U BE DEAD

UK, 2009, 90 minutes, Colour.
David Morrissey, Tara Fitzgerald, Lucy Griffiths, Monica Dolan.
Directed by Jamie Payne.

U Be Dead is an excellent film for television, written by Gwyneth Hughes (Miss Austen Regrets) and directed by television director Jamie Payne.

The film is based on a true story, the story of an arrogant doctor who is about to marry but is being stalked by an Argentine woman. She is vindictive, plagues the doctor with phone calls as well as his fiancée. She then spreads the phone calls and threats to those associated with the family.

Eventually, the police arrest her but have to drop the case for lack of evidence. Ultimately, she accuses the doctor of rape and he is brought to trial. Because the doctor had an affair during his engagement, his fiancée is unwilling to have anything to do with him but finally agrees to testify in court. In the meantime, the woman is sentenced, having wrought havoc for the doctor, his fiancée and threatened so many others. The judge was very severe in his condemnation of the woman.

David Morrissey gives a fine performance as the self-centred and arrogant doctor. Tara Fitzgerald is warm as his fiancée. Monica Dolan is very strong as the stalker.

1.A television drama, based on a true story? The location in Poole? The title, the mobile messages and language? The threats and persistency?

2.Doctor Falkowski? The boats, the race? His fiancée? The outing? Power boats? Debra and her skill with the boats? The phone calls? The police, their comments? Stalker? The doctor and his background in the army in Bosnia and his confidence? His ignoring the threats? Meeting the young woman, having the affair with her while still engaged? His garbage bin overturned? The threat to the boat? The decisions to go into action?

3.Debra, in herself, love for Jan, the wedding plan, her reactions to the persistent phone calls, trying to get support from Jan? The letter, looking out the door? The collage of phone calls, the bird sounds? The death sentence? In the train and her fears? Suspicious of the passengers? The wedding dress, the intrusion with knowing about the wedding? The guns, deciding on the fake wedding plans? Her losing everything?

4.The police, their advice, checking on the public phones, the CCTV, the maps, the briefings, going into action, looking at all the phone boxes and lists? Always missing the stalker? The empty beach?

5.Jan’s parents, the back-story of their life in Poland, heroism?

6.The atmosphere of threat? Audiences identifying with Debra? Her fears?

7.Bethan and her encounter with Jan? The drinks, the affair, the phones, Bethan being threatened? Her supporting Jan after the accusations of rape? The tension between them?

8.The wedding day, the set-up, the family? The tension with the police, tracking the phone calls, eventually arresting Maria?

9.Maria, the Argentinean background, being in England for many decades? The interviews? Her depression? The searching of the flat? Her concern about her friend and his hospitalisation, treatment by Doctor Falkowski? British citizen, getting bail? Seeing Jan as a hard man? The lack of evidence and the case dropped? Debra and her dismay? The continued threats to Jan, attacking his arrogance? The accusation of rape, the description? The DNA on the clothes?

10.Jan, the accusation of rape, being suspended in the hospital, the police believing that he was guilty? His being charged? The reporters and avoiding them? The theory about the bin, the condom and Maria’s search? The attack on Bethan, his resentment about pregnancy? His forgiving her – and his need to be forgiven?

11.The DNA, the anonymous trace? Leading to the trial, the preparation? Debra not wanting to be a victim, her initial refusal to testify, finally testifying, the jury being moved in court?

12.Maria, her testifying, her mental breakdown, her defence lawyer and his dismay? The judge and the severity of his comments on her?

13.The issue of stalking, on mobile phones, checking into directories, texting, menace and threats, the intrusion in the car, the innuendo? Betrayal?

14.An insight into the experience of stalking and its effect on the victims? The mentality of the stalker?

DAYBREAKERS

Australia/US, 2009, 98 minutes, Colour.
Ethan Hawke, Sam Neill, Willem Dafoe, Claudia Karvan, Vince Colosimo.
Directed by Michael Spierig and Peter Spierig.

2009 seemed to offer a glut of vampire filmes and television series, notably the Twilight films and True Blood. While Daybreakers is a vampire film, it is also, for the most part, not a vampire film. Meaning? It is really a film about human nature, human behaviour and the deterioration of human society using the mythical aspects of the vampire legends to offer an allegory. (There is comparatively little blood in the early part of the film; later there are some living dead gory, blood-drenched moments.)

Filmed in Australia (with some gun-tree countryside locations) standing in for the US, Daybreakers offers a more intelligent use of vampires than usual.

