NO GREATER LOVE

UK, 2009, 105 minutes, Colour.
Directed by Michael Whyte.

The title of this religious film is a familiar phrase from the Gospel of John. Jesus, in his farewell discourse after the Last Supper, uses it to declare that no greater love is shown than when someone lays down their life for a friend. People often use the phrase in relation to martyrdom. But, it can also refer to those who lay down their day-by-day life for friends or in any service of others.

The title of this documentary refers to this kind of love. The Carmelite Sisters of Notting Hill, London, lay down their lives in cloistered community for others.

Michael Whyte, who directed and edited this 105 minute documentary for the cinema, lives in the same square as the nuns. He had requested permission to make a film ten years earlier. The time was judged not right by the nuns but finally they agreed that it was. Michael Whyte filmed for a year or more, given full access to the convent.

There is no controversy with this film. Rather, it is a film which will be of interest to Catholic audiences whether they are familiar with this kind of enclosed life or not. Those who do not share Catholic faith, or even Christian faith, may well be wondering what a contemplative Christian vocation consists of. The film does provide many answers.

This kind of interest was manifest, especially in Western cultures, with the 2006 release of the film, Into Great Silence. That was made by an outsider to Christianity, observing the life of Carthusian monks who live a life of contemplation and silence. However, it was a kind of jigsaw of scenes and sequences, giving an impression of the life rather than any explanation. Catholics would not have learned a great deal about the Carthusian spirituality and its perspectives on God, the person of Jesus and the liturgy which is so important for day by day monastic living. There were some interviews, but the film was a visual portrait of the monks rather than a film offering exploration or insights. It was a film from continental Europe which often prefers a poetic or an abstract, atmospheric portrait rather than tell a linear story.

While No Greater Love is a portrait of the nuns and their way of life, the Anglo- Saxon way is evident insofar as there is a linear development of plot, a year in the life of the monastery, the interviews providing explorations of spirituality and prayer and offers answers to questions that observers might have: about how the nuns can manage such a way of life, enclosure and silence, about awareness of God, about prayer and separation from the world, about contemporary communications technology and what approach the nuns should have to radio, television, newspapers and the internet.

Because the nuns are Carmelites, it would have been even more interesting to have more explicit reference to the traditions of the order, the nature of Carmelite prayer and contemplation and how the great names in that Carmelite tradition, Teresa of Avila, John of the Cross and Therese of Lisieux contributed to the developing Carmelite spirituality. There could be more presented explicitly on these themes.

Several of the sisters are interviewed during the film, including the superior. They give reasonable accounts of themselves. The personal witness is the witness that has greatest impact. While many may not quite understand or appreciate this way of life, they will find the sisters' reflections of great interest and, even, inspiration.

The Anglo- Saxon practicality is also evident in the selection of day-by-day sequences, from the daily celebration of the Eucharist, with the nuns assisting, especially with communion, and the recitation of the prayerful offices, to the meals, the cleaning of the house, the making of hosts for Masses and their preparation for postage – and lots of work in the garden. There are some recreation sequences where the nuns both chat and sew, and enjoy a laugh, even sometimes a modest dance or jig. The human face of the sisters.

The point is made that contemplative groups in any religion offer a valuable witness to deeper values and some silent reflection in a world that is increasingly louder and 24/7 active – made all the more vivid as the camera rises from the monastery at the end and audiences see that it is located in the middle of suburban London.

1.The impression of the sisters, cloistered, religious lifestyle, prayer?

2.The director and his respect for the sisters, his observing them, choosing the sequences and editing them, the interviews?

3.A convent in the middle of a city, space, 1878 foundation, the end and the panorama of the city, rising from the convent grounds? The significance of such an institution in the middle of a busy city?

4.Editing, pacing, the focus on the details of the day, the routines from getting up to retiring, rituals, patterns, the liturgy, silence, work, prayer and contemplation, recreation, the passing of the seasons, the year for the novice making her novitiate and then profession?

5.The sisters as a community, the number, the age range, the professed, the novices, aspirants, the visitors?

6.The individuals interviewed, the prioress, her managing of the community, the issues about death and fear? Her background in Cambridge, her sense of vocation? The sister explaining prayer and silence? The Carmelite tradition? The novice and her making of her vows? The care of the elderly sisters?

7.The liturgy as the core of the day, the preparations, attending mass in the cloister, the role of the priest, the distribution of communion, the sister with the chalice, ministering to the sick? The Divine Office, moments of prayer and silence? The psalms recited in the cloister?

8.The importance of silence, silent prayer, the sisters in the chapel?

9.Meals, the reading, the rule, the meals for the elderly?

10.The making of the Hosts, the machines, the process, packing them?

11.The work in the garden, planting, hoeing, sawing?

12.The cleaning of the house, the windows…?

13.Recreation, the sisters sewing, chatting, laughing? The dance at the end?

14.The issue of TV, radio, information? The internet and the superior using her computer? The issue of discernment about how much the sisters should be involved with the internet?

15.The witness to the transcendence by this kind of life, the imminent presence of God?

16.For the cinema audience, for a DVD-watching audience? For understanding religious vocations? Recruiting?

YOUTH IN REVOLT

US, 2009, 90 minutes, Colour.
Michael Cera, Portia Doubleday, Jean Smart, Zach Galifianakis, Erik Knudsen, Adhir Kalyan, Steve Buscemi, Fred Willard, Ray Liotta, Justin Long, Jade Fusco, M. Emmet Walsh, Mary Kay Place.
Directed by Miguel Arteta.

Somebody said that youth are always revolting! Not so, would say Nick Twisp (though probably with a larger and more elegant and linguistically adventurous and sophisticated vocabulary), the hero (though probably anti-hero in the 1960s sense would be more appropriate) of three novels by American writer, C.D.Payne. They have a cult following in the US.

It may be better to get to the hand-wringing part of the review first: the film does reflect some of the permissive aspects of contemporary society, especially in adult divorces and partnerships and their impermanence, and teenager's preoccupation with sexuality (especially the opening scene in Nick's bedroom) and virginity (as in loss of). That said, the point of view of the screenplay and of Nick Twisp is that maturity and commitment are best, especially after the immediate experience of the loss of virginity whether it be in happy circumstances or in stupid circumstances. And that is positive.

Much of the film is very funny and would have most audiences chuckling rather than laughing uproariously. Much of this is due to the writing, the one-liners, the word-play, the juxtaposing of nerdish expertise in language, literature, arthouse cinema with the mundane realities of teenage life and friendships.

Much of the humour comes from the performance of Michael Cera as Nick Twisp. He has had a career on television in many episodes of Arrested Development. On screen, he seems to give the same performance over and over (from Juno to Superbad to Nick and Nora's Infinite Playlist to Year One – and to Paper Heart where he is, allegedly, playing himself). He does it here, only more so. And it works. One wonders can he do anything else. The film offers the answer, 'Yes'.

