly-wise, in their response to characters rather than respond with a more child-like simplicity and delight.

For a while, it looks like a small domestic comedy with poor Chicken Little mocked by everyone and judged badly by his father when he makes a fuss and causes disaster claiming that a piece of the sky has fallen. However, he makes good in a heroic run in a baseball match.

But, then come the aliens!! And the tone of the film changes considerably.

This reviewer was reminded of Lilo and Stitch, another Disney animation that eluded his wavelength but was popular with the children.

1.An entertaining animation film? For young audiences? Adults?

2.The style of animation, the drawing of the characters, animals – but the humorous caricature touches? The parallels with human behaviour? The comic voices? The amusing situations – the blend of realism with aliens?

3.Chicken Little, the little person? The town of Oakey Oaks? The inhabitants? Chicken Little and his place, Buck his father? His claim that the sky is falling in? His being hit on the head by an acorn? His being exposed to ridicule? The town’s animals laughing at him? The year passing? His hope to become a hero? Playing baseball? The irony of his victory and score? His actually becoming a hero? The repetition of his being struck? The alien technology? The spaceship taking Fish Out of Water? The comedy of Fish Out of Water in his diving helmet? Chicken Little and his pursuit? His friends, Runt of the Litter and Abby Mallard? Abby and her devotion to Chicken? The discovery of the flying saucer? The robots? The rescue of Fish? The discovery of the plans – and their thinking that they were to destroy the earth? The return to Oakey Oaks, pursuit of the robots? Chicken and the alarm? The spaceship disappearing? Everybody laughing at Chicken again? His father’s disbelief? The discovery of the child alien (and its three eyes), the parents returning, wanting the child? Chicken and his reconciliation with his father? The happy ending?

4.The supporting characters, the visuals, the voices, the comedy? Fish Out of Water, Runt of the Litter, Abby Mallard? The other animals in the town? The mayor? Buck Cluck and his relationship with his son – and his reconciliation? The principal of the school? The Dog Announcer? Foxy Loxy?

5.The outer space story, the aliens, the robots, the taking of Fish, the pursuit by the friends? The seeming plans for destruction? The reality? The return of the parents, the spaceships? The upset to the town? The discovery of the truth – and the aliens wanting acorns?

6.The parody of human behaviour, the town, the baseball team, the principal, the various characters? Family relationships – and Chicken wishing that he had a family like those he observed? The scene of reconciliation with his father?

7.The aliens, the robots? The visitors from outer space – benign? The parody of War of the Worlds?

8.The blockbuster movie, everybody going to see the film, the film within a film, Mickey Mouse and his cameo?

9.A light-hearted animation film, drawing on many genres?

CHEAPER BY THE DOZEN 2

US, 2005, 94 minutes, Colour.
Steve Martin, Eugene Levy, Bonnie Hunt, Tom Welling, Piper Perabo, Carmen Electra, Jaime King, Hilary Duff.
Directed by Adam Shankman.

Family films don’t come bigger than this – well, actually, there is a remake of the 1968 comedy, Yours, Mine and Ours where husband and wife bring 8 plus 9 children from previous marriages! This time it is just a Baker’s dozen (that’s the actual name of the large family).

The original film, from 1950, had a quiet charm. Of all actors, Clifton Webb was the acerbic father and Myrna Loy the soothe-all mother. Their sequel focussed on the daughters of the family. It was called Belles on their Toes.

No such charm, no such reticence in the 21st century remakes, Cheaper by the Dozen and, prosaically, Cheaper by the Dozen 2. And there is absolutely no quiet. A quick review of this sequel would be that it is infinitely better than the first film. But, that is not saying very much. The first was raucous with a frantic Steve Martin and a gaggle of obnoxious children who spent a lot of the film squabbling and/or being mischievous.

This one is far more genial, even some niceness in the behaviour of the children who are actually growing up better behaved than you might have imagined. There are also some touches of romance in the air. As Dad, Martin does a whole lot of mugging with some overly intrusive parental control. He is also in consuming competitiveness with a successful businessman who was a rival back in schooldays - played with his customary double-take humour by Eugene Levy.