The premiss is quite simple – it is how the premiss is developed that makes for the unusual allegory. And the premiss is this: what if by 2009, vampirism has affected most of the human race so that society, which looks 'normal' on the surface, is in fact solely vampires who have to operate at night or in the dark while the humans are the minority on the edges of society, being hunted for the blood for the survival of the vampires?

One of the arresting aspects of the film is seeing the vampires conducting themselves reasonably, going to work, drinking blood coffee at bars, watching a familiar television news service, working in corporations and experimenting in laboratories. However, there is a more sinister effect of the almost complete transformation of humans worldwide. Humans are scarce. Human blood is even scarcer. Rationing is prevalent. Headlines are alarming. The lack of blood has a physically and mentally deteriorating effect which is growing more rapid and turning law-abiding vampires into marauding vagrants.

In the meantime, a corporation, presided over by Sam Neill who was suffering from cancer but 'turned' for life and immortality, is experimenting for blood substitutes. Sam Neill is usually suave in manner on screen and here this smoothness becomes more sinister (especially in his yellow eyes) as he manipulates his staff for greed and profit. His chief haematologist, Ed Dalton, is played by Ethan Hawke. He has been turned by his younger military brother (Michael Dorman) but is sympathetic to the humans and refrains from human blood. His sympathy is soon tested as he encounters a group of rebels led by Audrey (Claudia Karvan) and Elvis, who has been transformed back into being human (Willem Dafoe).

While the film builds up to something of an apocalyptic climax with the gory self-destruction of many vampires, it is overall a drama of dominating society in need of sustenance for survival (environmental echoes?), a rebel fringe group (as in The Matrix and Demolition Man) and the struggle for human hope and dignity.

1.The popularity of vampire films in the 21st century? Daybreakers as a vampire film? Not a vampire film?

2.The film as an allegory, of human behaviour, of human problems, mismanagement, greed?

3.The use of the vampire mythology, in a secular world context? The outbreak of disease, searches for cure, issues of life, scarcity of blood and sustenance, the fight for survival? The eruption of violence and the fight for survival?

4.The Australian co-production, the locations standing in for the US, the gum tree countryside? The score?

5.The offices and labs, the suburbs and the ordered housing settlement, the streets, buildings, the Underground? The contrast with the human homes out in the countryside?

6.The seeming normality: the work of the police, laboratories and investigations, experiments, the role of government, the television shows and the television news, the shops, the coffee bars? Yet the creatures living at night, in the dark? Blood for food?

7.The title, the girl burning herself at dawn in the opening? The later burning of the convicts in the sun?

8.Edward, an ordinary man, haematologist, in his car, smoking, his decision not to use human blood, sympathy for the humans? The story of his being turned, betrayal by his brother, his motives? The memories? In the lab, watching the holding place for the humans? Bromley and his views, discussions with Edward? The business of supplying blood substitute? The need for supply? Not seeking a cure, making money? Ed’s collaboration with Christopher, the experiment, the vomiting and the blood-burst?

9.Bromley, his life, suffering from cancer, his decision to turn and have a mortality? Trying to turn his daughter, his (**??or her?)choice? His losing her, her running away? His smooth manner, reliance on security? His using Frankie, getting back his daughter, turning her? Her being destroyed? His taking Audrey, the final confrontation with Audrey and Ed? Ed’s accusation of cowardice? His biting Ed, poisoned, dying? The allegory of vampires and humans, corporations, sacrificing everything for greed and power?

10.Frankie, younger brother, as a soldier, his role as a soldier to round up the humans? His strong loyalty and pride? Visiting Ed, his anger, bringing the gift of blood, smashing it? His following Ed, the apprehension of the humans? Turning Bromley’s daughter? His beginning to have regrets, the final helping, the contaminated blood, the vampires biting him and their dying? His death?

11.Audrey and her encounter with Ed, with the humans, the car crash, Ed helping them? Her return to his house, planning the rendezvous? Meeting Elvis? In the countryside? The issue of the cure? Their being chased? Taking refuge in the vineyard, the vat and the experiment, Ed being transformed? Hiding from the pursuers? Going to the senator’s farm, finding everybody dead? With Elvis, in his repair shop? Audrey being taken? Ed going to Bromley, the confrontation with Frankie, the taunts? With Bromley, putting the bar in the door, seeing the vampires destroy themselves?

12.Elvis, his story, as a vampire, car repairs, the pursuit, his accident and his transformation? Working with Audrey? The pursuit of the car across the bridge and his skills?

13.Christopher, his betrayal of Ed, his death?