Nick Twisp is too intelligent and too cleverly well-informed to make a good impression on his peers. He has no relationship with girls. When he and his rather slatternly mother (Jean Smart) and her current boyfriend (Zach a bit the same as in The Hangover) go to a caravan park to escape some vindictive sailor creditors, Nick meets Sheeni (Portia Doubleday) the nice but rebellious daughter of strictly religious parents. They bond – as friends. Can anything every come of this friendship?

Nick has a brainwave after Sheeni tells him that to get kicked out of his mother's house and come to live with his father (Steve Buscemi) and near her, he needs to be really bad. Enter Nick's alter ego, the suave, fashionably dressed, cigarett-smoking, moustachioed, French-accented Francois Dillinger. As played by Michael Cera – and quite differently from his usual screen persona for Nick.

Francois leads Nick into all kinds of trouble, including crashing cars, burning down a restaurant, infiltrating an elite boarding school.

Of course, the whole film is slight, is geared towards Nick's age group (and bemused parents), but there is a thoughtfulness and humanity behind it and, one might call it, 'a Michael Cera film'.

1.The popularity of the books in the 1990s? The audience for these stories, teens, young adults?

2.The title and expectations – not quite?

3.Nick Twisp’s story, the nerdy youth, seventeen, intelligent and informed, sex preoccupations, but good mannered, contrasting with his parents? The creation of his alter ego, Francois Dillinger, his urging to revolt, suave manner, sinister character, a tempter, devilish, destructive and permissive?

4.The California settings, ordinary, the Twisps’ house, the trailer and the trailer park? The contrast with the Saunders house? The road, the towns? Restaurants and diners? School, the exclusive school? The realism? The score, the songs of the period, earlier days, contributing to plot and character?

5.The voice-over, Nick and his description of himself, his name, perspectives on life, characters? His friend Lefty, their discussions about sexuality? His later meeting with Vijay, the discussions about sex, travelling to the college?

6.Nick and the immediate focus on sexuality in his bedroom, his relationship with his mother, love for her, his disdain of Jerry? School, Lefty, preoccupations, knowledge and culture, an informed vocabulary?

7.The move to the country, the trailer park? His father and his relationship with the bimbo girlfriend? The trailer park, the dingy trailer, meeting Sheeni, talking with her, sharing opinions, her strong-mindedness? Her parents and their strictness? Religion and church? Sheeni lax? At school, her relationship with Trent? Trent as the ideal?

8.Nick with Sheeni, falling in love with her, platonic, sharing ideas with her, her vigorous responses? Her urging him to break out?

9.The return home, finding the car in the room, the sailors and their having been tricked by Jerry? Jerry and his death? The debts?

10.Nick and his creating the alter ego, Francois Dillinger, the white trousers, the blue shirt, the look, the hair, the moustache, the accent? Derived from Jean-Paul? Belmondo and Sheeni’s admiration of him? Francois’ ideas, challenges, the contrast with Nick himself?

11.His taking his mother’s car, the accident, the crash? The restaurant igniting and burning down? The arrival of Lance Wescott, the police investigation, the threats? Lance taking up with Nick’s mother, moving in, the relationship? His later menacing Nick?

12.Going to stay with his father, his father getting a job, the chance to be with Sheeni, meeting her parents, their strictness, their reactions?

13.Sheeni’s brother, drugs, the mushroom sequence and getting everyone high?

14.Sheeni at the college, with Trent? Nick and his friendship with Vijay, their discussions? The decision to visit the school? Meeting Bernice and her reputation? The room, Vijay and Bernice in the bunk, Nick and his being with Sheeni, going to the bathroom, the headmistress arriving, their being ousted? His contacting Bernice, the letters, persuading her to drug Sheeni, Sheeni in class going to sleep, expelled? Her being upset, returning home?

15.Trent, his appearance, the All- American, confronting Nick, the accusations? The truth and Sheeni upset?

16.Fred Willard as Mr Ferguson, the bleeding heart, helping all the immigrants? Nick shrewdly calling on him when the two were ousted from the school, no clothes, the phone call? Mr Ferguson and his kindness, gullibility? Taking his shirt off, imitating the poor immigrants? His revisiting Nick’s father, friendship, staying?

17.Nick in female disguise, trying to see Sheeni, the parents letting him in, their reaction? Getting him arrested?

18.Nick Twisp’s world, changing, moral perspective, coming to terms with himself – and taking steps for maturing? Or not?

TONY

UK, 2009, 76 minutes, Colour.
Peter Ferdinando, Lucy Flack, Ian Groombridge, Ian Kilgannon, Neil Maskell.
Directed by Gerard Johnson.

Tony sounds an innocuous title for a film. And Tony himself seems an innocuous type, wandering around north London, but very stilted and awkward in his attempts at communication. He is the kind of person that one might find hanging around and think that he was harmless.

Not so. Tony has been jobless for 20 years and is virtually unemployable - we do have the opportunity to see him at a job interview, oblivious of what he is communicating about himself and his self-absorption and his unreliability. He has lived in a flat for ten years, munching corn flakes for breakfast, watching violent videos and going for walks. He ends up in all kinds of strange situations: phoning a sex centre with the number on display in the telephone box, offering to join two druggies and taking some speed, staring at a quarrelling couple in a cafe, in a small, upstairs brothel, in a gay bar...

But, Tony kills people, dismembers them and tosses the parts in plastic bags into the Thames.

This is a skilfully made case study of a middle aged man who is almost completely unaware of himself and acts out urges which are reinforced by the material he chooses to watch. He has no idea of guilt, compunction or remorse. There are no explanations given of how he came to be this way. He is just there.

Peter Ferdinando, a cousin of the director, is completely believable as Tony. While the film has some gruesome moments, these are presented graphically but exploititatively.

Tony would have very limited appeal but might find a life on specialist television.

1.The impact of this short film? The target audience?

2.Contemporary Britain, realism, the London settings, North London, Soho, the London West End? Characters in this context?

3.The photographic style, wide screen? Editing and pace? Score?

4.The title, the focus on Tony, expectations?

5.Tony, no background, no explanation to him or his character?

6.Tony at home, living in the flat for ten years, the conditions, his waking up, eating his cereal, watching the violent videos, his collection? Presenting the fact – and the question about the effect on him?

7.Tony going out, his appearance, haircut, moustache, gaunt? Awkward? Over forty? At the café, being accused of staring at the man and woman arguing, the warning, his being ousted? Talking to the boy about his love for football? The boy’s age? His later disappearance? Presumptions about Tony? The police interrogating him, the father arriving and his accusations? The boy found?