Bonnie Hunt manages to survive the proceedings by bringing sweetness and light and infinite tolerance as the unflappably wise mother of the dozen.

1.The comedy in itself? As a sequel to the 2003 film? In comparisons with the original of 1950?

2.A piece of Americana, large American families? The city locations, college? The contrast with the lake, the holiday atmosphere? The musical score?

3.The basic plot: families, bonds, clashes? Births? Graduations? Family rivalries? How well-developed the themes – or conventional?

4.Tom and Kate Baker, their twelve children, going to Lorraine’s graduation? The celebration? The other members of the family, Nora and her pregnancy, her husband? The younger children and mischief?

5.Tom and his regrets that the family are scattering? The decision to go to the lake? The memories of the vacations at the lake? Kate agreeing? The wariness of the children? Packing up, travelling, the mishaps? The arrival?

6.The holiday, things going wrong? The contrast with the Murtaughs? The discovery of the rivalry, Tom and Jimmy, their past? Petty rivalry? Tom and his being even more petty?

7.The relationship between the two families? Jimmy and his wealth, buying up the land? Showing people around his property, the house? Serena as the trophy wife? The well-behaved children?

8.The contrast with the Bakers? Yet the friendship between the various children? Charlie and Anne, their meeting, their relationship? Sarah and Elliot? Sarah and the shoplifting?

9.The Labor Day sports meeting, Tom and his wanting to win? The comedy of training the children for the competition? The children not showing up? Tom and his determination, childish? The children who help

10.The competition, the various races? The tie? Nora going into labour? The hospital? The birth?

11.The return to the lake? The happy ending, for the family? And the comedy with the future of the Murtaugh family?

AMITYVILLE 3D

US, 1983, 104 minutes, Colour.
Tony Roberts, Tess Harper, Robert Joy, Candy Clark, John Beal, Leora Dana, John Harkins, Lori Loughlin, Meg Ryan.
Directed by Richard Fleischer.

Amityville 3D is a sequel to the 1979 success horror film, The Amityville Horror. This film was made for TV exhibition – and a number of the scenes are contrived to get the 3D effect with objects flying at the audience. It was directed by Richard Fleischer, veteran director of many genre films ranging from The Narrow Margin to Twenty Thousand Leagues Under the Sea, to The Vikings to Compulsion.

The film opens promisingly with an expose of people holding séances. However, there is danger in the house which had served as the gate to Hell in the original film. The first victim is the estate agent, the sceptical journalist moves in with his family and there is death and destruction for most. There are dream sequences, special effects for the possessive demon.

Tony Roberts is the journalist, Candy Clark has a good role as his assistant exposing the confidence tricks. Tess Harper is the journalist’s ex-wife and Robert Joy is the paranormal expert. There are early appearances from Lori Loughlin and, surprisingly for many, Meg Ryan.

There were a further five sequels of The Amityville Horror and a remake of the original in 2005.

1.The popularity of The Amityville Horror? Plausibility? The original allegedly based on a true story? The exploitation of the story in the sequels? How successfully in this sequel?

2.Amityville, the surroundings, the house, the interiors? The 3D effect? The production design for three-dimensional viewing? Musical score and atmosphere?

3.The Amityville house as the gate of Hell, the well, the demons? The special effects for the demonic activity? The flies? The lake? The fish? The monster?

4.John and Melanie and their going to the Caswells, the séance, the effects of the séance? Melanie as convincing? The sudden expose, the photos? The expert? The DA? The anger of the Caswells?

5.Clifford Sanders, the estate agent, his reaction to the expose? His going into the basement, falling down the hole, rescued? Melanie and the photos? The appearance of the flies and the distortion? His return to the house, attacked by the flies, his death?

6.John Baxter, interest in the house, Sanders and his offer? The discussions with Susan? The discussions with Nancy? The divorce? Wariness about the house? Susan and Lisa going to visit it? The scepticism by John? The photos? The death of Sanders?

7.Melanie, her participation in the expose, the photos? The aftermath, her wariness about the house, Sanders falling down the well? The photos and the distortions? Her fears, the car, almost killed in the crash? Her work, death?