14.The Subsiders, the lack of blood, the process of deterioration, mental deterioration? Starving? The roundups? The military killing them? The gardener in Ed’s home? The ordinary vampires looking on? The deterioration of society, the riots, the attack of the girl at the bar, the closing of the bar?

15.The television information, the role of the media, the information during the credits, the reporters, the events happening all over the world?

16.A vampire film with, initially, very little gore? The blood? The mounting gore and blood at the end – suitable, altering the tone of the film?

17.The use of the mythologies to illustrate human nature?

NINJA ASSASSIN

US, 2009, 99 minutes, Colour.
Rain, Naomie Harris, Ben Miles.
Directed by James Mc Teigue.

A blogger wrote that a lot of the audience walked out of Ninja Assassin during the first fifteen minutes (though one would guess that they went during the first seven) and then remarked, quite rightly, that if they had thought about the title of the film, they would never have walked in. This is definitely a niche film, target audience mostly male, fans of martial arts and action shows of the graphic novel variety. There is not all that much more one can say about it except to admire the skilful direction of James Mc Teigue (the intriguing V for Vendetta and assistant to the Wachowskis on the Matrix films and Speed Racer). Also for admiration is the intricate choreography for the Ninja fights (and one can see why Tarantino admires this kind of thing and includes it as a feature of Kill Bill). It is the editing that should receive high admiration. The pacing, cuts, angles all make for a, to use a cliché, kaleidoscope of ninja action.

The plot is basic: little orphan is abducted to be trained as a ruthless, feelingless, warrior assassin by a master who is the equivalent of a sect leader in his body and mind control and in his vanity in exercise of power as well as the vicious and sadistic punishment meted out for alleged mistakes – he would be quickly arrested these days for gross physical abuse of children. Warrior grows up and, with the execution of the girl who had pity on him as a child, he rebels against the master, goes to Berlin where he teams up with a Europol researcher (Naomie Harris) and there are fights in Berlin as well as in the school where he is taken once again. In the vein of Indiana Jones shooting a sabre wielding opponent, it is clear that guns, especially automatic machine guns are far more deadly than all the Ninja training and lethal expertise

The hero is played by Korean pop star, Rain. Rain trained as a dancer and this is evident in the athleticism and poise of his acrobatic fighting. And, that's it.

1.The target audience? Martial arts, action films, graphic novel readers? Male audience?

2.The title, expectations – fulfilled?

3.The background of ninja legends, the taking of the children, their training, no feelings, skills, martial arts, ability to kill? The master, the training, sadistic treatment of the children? The effect? The stealth of their appearances? Deadly?

4.The opening, Osaka, the Yakuza, the tattoo, the tattooist and his story, the slicing and dicing, the blood? Setting the tone of the film?

5.The school setting, the contrast with Berlin and its apartments, the offices of Europol? The ordinary locations? The places for the fights, in the traffic? The musical score?

6.The direction and flair, the choreography of the fights, editing and pace and the effect?

7.The school, the training, and the sadism of the exercises, the beatings, the abuse of the children, the result?

8.Mika and her investigation, her relationship with her boss and persuading him of the truth of the information, the money accounts and the transfers? The discussions? The files on the assassins, the documents? The murdered diplomat from Russia, the interview with his wife? The visualising of his death?

9.Raizo as an adult, in the laundromat, the clash with the woman?

10.Raizo in himself, as an orphan, child, the training, the torture, his being helped by the little girl, fighting his rival, his growing up? The continued domination of the master? The girl, her escape, her death?

11.Raizo in Berlin, Mika finding him, his mission, change of heart, his desire for freedom?

12.The impact of the ninja fights, the skills, athletic, the various rooms, on the roof, climbing, falls, the traffic?

13.Raizo as human, even superhuman, yet taking the beatings, needing the police to come, Mika shooting?

14.Raizo and his being captured, taken to the school? The master and his taunts, feeling betrayed? The parade before the ninja trainees? The torture? The hand in his abdomen and the excruciating pain, his ability to heal? The inner healing?

15.The homing device, the troops coming, guns versus martial arts?

16.Mika shot, her healing, the place of her heart?

17.Raizo, his future – a sequel?

CLOUDY WITH A CHANCE OF MEATBALLS

US, 2009, 90 minutes, Colour.
Bill Hader, Anna Faris, James Caan, Andy Sandberg, Bruce Campbell, Mr T., Bobb’e J. Thompson, Benjamin Bratt, Neil Patrick Harris.
Directed by Phil Lord and Chris Miller.