8.Tony being ignored on the street by the illegal DVD seller?

9.Going to the phone booth, the sex call, the two men pulling him out of the phone, the drugs, his going with them, going to the crack house, the money, his naivety? Taking them home, their both getting high? His smothering one of the men? Letting the other go?

10.Going to the gay club, watching the dancer, his awkwardness? Visiting again, bringing the man home, the man’s advances, Tony getting the hammer and killing him?

11.Cutting up the bodies, the gruesome scenes, the bags, depositing them in the river? His sleeping next to the dead man?

12.The job interview, his being oblivious of the impression that he was making? Going to the shop, the interview with the boss, failing?

13.Carrying the sign, Soho, going into the small brothel, the madam, with the prostitute, from eastern Europe, her explaining the situation, his wanting to pay no more than a fiver? His being ousted?

14.The TV licence man, the discussions about the licence, Tony killing him?

15.The police arriving, the smell, his explaining that it was the drains?

16.The film just stopping, the glimpse of a strange misfit? How insightful? A picture of contemporary society?

UP IN THE AIR

US, 2009, 109 minutes, Colour.
George Clooney, Vera Farmiga, Anna Kendrick, Jason Bateman, Amy Morton, Melanie Lynskey, J.K. Simmons, Sam Elliott, Danny Mc Bride, Zach Galifianakis.
Directed by Jason Reitman.

Up in the Air can mean that something is uncertain – and the central character of this light drama with serious overtones finds that his life and choices are up in the air. But, he is also up in the air, literally, as he strives to clock up ten million air miles (on American Airlines which get lots of publicity throughout). He is continually on the move around the US from his home and his company base in Omaha, Nebraska, feeling at home in airports and familiar with their check-in rituals, security rituals and boarding rituals (although he does a double take as the flight attendant seems to ask him, 'Cancer?' but she is offering him a soft drink, 'Can, sir?)'.

The reason he is up in the air is that his job is one that has been on the rise in recent years. His company sends him out to do a dirty job for companies, firing their employees. Through the film there are collages of disbelieving Americans, the whole range of gender, ethnic background, social status, facing being fired – and a whole range of responses from resignation to despair and threatening suicide. The company tries a soft sell (but relentless) manner which many see through. They are also offered a folder with severance terms, presented as if this was the greatest opportunity for a new life.

This expert in dismissal is Ryan Bingham (George Clooney in an Oscar-nominated performance). He picks up women as he travels. Commitment is not one of his characteristics. The film shows one relationship with a travelling businesswoman (Vera Farmiga, Oscar-nominated) which has its moments and an unexpected comeuppance. He also has a most resolute, theory-bound trainee (Anna Kendrick, Oscar-nominated) who tries to be relentless though her inexperience in dealing with people is shown up.

In the meantime, he visits his sister in Wisconsin for her daughter's wedding and has to pep the groom who is getting cold feet.

It is a perfectly ordinary drama with characters well-drawn and something to reflect on both about human nature and the current economic situation. But the reasons for its Oscar nominations, which also include Best Picture, Director and Adapted Screenplay, elude this reviewer.

1.Acclaim and awards? Entertaining? Social comment? Relevant for the economic conditions of the times?

2.The title, literally in the plane? Figuratively in confusion?

3.The airport rituals, the rituals in planes? Sense of realism? Ryan Bingham and his being at home in airports and planes?

4.Omaha, the apartment? The company office? The hotels around the United States, the different cities, the sameness, the conference halls? Wisconsin, homes? Chicago? Realism? The musical score?

5.Ryan Bingham’s voice-over, his comment about his life, his age, being alone, assessing his life, a hollow man?

6.His profession, his going around the country, firing people? The companies unable to do it by themselves? Craig Gregory as the boss, his company, its ethos? The importance of the collage of faces of the unemployed, ordinary people, their facial reactions, verbal reactions, emotional, psychological?

7.Ryan and the conferences, his methods, the people applauding him? The repetition of these conferences? The later reassessment of his work?

8.Alex, the encounter in the hotel, the repartee, the comparisons of loyalty cards, flight miles, the issue of who was seducing whom? The relationship, the development over the months? Contacts, meetings? Ryan inviting Alex to go to Wisconsin, her acceptance? At the wedding, possibilities for him – and his visit to Chicago, seeing Alex’s son, her being married, disillusionment? Her cynical comments farewelling him? Going home to Omaha?

9.The company policies, the development of technology, Natalie and her theories and studies, the suggestion that firing be done by video conference to save money? To save travel?

10.Natalie and her character, uptight and studious, ambitious? Following her boyfriend to Omaha? In Miami and the message that he was breaking off the relationship? Working with Ryan, her suspicions of him? His explaining to her the airport rituals? Their discussions, her being sure in herself, her experience of firing people, faltering? The repetition of the phrases? Ryan, trying to help her, feeling sorry for her?

11.The break-up, the party in Miami, Alex and Ryan trying to help Natalie?

12.The experience of dealing with real people, the effect of unemployment, their back-stories, the woman threatening suicide – and killing herself?

13.Going to the wedding, Ryan and his relationship with his sister? Her family, his niece, the story of the family and growing up? The niece, her being in love with her husband, the party, the rehearsal? The groom getting cold feet, Ryan sent in to persuade him to marry, his spiel? Alex and her presence at the wedding?

14.The return to Omaha, the company eliminating video conferencing, allowing Ryan to travel? His achievement in the ten million miles? His job being saved – his future? With question marks?

VALENTINE’S DAY

US, 2010, 125 minutes, Colour.
Jessica Alba, Kathy Bates, Jessica Biel, Bradley Cooper, Eric Dane, Patrick Dempsey, Hector Elizondo, Jamie Foxx, Jennifer Garner, Topher Grace, Anne Hathaway, Carter Jenkins, Ashton Kutcher, Queen Latifah, Taylor Lautner, George Lopez, Shirley Mac Laine, Emma Roberts, Julia Roberts, Bryce Robinson, Taylor Swift, Larry Miller.
Directed by Garry Marshall.

It's really a 2 hour plus movie equivalent of valentine's day cards, posters and romantic gifts, roses and chocolates and dinner dates, in fact, the date movie par excellence. It was made for the romantic audience at the multiplex for a light night out. To that extent, it is critic proof.

This is a Los Angeles story, so geared principally for US audience sensibility, more extraverted than introverted. There is a lot of travel in and around LA , especially with the delivery of flowers as the shop at the centre of the film has a busy, busy day. (Even Julia Roberts is seen in a stretch limousine at Rodeo Drive and the chauffeur asks her whether she has ever shopped there and she replies that she did once and it was a big, a huge mistake – that joke is in the final credits!)