8.Nancy, wary, not wanting her daughter to go to the house? The build-up to the final confrontation? John and his daughter, her death? The confrontation with the demon?

9.Susan, her age, love for her father? The house? Friendship with Lisa, the tour? The friends, the séance? The destructiveness of the house for her?

10.Elliot West, his researches? Consulted by Nancy? Friendship with John and Melanie? The set-up for the confrontation? The rescue?

11.The popularity of this kind of combination of haunted house story with the demonic?

THE SIMPSONS MOVIE

US, 2007, 87 minutes, Colour.
Voices of: Dan Castellaneta, Julie Kavner, Nancy Cartwright, Yeardley Smith, Harry Shearer, Hank Azaria, Marcia Wallace, Pamela Hayden, Joe Mantegna, Albert Brooks, Tom Hanks.
Directed by David Silverman.

The Simpsons Movie is very funny.

For twenty years, the Simpsons have entertained television audiences with their madcap lives but, even more tellingly, with their spoof comments on human nature, social issues and political stances. In fact, The Simpsons has created an industry but also a niche in intelligent discussion of the media. Some contestants on Mastermind take The Simpsons as their topic and can identify incidents from episode to episode. Many Christians have written articles and books on how effective The Simpsons has been in offering a contemporary way of dealing with important values.

Not that Homer and his family are exemplars of righteous living. Often, Homer is far from this. But, the series has been written as an appeal to basic values that audiences believe in which becomes a means for our responding to the family’s behaviour.

Homer himself is usually the cause of the problems with his obtuse selfishness, his immediate gratification and his inability to think things through let alone foresee consequences. Yet, sometimes, but especially here in the movie, he is the one who has to come to his senses and rectify the situation and save his family and the people of Springfield. He is both an irritating slob and a lovable human being who shows more than his fair share of human foibles.

Marge, on the other hand, with her high-rise blue hair, is normally the sensible one. Bart is mischievous but is always looking for some fatherly interest and care. Lisa is serious and the baby is a bit of a chameleon, gooey eyes one minute and mini-martial arts the next.

After twenty years, the producers have responded to popular demand for a feature film – and fans will not be disappointed.

The series has always delighted in witty screenplays and this one is full of clever lines. Even baby Maggie’s first word at the end of the film is – ‘sequel’!

Actual characters have always been a target for some send-ups and here we have glimpses of Hilary Clinton, Arnold Schwarzenegger as president (‘elected to lead, not read’) and Tom Hanks wandering about, serious-minded.

Sight gags abound. The Simpsons Movie is strong on visual wit.

Then there are the messages. Basically, the plot is a recognition that global warming is a human responsibility. Homer is selfish and careless in disposing of waste and causes Springfield to be quarantined by a huge and impenetrable dome. He escapes but his conscience gets the better of him and he returns to try to make things right again.

There is also the theme of parenting and families. Homer is no example to Bart who finds his neighbour Flanders a better father to him – but he has to learn (as does Homer) what family bonds can be.

In many ways these messages are mini-sermons (though Homer is not very good when he attends Church and misses out on messages there). But, they are packaged in humour and irony, with many references to contemporary politicians and discussions, which means that we are laughing at the bad behaviour while we know what good behaviour ought to be. We ‘get’ the message.

At the session I attended, young children were laughing out loud at the characters and situations. Adults were laughing at the spoofs and satire. The Simpsons can communicate with everyone.

1.The popularity of The Simpsons for twenty years? Three hundred and ninety-seven episodes? A product of the 80s? Their survival through the 90s – despite the disapproval of George Bush Sr? Into the 21st century? Worldwide appeal? The nature of the appeal? The Simpsons as cult figures?

2.The visual style, the animation style, the design of the characters, the voices, action? The layouts and background? The musical themes? The score?

3.Springfield, life in Springfield, the families, Flanders, Mr Burns, the church, the police? The shops, food? Flanders and the relationship with the Simpsons?

4.The impact of a full-length feature, the strengths from the television series, plot, characters, gags, crises, messages?