An animated 3D version of a popular children's book from the 1970s by Judi Barrett.

The characters and their environment are more stylised than realistic, differing from the usual animated films. The 3D effects work quite well.

This is the story of would-be inventor, Flint Lockwood (voiced by Bill Hader), who lives in a town that has depended on its sardine industry but has now fallen on hard times. Flint is a genial but gawky hero whose inventions (when he was a boy) include paint-on shoes, which you can't get off, and rat-birds! His best friend is Steve the Monkey.

As an adult, Flint is urged to work with his father (voiced by James Caan), who doesn't understand and can explain himself only by fishing metaphors which Flint can't get. But, he continues in his laboratory and finds success with a machine that can turn water into food – hence the weather forecasts for meatballs (but there are pancakes and spaghetti on the menu falling from the skies).

Flint becomes the town's hero. The mayor wants to exploit the situation. The media are interested, especially a young reporter, Sam Sparks (voiced by Anna Faris), who gets a crush on Flint. Other characters include the local policeman, Earl Devereaux, and his son Cal who gets into danger, as well as 'Baby Brent', the child who was the face of advertising for the sardines but is now a spoilt former celebrity

Needless to say, matters get out of hand, with deluges of food, and Flint has to find a way to set things right.

Children will probably enjoy the unusual story and Flint's eccentric ways. Adults will be amused by the characters and situations.

1.The popularity of the original book? Adaptation for the screen? Characters, events, fantasy? 3D?

2.The animation style, the drawing of the characters, the town, the food and the showers? The exaggerated style for comedy? The musical score?

3.The title, Flint and his inventions? The food? Transforming the town? Forecasts, the parody on the weather? The showers of food?

4.The town, dreary, relying on the sardine industry? The town going downhill? The inhabitants? The mayor? The need for some kind of transformation?

5.The introduction to Flint, his voice, appearance? As a boy? Inventions? His inventor’s coat? His mother’s support? His father not understanding? The range of experiments and their disaster – the TV and its moving, the rat birds…?

6.Flint grown up, his being looked down on by the others in the town? By Baby Brent? His wanting to do something different? The plan for the food transformation? His machines? Laboratory? Going into action?

7.Sam, her background, nerdish, spectacles, transformation for the television? On air? The television anchor and his comments on her appearance? Going to the town, covering the events? Meeting Flint, attracted to him? Their talking, sharing stories? Falling in love? Her final support of him – bringing her old machine in order to track the clouds? The happy ending with Sam?

8.Baby Brent, the advertisements, his growing up, vanity? His intrusion at the celebrations? His going on the shuttle? His helping out with the difficulties – and becoming a hero?

9.The mayor, his ambitions? Appearance? Promises to Flint? The showers of food, his inordinate eating, growing larger and larger? His opening of the ceremonies? His wanting to escape, the boat, capsizing?

10.Earl, the policeman, his son? The confrontations with Flint? His change of heart? Expressing his love for his son? His son in difficulties with the food, rescuing him?

11.Tim, the silent father, his appearance? Not understanding his son? Continuing in the shop, wanting Flint to help him? Flint and his hard sayings against his father? His quietly and patiently working in the shop? His pride in his son? While not understanding him? His final contribution, the computers, sending the email?

12.The visual aspects of the food? The transformation of the clouds? The food falling from the sky? The machine to collect the waste and deposit it? The deposit actually collapsing and overwhelming the town? The variety of foods, people putting in their orders? The birthday party for Cal? The children enjoying it? The mayor, his not having any limits, putting in the order, the machine breaking up?

13.A fantasy? For children – jokes about food, slapstick? The nerdish inventor? Finding true love? The parody of human behaviour as entertainment for adults?

BREATHLESS

Korea, 2009, 130 minutes, Colour.
Yang Ik- Joon.
Directed by Yang Ik- Joon.

Watching Breathless is an overwhelming experience that, probably, most audiences would not want to submit themselves to. It is an almost unrelenting barrage of visual violence, mainly bashings, and a verbal assault of violently rough language. It is a Korean film, by director, Yang Ik- June, who is making his mark as a chronicler of petty gangsters and their standover-brutal tactics as they collect protection money. He also has a great deal to show about Korean family violence.

It may come as a surprise to find that Breathless won the SIGNIS award in Buenos Aires in 2009. Over the years, SIGNIS has found that there are many grim De Profundis films ('Out of the depths, I cry to you O Lord') and this must be the most De Profundis of all the awards.