So, Julia Roberts, not in so many films in recent years, is one reason to see the film even if for most of it she is sitting next to Bradley Cooper on a long haul flight. It is probably the rather starry cast appearing in quite a number of stories which are gradually interlinked that is the main reason for buying a ticket to see it. And, it depends on whether you like the stars or not.

The film opens with Ashton Kutcher, which seemed something of a bad move, but he is at the centre of the story, proposing to Jessica Alba, helping his best friend, teacher Jennifer Garner, who is in a relationship with Patrick Dempsey (but you know something is wrong). Actually, Ashton Kutcher's character is rather nice as is Jennifer Garner so there is a pleasant happy/sad story there. Oldies will appreciate Shirley Mac Laine and Hector Elizondo (who has appeared in every Garry Marshall film for nearly 30 years). There is also Jamie Foxx, Queen Latifah and Jessica Biel, Eric Dane for Grey's Anatomy fans, let alone Patrick Dempsey, Taylor Swift for the music fans appearing with Taylor Lautner for the Twlight fans. For the young adults there is Anne Hathaway with Topher Grace. Something for everyone – even Bryce Robinson, aged about seven who has a crush on... (no spoiling the plot!).

At the beginning, TV executive Kathy Bates orders sports reporter Jamie Foxx to go out and report on Valentine's Day from people in the street – and tells him she wants plenty of 'fluff'. So that is what this film is, plenty of dream fantasy, plenty of romantic fluff.

1.A romantic film? Date movie? Fluff?

2.Los Angeles and the film as a love letter to the city? The city as a character, the ordinary parts, apartments, the contrast with mansions? The flower shop and business? Schools, restaurants, the media world, agencies? Planes? Airports?

3.The musical score, the range of songs, the love songs – illustrating situations and characters?

4.The interlinking of characters over one day? Characters, situations? The range of characters?

5.Valentine’s Day and the commercial hype? The American psyche, outgoing, cards, flowers and gifts? The media, the radio, television? Julia and her attempt to explain Valentine’s Day to the school class?

6.The strength of the cast?

7.The introduction via Reed, waking up, Morley, the proposal, her saying yes, his disbelief? Setting the tone? Fulfilment, disappointment, reality?

8.Reed and his shop, the staff, talking about his engagement, people’s suggestions, their joy? The busyness, deliveries, orders? Alphonso and his friendship, his advice, the crash and his encounter with Sean Jackson, his autograph, insurance? The decision to help Julia, his advice to Reed? A shoulder to lean on, an ear to hear? Going to his family – and Reed watching the lyrical family sequences? The details of the day?

9.Morley, her saying yes, meaning no, Reed finding her in the middle of the day, packing and leaving, her regrets, checking into the hotel, lonely, wandering the street with the dog?

10.Reed and midday, the disappointment? His encounter with Harrison? The code and sending the flowers to wife and girlfriend? His reaction? Going to Julia, trying to explain? Eventually her listening but not hearing, going to the airport, Reed pursuing her, the security and rushing off without his socks, trying to explain the truth? The end and their friendship turning into love?

11.Julia and the relationship with Harrison, his saying he was going to San Francisco, going home, his wife, the anniversary? She going to Reed, full of joy? At school, the class, explaining St Valentine’s Day, Edison in charge? Her decision to go to the airport, her going to the hospital, finding Reed was not there? Phoning Kara? Going to the dinner, bashing the big heart? Edison arriving with his gift? Her persuading him to give the gift to the Indian girl? The humorous interlude of her pretending to be a waitress, the help of the student’s father, her menu for Harrison and exposing him to his wife? Her realisation of the truth and going to find Reed?

12.Edgar and Estelle, fifty-one years married, minding Edison, grandfather driving him to school, going to the flower shop, spending his fifteen dollars and wanting the flowers sent to the school? His playing football, Grace as his babysitter? Grace and her having to chase him as he slipped out of the house? Grace and her talking with Estelle, her relationship with Alex, the planned sex encounter for Valentine’s Day? Edgar and Estelle encouraging her to wait? Estelle telling Edgar the truth, the deep effect on him? His going to the screening at the cemetery? Encountering Jason? Giving him the ticket? Jason learning his lesson? The sequence from Hotspell on the screen? Estelle turning up in her most flamboyant dress? The reconciliation and forgiveness?

13.Grace and Alex, the plan, Alex going to the house, the guitar, his clothes, Grace’s mother? His talking about rehearsing? Rushing out, picked up by Grace? The contrast with Felicia and Willy, his big gift of the bear, Felicia’s excitement? Their being interviewed on television, her performance, his hurdling and fall? The wry comment of the interviewer?

14.The television station, the producer, asking Kelvin to talk to people on the street about Valentine’s Day? His being a sports reporter? At the market, the Chinese and his being inarticulate, Reed and his giving an advertisement? Kelvin’s own attitudes towards Valentine’s Day? The sports situation, Sean Jackson and his retirement, ringing Kara about a question, going to the office, her tantrum and eating chocolates? His question for Sean Jackson, going to the press conference, asking it? His turning up at Kara’s party, singing, their kiss?

15.Liz and Jason, the relationship for two weeks? Liz in a hurry, her phone calls, her job, the phone sex, her impersonations? Working for Paula, the comedy with Paula, overhearing the phone calls? Jason and his talking about his relationship, discovering that it was Valentine’s Day, inviting Liz to the meal, sitting at the table in the hotel, with all the couples nearby, some in love, some quarrelling? Liz and her going out with the phone – and at the bus stop (from Pretty Woman)? Her clients, Jason’s shock? His going to the cemetery, giving Edgar the ticket, their sitting together, listening to Edgar reflect on life, seeing Estelle come in? Going to apologise to Liz? Her wanting something simple – and the trio having to exit quickly?

16.Paula, the agent, bossy and enjoying it? Taking the phone calls?

17.Kara and her PR work, the phone call with Sean? Her reaction against Valentine’s Day? Ordering the meal at the Indian restaurant? Her being upset, Kelvin witnessing it? Handling the press conference, Sean and his coming out? The party, no-one turning up – then everyone arriving? Her response to Kelvin?

18.Sean Jackson, swimming, the girls on the beach, aged thirty-five, the football losses, the issue of retiring? Ringing Kara, reflecting on his life? Paula as his agent? The press conference, coming out, people’s responses? The surprise of Holden coming back home to him?

19.Holden and Kate on the plane, the fourteen hours, Kate and the military, Holden putting the blind down, waking Kate, her psychoanalysis of him? In the toilet and the turbulence? Their talking, the flight attendant and her attentions? The limousine at the airport, his giving her the car, her going home to Edison?

20.The happy endings for most – except for Morley and Harrison?

21.The final joke during the credits and the allusion to Julia Roberts, Rodeo Drive, shopping and Pretty Woman?