5.The opening, Itchy and Scratchy, going to the moon, the clash on the moon, Itchy becoming president, Hillary Clinton in the background at his inauguration? His jealousy, setting off the nuclear warheads? Homer standing up in the cinema, attacking people for paying for what they could see at home for nothing and turning to the audience and saying, “You”? Ads for Fox Television during the film, the caption “To be continued – immediately”? The credits and the appreciation? The final song? The baby’s final word, “Sequel”? The final joke with the assistant manager sweeping up after the final credits and lamenting about going to film school?

6.Springfield, life at the Simpsons’ home, the contrast with Flanders and his being nice to his sons? The church, people praying, the minister, the Simpsons being late, the silhouettes, Homer attacking church people, everybody looking at them enter? The minister and his asking people for opinion and their crouching down? Grandpa, his turn, charismatic, speaking in tongues? Homer and his looking through the Bible for solutions? Marge and her concern, her interpretation of Grandpa’s words?

7.The relationship between Homer and Bart, on the roof, rivalry, the hammer in Homer’s eye, the various dares, Bart skateboarding naked through the town? His being covered – and then exposed? The police taking him, his father coming, denying knowledge to avoid jail? Meeting with Flanders and his boys in the restaurant? Homer and his seeing the pig, the commercial with the pig, the sponsor spitting out the food, wanting the pig killed, Homer bringing it home? Its twisted tail and Marge’s interpretation? Homer and his affection for the pig, its walking on the roof, trot-marks and singing the Spider Pig song? Watching the TV with the pig, the kiss? Marge and her anxiety? Bart watching his father friendly with the pig and not himself? Talking with Flanders, Flanders offering the chocolate drink? Bart and his going fishing with Flanders, losing the reel, but not being hit – and the flashbacks to Homer and his electrifying the water and getting all the fish, the electric shock as he ate the fish?

8.The concert, the songs, the message about the environment, the parody of Al Gore’s film? The people not wanting to listen to the message, attacking the musicians, the corrosion of the stage, sinking? The funeral for the singers? Lisa and her going from door to door, everybody slamming the door? Milhouse and his attraction to Lisa, Colin, his Irish brogue, U2 – and Lisa falling in love?

9.The pig and the waste, the huge container? Homer and his taking it to the lake? The discussions about the lake pollution, putting up the barriers, the simpleton and his not being able to put anything in the lake? Homer driving through all the notices, crashing through the fence? Putting the container in the lake, the contamination, the multi-eyed monster? Flanders and Bart on the mountain, the sudden appearance of the monster? The EPA authorities taking it?

10.Cargill (and Albert Brooks’ voice)? His finance, concerns, going to President Schwarzenegger (and the jokes about leading not reading and the various choices)? The plan, the engineering of the dome, flying it and placing it over Springfield? Cargill on the big screen, his explanation? The people discovering that Homer was to blame? Watching TV – and the vigilante group? The fire, the attempt to escape, carrying the car, the nooses? The pig and the plank and pushing it away? Taking refuge in the treehouse? The sinkhole – and the baby going through it earlier, everybody escaping, Homer too fat but able finally to escape?

11.Alaska, the dream, the poster, the crashing of the car, the reality of Alaska? Bart and his clash with his father? Marge and the decision to go? The cycle competition, Homer going round the circle, his getting the truck, the drive to Alaska? The thousand dollars entry fee? Happy, the sexual encounter and all the characters from Bambi coming into the house? The discovery of the truth, their leaving? The family going to Seattle? Cargill and his taking them back to Springfield?

12.Homer in the woods, the bear, on the iceberg floe and the broken heart? The meeting with the Inuit shaman, the mystical experience, the epiphany, his return? His climbing the dome, the rope and coming down into Springfield?

13.The background of life in Springfield, the steady deterioration, the reaction of the people, the blackouts, stealing everything from the bar, becoming desperate?

14.Homer and his return, his feet with the cycle, Bart and his antagonism towards his father, Flanders’ support? The success, throwing the bomb out of the dome? The happy ending? And people welcoming Homer back?

15.Cargill, his comeuppance, the plan with Schwarzenegger? The gun, confronting Homer, the baby and the rock? The finale with Bart and his father on the roof, the dares?

16.The focus on the dysfunctional family, yet the bonds, the exploration of family values? The film utilising the environmental and ecological message?