As the film progresses and we have become weary of the brutish behaviour and wonder where it could lead, we begin to see faint possibilities for some kind of change, some redemption for the central character, Sang-hoon – who is played most convincingly by the director himself. The film opens with him bashing a violent man in the street as well as the prostitute the man is attacking. His work for his boss gives him the opportunity of an outlet for his rage. But, gradually, we see him with his nephew and his half-sister and his befriending a school girl who has stood up to his spitting at her and confronted him.

The girl also has a dreadful home life, keeping house for a mentally ill father who fought in Vietnam and is still cursing his dead wife, subjected to violence and humiliation by her perpetually angry brother.

It is only later that we are shown the events which have turned Sang-hoon into a raging bully. His friendship with the young girl starts to effect some changes in him, especially towards the father he has loathed after the deaths of his mother and sister and his serving a long jail sentence. There is a crucial scene where he meets the girl for a drink in the middle of the night and sobs.

There are no easy answers for the violent men but some hope for their victims.

We always acknowledge that there are huge family problems in most societies. This Korean expose is alarming, more alarming than most because it immerses us in the anger, in the raging loss of control that is, at times, literally, deadly.

1.The impact of the film? Korean society? Violence and brutality? The depths of suffering? Possibilities for redemption?

2.The Korean city, the streets and homes, restaurants, shops? The realistic atmosphere? Filmed on the streets of the city? The credibility of this setting for the action and characters? The musical score?

3.The title, the focus on Soon- Hang? The audience in response?

4.The introduction to the film and to Soon- Hang, the man bashing the girl in the street, his intervention, bashing the man, bashing the prostitute and telling her that she should not have given in to the man? The setting for his character? The visuals of his expression, sullen, introspective, rage?

5.His work, the protection racket? The genial boss, the collection of thugs, their work? Being hired out to bash the protesters at the university? The realistic filming of the clash? Soon- Hang and his beating his own men? The complaints of the boss? Soon- Hang and his always arriving late, his own boss?

6.The protection racket, Soon- Hang and the young assistant from high school, their going from place to place, the demands, the brutality, the fear of the shopkeepers? The collection of money, the envelopes and payment?

7.The encounter with the schoolgirl in the street, Soon- Hang and his spitting, her stopping, the confrontation, direct? The effect on him? Their talking? Exchanging numbers? Her criticism of his pager and his being technologically out of date? The later contacts? The effect on him of this friendship?

8.The girl, at home, housekeeping, going to school? Her brutal brother and his attacks, demands for money? The meals, her father, background in Vietnam, his scathing comments about his wife and her sexual behaviour? His paranoia? Thinking his wife was alive? His reactions to his daughter, condemnation of her? Tossing over the table and food? The girl’s patience in staying and looking after him? The lack of money, for the rent?

9.Soon- Hang and his nephew, playing with him in the street? His half-sister and the friendship? The buying of the mobile phone and her help? Delivering it? The meeting in the restaurant? His criticism of her being in contact with their father? With the boy and his relationship with his grandfather?

10.The violence and the flashbacks in this context? Soon- Hang and his father, the beating of his mother, the young girl, taking her to hospital, the vehicle accident? The deaths of both? The father going to prison, being released? Soon- Hang’s anger and rage?

11.The girl’s brother, his behaviour at home, womanising, violence? His going with his friend to the boss, getting the job, accompanying Soon-Hang? His seeming reticence in the face of the violence? The others’ reaction to him? The change, at home? The finale and his confrontation with Soon-Hang? Killing him?

12.Soon- Hang and his changing attitude, the friendship with the girl? Talking things over? Her challenging him? His half-sister? The boy? His wanting to opt out of his job? His continued violence, rage? His father’s attempted suicide? His change of heart, rushing to the hospital, wanting to give blood for his father’s transfusion?

13.His calling the girl at night, their having the beer in the open? Talking, his beginning to sob, lay his head in her lap, the transformation with the sobs? A turning point?

14.The plan to go to the little boy’s concert, the boss with the gift for the boy? The mother? The girl? His not turning up? The performance and the delight?

15.His death, lying in the street? What he had done to others? Yet the possibilities for a change of heart?

16.The flash forwards, the friendship between the group, centred on the nephew? His having brought these people together?

17.The film winning a Catholic award? De Profundis? Indications of a cry for hope?

EDGE OF DARKNESS

US, 2010, 117 minutes, Colour.
Mel Gibson, Ray Winstone, Danny Huston, Bojana Novakovic, Shawn Roberts, Jay O. Sanders, Denis O’ Hare.
Directed by Martin Campbell.