IT’S COMPLICATED

US, 2009, 120 minutes, Colour.
Meryl Streep, Steve Martin, Alec Baldwin, John Krasinski, Lake Bell, Mary Kay Place, Rita Wilson, Alexandra Wentworth, Hunter Parrish, Zoe Kazan, Caitlin Fitzgerald, Nora Dunn, Bruce Altman.
Directed by Nancy Meyers.

It certainly is. Complicated to review as well. It's the tangled relationships that cause the problems in the film and it's the tangled relationships and what they mean that make it complicated to review.

The film raises the issues of divorced husband and wife (ten years on) encountering one another and beginning a new relationship. Why would they do this? Are the reasons and motives the same for the man as for the woman? Does it mean that the divorce process was not finally concluded emotionally, only legally? Since the husband has remarried and has a step-child and his younger wife wants to become pregnant and hauls him off frequently to a fertility clinic does this mean that he is weary of and questioning his marriage? Does the wife (unmarried now) wonder what her life might be like with a relationship (and is being egged on by her middle-aged girlfriends? And what do the three children, close to their mother, think and how they should react? You get the picture. And that is what It's Complicated shows us.

So, a lot of ethical and moral issues that we need to sort out as do the characters themselves, Nancy Meyers' screenplay getting the characters themselves to ask and puzzle over the questions and their behaviour.

The strength of the film is in having Meryl Streep and Alec Baldwin (surprisingly effective) as the ex-wife and husband. They bring depth and skills to roles that might otherwise just have been situation comedy performances. In comparison, Steve Martin as the wife's architect plays a somewhat self-effacing role.

With an American serious comedy like this, the characters tend to be all 'out there', a very extroverted display of the issues. Which means that too much exposure runs the risk of their being irritating at times rather than ingratiating. This is a companion piece to Nancy Meyers' other more recent explorations of relationships, What Women Want, Somethings Gotta Give and The Holiday.

1.A romantic comedy for those in mid-life, ageing?

2.The US style, upfront and out there?

3.The title, the perspective, on marriage, separation, divorce, relationships? The perspective on moral and ethical issues? On psychological issues and dealing with these problems?

4.Los Angeles’ affluent suburbia, homes, the building of extensions, the bakery shops, the offices? New York, hotels, college? A glossy world? The musical score?

5.The introduction to Jane, Meryl Streep, her running the bakery, loving to cook, extending the kitchen, at home, having her children round her, her mothering them, their breaking away? Her visits with her girlfriends, the chatter, the talk about sex? The tension with Jake? The plans for going to New York for the graduation? Her concern for her children? The extensions, Adam and his plans, forgetting the appointments?

6.The introduction to Jake, the lawyer, divorced for ten years, playing around and betraying his wife, marrying the younger woman, having her troublesome son and his treating the tantrums, being dragged to the fertility clinic? With his own children, the meals, his making Jane uncomfortable?

7.Jake, infiltrating into Jane’s life, at the restaurant, having the drinks, the meal, talking, going home, the beginning of the affair? Jake and his reasons, dissatisfied with his family, wanting a happy retirement? Jane and her feeling the divorce was unfinished, wanting some closure? Her puzzle about herself? Disapproval of herself? Telling her friends?

8.The visit to New York, the hotel, the graduation, continuing the affair?

9.The picture of the children, the young man and his studies, New York, return home, the party? The daughter and her plans? Devoted to her mother? Lauren and Harley, their engagement, relationship?

10.The wedding preparations, the hotel, Harley seeing Jake and Jane, shielding Lauren, keeping quiet – but later admitting to Jane that he had seen everything?

11.The problems, the clashes, the arguments, the puzzle? Jake spying on Adam’s visit? The plan for the dinner with Jane, his not coming, his wife changing her mind? Jane rethinking the relationship?

12.Adam, his back-story, divorce, his communicating with Jane, her taking him as her date for the party?

13.Jake leaving his wife, coming to stay with Jane, Adam and Jane on Skype, the computer in the bedroom, Jake and his setting himself up, naked, caught, the fiasco? His plea to Jane? Her decision against him?

14.The children, their horrified reaction at their mother and father coming together again?

15.Jane, the future, the relationship with Adam and rekindling it?

THE LAST ACTION HERO

US, 1993, 130 minutes, Colour.
Arnold Schwarzenegger, F. Murray Abraham, Austin O’ Brien, Art Carney, Charles Dance, Frank Mc Rae, Tom Noonan, Robert Prosky, Anthony Quinn, Mercedes Ruehl, Ian Mc Kellen, Joan Plowright, Tina Turner, Angie Everhart, Bridgette Wilson, Colleen Camp.
Cameos: James Belushi, Chevy Chase, Leeza Gibbons, M.C. Hammer, Little Richard, Robert Patrick, Maria Shriver, Sharon Stone, Jean- Claude Van Damme, Melvin Van Peebles, Damon Wayans.
Voice: Danny de Vito.
Directed by John Mc Tiernan.

The Last Action Hero, unfortunately, was not the success at the time that it was hoped it would be. Arnold Schwarzenegger had established himself as an action hero with such films as the Conan series as well as the two Terminator films. In later years, Schwarzenegger also showed a sense of humour in his pairing with Danny de Vito in such films as Twins and Kindergarten Cops. In this film, he is able to send himself up and enjoy himself while doing it.
Brien (The Lawnmower Man) is a young film addict who watches the film with the help of the projectionist, played by Robert Prosky. He is able to see a new Jack Slater (Schwarzenegger) action film in advance but is given a magic ticket by the projectionist. This means that he is propelled into the film and the action takes place with the characters not knowing they are merely in a film but thinking they are in real life.

The arch villain is Anthony Quinn but the suave, very British, Charles Dance gets all the good sinister lines. As the action increases, with chases, explosions, the villain is able to go back into the real New York world. Jack Slater and the boy have to follow – and save Schwarzenegger from attack. The film is amusing with the real Arnold Schwarzenegger, and his wife Maria Shriver, appearing at the premiere of the film, the real Schwarzenegger not being such a pleasant character.

The supporting cast is very good, many of them just having brief appearances – like Joan Plowright giving a class on Hamlet and showing a scene from Olivier’s Hamlet (her husband) and the young boy imagining Hamlet with Schwarzenegger as an action hero with guns. Ian Mc Kellen does a satiric turn on Death from Ingmar Bergman’s The Seventh Seal. Mercedes Ruehl is the boy’s mother. Tom Noonan acts the part of the villain as well as of himself.

The film was directed by John Mc Tiernan, best known for action films such as Die Hard.

1.Arnold Schwarzenegger on screen, over the years, his image, action hero, style, laconic, idiosyncratic phrases?

2.The film as a spoof, Schwarzenegger sending himself up? The contrast with the real Arnold Schwarzenegger appearing at the premiere, with his wife, the interviews? The contrast with Schwarzenegger as Jack Slater?

3.The title, expectations, the nature of Hollywood action heroes?

4.The jokey tone, the poster with Sylvester Stallone as The Terminator, Ian McKellen? as Death via Ingmar Bergman, the parody of the killer slasher, the villain with his smiling eye…? The variety of cameos and the humorous tone?

5.New York City, ordinary, Danny and his world, at home, with his mother? His going to the movies, the theatre, the auditorium, the projection room? The big theatre for the premiere? Danny and his friendship with Nick? The film out of focus, going to the projection room? Nick and his story of Houdini and the magic ticket?

6.Danny going to see the Jack Slater film at midnight, creeping out after his mother went to work? Jack Slater in action, the range of sequels? The hyper style of the action? The Mafia types, Vivaldi and Anthony Quinn, Charles Dance as the suave British villain, Benedict? John Practice, F. Murray Abraham and his portrayal? The bombings, elimination of rivals, murders? The literal crane shots, the exaggerated action? The police, their work behind the scenes? Slater and his solving the mystery – but with Danny helping because he knew all the lines from the previous films? Benedict bewildered by this?

7.Slater and his belief in himself as real, in Los Angeles as a policeman, his ex-wife and phone calls, the meeting with his daughter, the lieutenant at the desk roaring at him, the precinct?

8.The dangers, Benedict, trying to find out who Danny was, the pursuit, getting hold of the ticket? His killing of Vivaldi?

9.New York City, Benedict and his killing someone and calling out, in vain, for people to arrest him? His deal with the Ripper?

10.Danny back in the real world, his advice to Jack, going home, introducing Schwarzenegger to his mother? The real world and guns a blanks, fake money, the car and the real crash? The encounter with Death?

11.Schwarzenegger at the premiere, with Maria Shriver? The interviews, the questions, the stars and the cameos? Schwarzenegger meeting Slater – thinking him a good double? The Ripper and his being unmasked, going into action, down the curtain, the attempts to kill Schwarzenegger? Slater coming into his own as the action hero?

12.Nick, finding the other half of the ticket, being advised by Death, his sending Slater back into the film world? The importance of Slater’s speech about being a figment of the imagination and how important that was?

13.Slater’s return, with the lieutenant, telling him to quieten down, going to work?

14.The film as a tribute to movies, their effect, people who have a love for the movies?

MUSIC AND LYRICS

US, 2007, 96 minutes, Colour.
Hugh Grant, Drew Barrymore, Brad Garrett, Kristen Johnston, Campbell Scott, Haley Bennett.
Directed by Marc Lawrence.

In a shrewd marketing ploy, Music and Lyrics was released on Valentine’s day. Apparently, it paid off and charmed a large number of audiences.

It is not hard to see why. It is a very entertaining romantic comedy with some witty and ironic asides and some tears of happiness at the end. One difficulty is foreshadowed in the film itself. When has-been singer with an 80s group, Pop, Alex Fletcher (Hugh Grant) performs at a High School reunion, the fortyish women crowd the stage in raptures, singing and swinging along – then the camera pulls back to show all their men still sitting at their tables looking bored and/or resigned!

Hugh Grant proves to be a very good sport. He sings, thrusts and expertly spoofs the 80s style, making funny deprecating remarks and generally doing well what fans recognise is uniquely Hugh Grant’s style. He participates in a mock music video that plays during the credits both at the beginning and the end. When his agent (Brad Garrett, the very tall brother from Everybody Loves Raymond) takes him to the recording of a video with the newest popular singer, Cora (Haley Bennett), he is commissioned to write her a new song within the week. The allotted lyricist is still lost in punk style.

The substitute plant lady, Sophie (do New Yorkers actually have plant ladies to come in and care for their plants?), a touch absent-minded and hypochondriac, quietly mouthes lines as she works. Since this is Drew Barrymore, we know that she is going to work on the song and the team will have great success. Of course, they do but there are a few showbiz and emotional complications along the way.

Grant is very good and has no qualms in looking foolish and sending himself up – except that he still remains the charming hero. Drew Barrymore is relaxed, sweet and engaging and provides a very sympathetic foil for Grant. There is also a special plea for popular songs and their entertainment value, with melody being the equivalent of an introduction and lyrics being the equivalent of getting to know someone and communicating. Can novels do this, they ask!?

Writer-director, Marc Lawrence, has recently worked for Sandra Bullock, especially with the Miss Congeniality films and the romantic comedy she did with Hugh Grant, Two Weeks’ Notice.

Cheerful (and some funny sequences with Kristy Johnson as Sophie’s literally big sister who runs a weight loss clinic and has an engaging way of bossing her husband as well as swooning for Alex Fletcher), nice (even Cora overcomes her pretentiousness at the end and plays Cupid), it succeeds in being pleasant, funny and charming.

1.A popular romantic comedy? The appeal?

2.The New York settings, the world of performers, the media, agents, recordings, concerts?

3.The importance of the music? Pop Goes My Heart, the MTV presentation of the boy bands of the past? Amusing presentation – with Hugh Grant performing? The later reprises of the theme for the fans? The Way Back to Love, the composition, music and lyrics, Cora, her commissioning the song, her Indian and meditative interests, the end presentation? The final song for Sophie?

4.A Hugh Grant comedy, his ability to send himself up, elegant, dithering, ageing, the old pop star, seeing him perform, his relationship with Chris as his agent? His repartee, romance? Drew Barrymore as foil? Brad Garrett as the straight man? Kristen Johnston as the controlling comedy element?

5.Alex, his past, being past it? Depending on Chris? The concerts and appearances, the cancellations? Cora, her popularity, commissioning a song? His attempts to write, the audition for lyricists, the ultra-serious politically correct lyricist and his disgust? Sophie, her arrival, with the plants, automatically making up the rhymes?

6.Sophie and her plants, her family, relationship with her sister, her past experiences, especially with Sloan, his novel and description of her, her humiliation? The firm, working for Alex? The spontaneous lyrics? Her continuing to make lyrics, Alex impressed, their working together? The visit to her family, her sister being in awe of him, wanting the photo?

7.The song, their working together, success, tensions? Cora and her Indian style, changing the pace of the song? Alex agreeing to her? Sophie adamant, wanting to tell her the truth, walking out because of principles? At the concert, with her sister, hearing the song, stopping – and going on stage to reconcile with Alex?

8.The humour of the family visit, the sister and her control, the kids, Alex teaching them dancing? Their presence at the concert, mothers' shielding the daughters’ eyes, father and the son looking at Cora and the dancers?