In 1985 the BBC screened a six part television series, Edge of Darkness, which went on to win awards and be considered as one of the best programs in BBC history. It was directed by Martin Campbell who went on to commercial success with the first James Bond film with Pierce Brosnan, Goldeneye, and the Zorro films with Antonio Banderas. He has now returned to Edge of Darkness, adapted for the screen, as was the 2009 adaptation of the series, State of Play.

The plot (and there is a powerful conspiracy plot in the plot) has been re-located to Massachusets and a Boston setting. It has also been adapted from the nuclear fears of the 1980s just prior to the arrival of Gorbachev on the world scene to the nuclear fears of the 21st century – with American companies covertly making nuclear weapons as the US accuses Iran of doing. So, Edge of Darkness remains topical.

The film also serves as an effective police thriller and investigation. When detective Tom Craven's daughter is shot on the doorstep of his home, it is presumed that he was the actual target. However, clues have been indicated already that his daughter was the real target. Craven grieves but continues at work and then follows the leads that bring him to a giant corporation which (as is frequently said by conspiring characters) brings finance to the state's economy. Northmoor is built on a site leased from the government where subterranean tunnels abound, enabling secret research and building to take place. It is presided over by Danny Huston who brings oily charm (and personal cowardice) to his character.

The film is significant with a return to the screen by Mel Gibson. Over 50 now, he is fit but his face looks lived in. He brings his sometimes steely look and stern visage to his role but also portrays some intensity and grief. Ray Winstone has an interesting role as a political fixer.

This is the kind of thriller that adult audiences find both interesting and thought-provoking. It has its grim and violent moments as Tom Craven struggles with the pain of the loss of his daughter and the feelings of vengeance countering his principled beliefs as an officer of the law.

1.A satisfying thriller? Police story? Conspiracy theory? Issues?

2.The adaptation of a six-hour television series from Britain? The transition from the UK to Massachusetts and Boston, 21st century?

3.The realism – heightened? Credible?

4.The city of Boston, the streets, the police precincts, Massachusetts and the Northmore plant, the hill – and the view from Bennett’s office? The musical score?

5.The opening, the bodies surfacing in the river, the moon, the title and the edge of darkness?

6.The American setting, government, nuclear development, nuclear weapons, the deceit and covert operations, protection and security, private security, the employment of fixers, indication of madness and power, violence and ruthlessness, lawlessness?

7.Tom and Emma, the use of home video, the father and the daughter in the past, the bonds between them – but distanced over the years? Seeing them together, her work as an intern, secrecy, her being sick, the ride in the car, talking with her father, intending to tell him the truth, her being shot on the doorstep? The later inserts of the video material, for Tom’s memories of his daughter? Her appearances, talking to him? The shaving sequence? The end and their walking off together?

8.Mel Gibson as Tom, age, experience, his wife, his daughter, his dedication to his job, his principles? The death of his daughter, going into shock, Bill’s arrival and offer of friendship (and the later Judas situation)? Washing the blood off, the decision to go to work, meeting with his boss, staying on the job, getting more information, identifying his daughter, taking the lock of hair – and its importance later for the radioactivity? The presumption that he was the target? The media reports about the events?

9.Tom and his brusqueness, irritability, going to look at his daughter’s possessions, the mobile phone, David’s address, David with the knife, the attack and the fight, talking, David and his fear, secrecy, security? Revisiting David, getting the information? David dead? Sitting on the sofa in front of the television?

10.Tom’s visit to John Bennett, Bennett’s manner, smooth, the beautiful view, the atmosphere of power, exercising charm, his lies, managing situations? His questions about Tom’s feelings of grief? The later encounter with Tom, the car, the gun to his head, Tom asking him about feelings of fear? His madness? The plans, the nuclear weapons? His treatment of the intruders, the radioactive attack in the tunnel? The senator and the company contributing to the economy of Massachusetts? The discussions with Moore and Milroy? Their condemnation of his behaviour, brash, the loose ends? His megalomania? The final attack in the house, the shootings, the milk and its being radioactive, his death?

11.Tom, the Geiger counter, the radioactive hair? Going to Northmore, going to David? The information about the intruders? Emma’s role? The death of David? Melissa, her fears? Giving the information about the group? Robinson? The DVD with Emma’s interview?

12.Robinson, Tom’s attack, the new deal? His confrontation with Sanderson, his being the lawyer for the senator and for Northmore?