9.The restaurant, Sloan arriving, the fuss, Sophie not wanting to meet him, changing into Chris’s wife’s dress, Alex helping her, the scene, Alex speaking directly to Sloan, Sloan and his work on film, being celebrated? His putting Sophie down behind her back?

10.Sophie upset about the song, Alex telling her the plain truth, seeing the song and its adaptation in proportion, being able to handle crises maturely?

11.The concert, the song, Cora and her performance, Sophie walking out, returning?

12.The happy romantic ending?

THE WOLFMAN

US, 2010, 105 minutes, Colour.
Benicio Del Toro, Anthony Hopkins, Emily Blunt, Hugo Weaving, Geraldine Chaplin, Anthony Sher, Art Malik.
Directed by Joe Johnston.

A very satisfying and even elegant horror film for those who prefer classic horror movies rather than the contemporary slasher fads. It is based quite closely on the 1941 film of the same name with Lon Chaney Jr, Claude Rains and Evelyn Ankers, written by Curt Siodmak. The 40s film was set at that time. This version goes back to 1891 and amplifies some aspects of the story, especially in the role of the father of the wolf man, Sir John Talbot.

First of all, the film looks very good indeed. The attention to detail and design to take us back into this Victorian period has been painstaking. Sets, costumes and effects mean that the audience is taken into this world to feel at home in it as well as to feel quite uncomfortable once the eerie proceedings begin. Danny Elfman's atmospheric score is reminiscent of the music themes by Wojciech Kilar for Coppola's Bram Stoker's Dracula – which also immersed its audience in the 1890s.

One of the best features of the screenplay and direction is that there is no tongue-in-cheek ironic dialogue or send-up of the genre. It is played seriously and straight and with quite some intelligence.

There have been myths of lycanthropy throughout the ages. The film industry since the 1930s has not been slow in providing many a movie of wolf men, including the classic An American Werewolf in London (whose make-up artist, Rick Baker, is responsible for the transformations here), Wolf with Jack Nicholson and the more recent Underworld series. This version, however, as with the recent ironic graphic novel treatment of Sherlock Holmes by Guy Ritchie, delves into the literature of the 19th century and seems, in its settings to draw on Wuthering Heights, Jane Eyre, The Hound of the Baskervilles and Many Dickens' stories.

When Lawrence Talbot (Benicio del Toro) is touring in London from the US (we see the Yorick scene from Hamlet), he receives a letter from Gwen Conliffe (Emily Blunt), his brother's anxious fiancee. It soon emerges that his brother has been savagely killed and the villagers (out of Hardy and other novelists, perhaps) suspect local gypsies and their carnival bear. But, the full moon soon makes everyone realise that a wolf is on the prowl – and indiscriminately killing its prey.

Lawrence promises Gwen that he will search for his brother's killer. Meantime, he is reconciled with his father, Sir John (Anthony Hopkins).

There is a trend in literature and cinema that human beings can be at the prey of meaningless malevolence (think of The Birds or Jaws). Lawrence, worthy as he is, is wounded by the wolf and...

An inspector from Scotland Yard (Hugo Weaving), who had headed the Ripper case some years earlier, is sent to investigate Lawrence. His father has Lawrence committed (there is a history of alleged insanity after the violent death of his mother) and an arrogant doctor (Anthony Sher) uses him as a display case for delusions. Unfortunately for him and many others, he times his display at the full moon.

The cast (which also included Geraldine Chaplin as a gypsy) give a sense of elegance and decorum even to the horror. Director Joe Johnston (who made Honey, I Shrunk the Kids, some time ago as well as Jurassic Park III) keeps the tension simmering. In fact, there are two moments when we might jump in our seats even before the title appears (and several after that). The Wolf Man is very well done.

1.The classic status of the 40s film? This film as a satisfying remake? The basis in the first film and its screenplay? Its success in developing the theme?

2.Lycanthropy, the animal in the human, the shadow side, primitive, urges, violence, destruction and killing?

3.The background of malevolence, human victims of a force outside themselves, losing control, their wills manipulated? The change, the possibility for remorse or not? Death as the only way out?

4.The setting in the 19th century, Britain, the sets and design, the costumes, the evocation of 19th century atmosphere? In the village, on the family estate, the scenes of London? The asylum? The city? Costumes and décor? The atmospheric score?

5.The initial shocks, audiences jumping from their seats – and later in the film as well? Making the audience edgy? The presentation of the Wolfman, the makeup and effects, the violence, blood, gore? The context for a more intelligent interpretation of the myth?

6.Lawrence Talbot, performing as Hamlet, the Yorick scene? The letter from Gwen? Living in America, touring the world? Estranged from his family – and the film filling in the reasons for this estrangement throughout the film? His response to Gwen, return home, the encounter with his father, the dilapidated mansion? The father using the image of the prodigal son – in an inverted manner? The death of Ben, the effect on Lawrence? His promise to Gwen to find out what happened?

7.Sir John Talbot, his history, a hunter, in India, bringing Singh back home, Singh and his role in serving Sir John, keeping him safe? The twenty-five years? The story of Sir John’s wife, her death, her portrait? His letting his property go – his being the prodigal father? His welcoming of Gwen, thanking her? The irony of his knowing the truth? The truth about the deaths?

8.Ben’s death, Lawrence going to view the corpse? The discussions by the citizens of the town? Suspicions of the gypsies, their becoming a mob, confronting the gypsies, the carnival bear and its savagery, the police and trying to control the attack? The appearance of the Wolfman, the indiscriminate killings and woundings? Maleva and her role in the gypsy camp, helping Lawrence after his being wounded? The different reactions as to whether he should die or not? Maleva travelling with the gypsies, Gwen tracking her down, helping Gwen, urging love?

9.Inspector Aberline, from Scotland Yard, the chief investigator for Jack the Ripper killings? His suspicions, visit to Lawrence, Lawrence’s hostility? Staying in the village, the wife of the innkeeper upbraiding him? His presence, the various traps? Going to the house, his failure in the countryside? In London, at the asylum, observing? Returning to the village, the elaborate preparations for the hunt, the chase? His being injured – his future?

10.Lawrence and his relationship with his father? Discovering Singh dead? Discovering Singh’s control over Sir John? Lawrence’s initial illness, recovering quickly? The doctor puzzled? The full moon, the visuals of the transformation, the hounding by the Wolfman, wounding, killing? His being captured and taken to the asylum? His being in the asylum in the past after the death of his mother? The doctor, his treatment, cruel, immersion in the iced water? The doctor thinking Lawrence suffered from delusions? His show speech, the big audience, listening, the full moon, the transformation of Lawrence, the death of the doctor and his being impaled?