13.Jedburgh, Ray Winstone and his presence and style? The confrontation with Milroy in the parking lot? His being a fixer, thirty years? Meeting Tom, the drink, the talk, his philosophy of life, being alone, trying to empathise with Tom and his grief? The cigar? Sinister? Power of life and death? The meeting in the park, talking with Tom? Going to the doctor, his illness, pills? The confrontation with Moore, Milroy and the senator? Killing them?

14.The senator, smooth talk, seemingly innocent? The television interview? The economy, Northmore? His being in league with Moore and Milroy? With Jedburgh? Critical of Jedburgh not killing Tom?

15.The media, their intrusion – and Tom sending the DVD of the interview to the girl from Fox News?

16.Bill, his initial help, his being pressurised by the government and Northmore, betraying Tom? The shooters? Their taking Tom, to Northmore? Tying him up, his escape, his confrontation and killing them? The security guard being his daughter’s killer?

17.Tom, alone, conscientious about his job, honest, his grief, the details of his investigation, his having nothing to lose? The milk and his using it? His skills in being aware that he was being followed, his crash into the assassin’s car, the arrest and the use of the police? His independence, his disgust at what had happened? His use of violence?

18.Covert activities and the approval of government? Conspiracies – conspiracy theories, inventions? Reality?

DISTRICT 9

US/New Zealand/South Africa, 2009, 112 minutes, Colour.
Sharlto Copley.
Directed by Neill Blomkamp.

Quite a show! And a box office hit in the US (despite the South African accents).

Filmed in and around Johannesburg and Soweto as well as in studios in Wellington (produced by Peter Jackson with effects by the Wellington company, Weta), this is the southern hemisphere challenging the northern and doing a good job at it.

It's a rattling action show (which fastidious audiences might find too loud, combatative and grisly at times) that competes with the northern hemisphere effects blockbuster. While there are lots of special effects, very effective effects, the context is a kind of documentary reporting, offering a sense of realism so that one accepts the plot, the characters and the situations as quite real. And most of the action takes place in broad daylight rather than in the dark.

Yet, it is not in too many films where a gigantic space ship rests over a city, let alone Johannesburg for twenty years. It is not too often either that the refugee aliens, unwell, are rounded up and herded into a settlement (not unlike the old Soweto) where they are ridiculed, isolated and exploited. But, it's all here – and becomes more credible as the film goes on.

As has been noted, the film opens with television reports about the situations, with lots of interview clips with experts, informing us about the arrival of the aliens (and their not choosing the US as movie aliens are prone to do), their segregation, the squalor, the need for an evacuation plan to a newly constructed ghetto town away from the hostile locals (both black and white). And, a documentary is being filmed live, focusing on the officer of the private company, MNU, Multi-National? United, which controls the settlement, who is in charge of the evacuation. MNU is a weapons dealer and wants to collect the caches of arms the Prawns (the derogatory name for the aliens because of their prawn-skeletal appearance) as well as get their DNA.

So far, so arresting. When the evacuation begins, the drama also becomes personal as Wikus van der Merwe (South African director, Sholto Carpley) becomes entangled with the aliens in alarming ways and becomes the object of military pursuit. This leads to chases, stand-offs, gun battles and exciting mayhem. Film buffs will be noticing all kinds of movie references from ET to Robocop.

This would be all serious matinee material were the film made outside of South Africa. But, of course, we are being invited to think of black South Africans, apartheid, segregation, prejudice, pre-truth and reconciliation experience. Which challenge us in our attitudes – especially as we get to know some of the aliens, experience them as 'human' despite their appearance and behaviour. Interestingly, the villains and exploiters are Nigerians (who are notorious these days for international financial scams and computer fraud).

Within its social context and alien vs humans genre, this is very effective film-making.

1.The impact of the film? Worldwide success? Critical acclaim?

2.The South African background, the spaceship over Johannesburg, the aliens? The parallels with apartheid?

3.The introduction, the visuals, the news, the aliens and their appearance, the separation and apartheid attitudes, the aliens staying? The scientific background, video footage, the weapons and the raids, the riots? The humans clashing with the aliens? The rejection, calling them prawns? The decision to expel them, seeing them as a virus? Terrorist activity? Twenty years of their presence? Public opinion against them?

4.The background of Multinational United, hired for expelling the aliens, 1.8 million to be transferred? An allegedly safer camp? The press conference? The twenty-four hours’ notice to evict, the field officer, Wikus? His eagerness, son-in-law of the manager? His wife, her relationship with Wikus, her father? The staff, the strategies? Wikus ' father, Wikus speaking to camera and the video program being made about him?