11.Lawrence’s escape, over the rooves of London, the attempts to shoot him? Hiding in Gwen’s shop, her helping him? Her refusal to inform the inspector? Lawrence making his way back to the village, confronting his father?

12.Sir John, the truth, the full moon, both transformed, their fight, Sir John killed in the fire?

13.Gwen, searching out the gypsies, returning to the village, her declaration of love for Lawrence? Her pursuing him, out in the forests, at the edge of a cliff? Lawrence and his eyes, Gwen killing him?

14.The conventions of the horror film – but a more elegant and intelligent treatment of the themes (without any ironic tongue-in-cheek satire or spoof)?

PERCY JACKSON AND THE OLYMPIANS: THE LIGHTNING THIEF

US, 2010, 119 minutes, Colour.
Logan Leman, Brandon T. Jackson, Alexandra Daddario, Jake Abel, Sean Bean, Pierce Brosnan, Steve Coogan, Rosario Dawson, Catherine Keener, Kevin Mc Kidd, Joe Pantoliano, Uma Thurman.
Directed by Chris Columbus.

A Clash of the Titans Jr.

Or, perhaps, a Night at the Antiquities Museum and Theme Parks.

Based on a novel (2005 plus four sequels) very popular in the US by writer and historian, Rick Riordan, who told his original story to his son as a bedtime story, this is an enjoyable fantasy for younger audiences. The presupposition that the Gods of Olympus are still around and, in fact, still active in controlling the world, is more than fanciful but, having accepted it, we go with this story of demi-gods, the children of gods and humans – quite a lot of American demi-gods, in fact, but no indication whether the Olympians indulged in visits to any other countries let alone Greece!

Logan Lerman is Percy Jackson who discovers that his father is Poseidon who had come to earth and met Sally, Percy's mother, but then disappeared at his brother, Zeus's orders. Capricious and jealous these deities.

At this juncture, the unknowing Percy is chief suspect for having stolen Zeus's lightning bolt and Zeus (Sean Bean) confronts Poseidon (Kevin McKidd) and lays down a deadline for the bolt to be restored. Well, what happens when the wrath of the gods pursues you, for example in the form of a literature teacher who is in reality a Fury? You get help from Chiron (Pierce Brosnan) who moonlights on earth as a wheelchair bound museum guide (which conceals his horsy parts as he is a centaur) but is in charge of training at Camp Half Blood, the camp for the demi-gods.

If that all seems too far-fetched, then forget Percy Jackson. If not, definitely persevere because there will be a confrontation with Medusa (Uma Thurman plus snake hair), with a huge CGI Hydra and a visit to Hades (Steve Coogan the character, under Los Angeles the location) and a mission to find three pearls that will help Percy to recover his mother (Catherine Keener). His companions on the road are a satyr , Grover, (Brandon Jackson) and the valiant daughter of Athena, Annabeth (Alexandra Daddario). Percy's age has been upped from 12 to 17, so there is attraction between Percy and , of course – and provides a romantic ending which does not end in a clinch or a kiss but in sword fight practice!

This is an outing for younger audiences who have imagination and a sense of adventure. It is directed with zest by Chris Columbus who directed Home Alone, Mrs Doubtfire and the first two Harry Potter films.

1.The popularity of the book? The adaptation for the screen? The audience: children, adults?

2.Fantasy, imagination, a film not for realists?

3.The Greek gods still looking after Earth, control, the weather…? The old personal jealousies amongst the deities? The deities coming to Earth, having children? The camp for the demigods, their training? The disguises of the deities as they came to Earth, contemporary clothes and manners? (And only in the US?)

4.The ordinary world, home, school, museums? The transformations of characters into gods, furies, satyrs, centaurs? The garden, Nashville and the Parthenon, Las Vegas casinos, Los Angeles? The sets, the underworld, the stunts, images, the musical score?

5.Zeus and Poseidon meeting, Poseidon emerging from the sea, transforming into an ordinary person, their talk, the situation, the stealing of the lightning bolt, Zeus and his deadline, Zeus and his laws against Poseidon knowing his son?

6.Percy and his mother, their relationship, the presence of Gabe, his looking after them? His slovenly behaviour, demanding beers…? Percy at school, his friendship with Grover? The English class, his absentmindedness, Othello? The teacher, sinister? The trip to the museum, meeting Mr Brunner? In the wheelchair? His explanations of the gods, of the demigods? The schoolteacher turning into an avenging fury? Grover as a satyr? The dangers, the revelation of the story, Mr Brunner and his explanation, Sally urging her son to go to the camp? Percy and Grover driving to the camp, Sally not able to enter?

7.The camp, Chairon and his running of the camp? The range of demigods, Percy settling in, Grover being seen as a satyr, Mr Brunner as a centaur? Annabeth, the daughter of Athena, warrior? Luke and his support of Percy? The mock battle, the strategies and tactics, Percy and his strength, water healing him? Winning the flag? The strict rules of the camp?

8.Grover, Percy and Annabeth deciding to go, on their mission? Percy’s motivation, to recover his mother?

9.In Medusa’s garden, the visuals for Medusa, the snakes in her hair? Annabeth and the woman, the woman succumbing to the temptation, turning to stone? Grover and Percy averting their eyes, Annabeth refusing to be tempted? The snakes, the fight with Medusa, her being decapitated? Later used to freeze the Hydra into stone? For Gabe and his opening the fridge door at the end?

10.The driving to Nashville, Grover sleeping, the dangerous driving? The Parthenon, the statue of Athena? The jewel? The museum closing, getting the ladder, Percy climbing? The cleaners, the arrows, their recovering, hostile – and transforming into the Hydra? The special effects for the multi-headed creature, attacking the trio, cutting off her head, heads multiplying, turning the Hydra to stone?

11.The trip to Las Vegas, the Lotus casino and the overtones of the lotus in Greek mythology? The staff offering the flowers, the three coming under the spell, gambling, winning? Percy and his trying to get a grip on reality? The staff and their alertness? The three becoming awake, escaping from the casino, the pursuit?

12.The mysterious map, indicating Los Angeles, going to the Hollywood sign, the cave, the entrance to Hades? The hounds? Persephone and her character, with Hades? Hades – and Steve Coogan comedy, the Mick Jagger style? Percy helping Persephone?

13.The pearls, standing on the pearls and going to New York, while Grover stayed? The attraction of Persephone? New York, the Empire State Building, the storm situation, the deadline approaching, the entry to Olympus? The council meeting? The entry?

14.The revelation of Luke as the villain, stealing the thunderbolt, his desire for power, the battle with Percy, the water vanquishing him?

15.Poseidon, Zeus, the restoration of the thunderbolt, the possibility for peace, Zeus allowing Poseidon to speak to Percy, Percy and his resentment? Reunited with his mother?

16.A film for adventure and imagination?