5.The post-mortems, the comment, the critique of Wikus and his behaviour, the hindsight?

6.Wikus in action, the apartment, the policies and statements, live news, the human rights protests, the convoys?

7.The aliens and their arrival, their appearance, their names? Prawns? The riots and violence, their taking up arms, leaping over buildings? The close-ups, of their appearance? The settlements and the background of Soweto? The troops going door-to-door, the anger, the language of the aliens? Seeing them on television? The Nigerians and their rackets, the prices, cat food, prostitution? The nutrition? The prawn eggs and their popping, multiplying the population?

8.The background of the Nigerians, the underground gangsters, their cat food schemes? Their wanting weapons? The leader and his wanting to eat the aliens and absorb their power?

9.MNU, the weapons industry? Aliens as weapons, the DNA – and the testing of the weapons, especially with Wikus and his arm?

10.The aliens, their technology, the search for the fluid? Christopher Johnson and his son? The repairs for twenty years? The plan? The aliens not signing the documents, taking their child, Wikus and his attack, the fluid, his cough, the nails coming off?

11.Wikus and the infection, being seen as a weapon, spurting and his face, confronting the aliens? The helicopter, the military shooter, Wikus ill?

12.The witchdoctor, the magic? The Nigerians, the alien and the body parts?

13.Wikus and his action, the surprise party and his entry into the house, talking with his father-in-law, too many dead? The threats, the infection, his vomiting, going to hospital, the claw developing, put in isolation, the collage of his treatment, the nerves fused, the firing of the weapons? The metamorphosis and MNU wanting to keep the balance between human and alien? The DNA? Wikus and his being an experiment, the millions for biotechnology, for organs?

14.Tanya, her father’s lies? The harvesting of the organs? Wikus and his escape, running from the hospital? The military man and the helicopter? The value that he could operate alien weapons? The false accusations of his sexual behaviour, the news, the headlines? The indications of time since his exposure, his having to hide in the settlement, buying the cat food, his illness, teeth falling out? His wife phoning him, his trying to axe his claw? Going to the alien hut, discovering the computers, hiding in the cellar? Getting worse, weeping? His wife ringing again – and her father-in-law fixing his location?

15.The machines, MNU? The Nigerians, the sex taunt, the chief and his wanting to eat Wikus and become a weapon? The destruction of the Nigerians?

16.The MNU attack, the discussions of the situation, the knockout, the cellar and the military man, emerging? The rockets? Wikus captured, the alien captured? The violent attack and the battle?

17.The helicopters, the mother ship? The giant robot weapon, Wikus managing it, the son activating the machine? The Nigerians killed? The interrogation of Christopher, his not talking, the torture? Wikus and the smoke bombs? Getting into the robo weapon? Running, Christopher falling?

18.The bond between Wikus and Christopher? The promise to return in three years?

19.Christopher and his son, going to the mother ship? Trying to go home after the recovery of the fluid? The crowds cheering when the aliens went home? The interviews about the uncertainty of the future?

20.Wikus and his disappearance, the general surrounding him, the attack by the aliens and his being torn to pieces? Wikus and the complete metamorphosis? Speculation about what had happened to him? The aliens taken to District 10? His making the flower and sending it to his wife?

21.The future, for the humans, for the aliens?

22.The South African perspective, the allegory of the treatment of the aliens as a memory of apartheid?

TOY STORY

US, 1995, 81 minutes, Colour.
Voices of: Tom Hanks, Tim Allen, Don Rickles, Jim Varney, Wallace Shawn, John Ratzenberger, Annie Potts, John Morris, Erik von Detten, Laurie Metcalf, R. Lee Ermy, Penn Jillette.
Directed by John Lasseter.

Many were initially apprehensive about a completely computer-generated animation feature about toys coming alive. But the animation is skilful and the story-line is geared to appeal to children - parents will not be sorry that they have seen it. The toys are full of life (when humans are not looking) and have engaging personalities. Tom Hanks is very good providing the voice of Woody, the cowboy, whose place as favourite is being threatened by a spaceman toy who cannot believe he is only a toy (a very entertaining voice from Tim Allen).

This was the first of the Pixar animation films, directed by founder, John Lassiter, which led the way to a string of great successes both critically and at the box office and a number of Oscars for Best Animation feature: A Bug's Life, Toy Story 2 and 3, Monsters Inc, Finding Nemo, The Invincibles, Cars, Ratatouille, Wall E and Up.

1.The popularity of Toy Story, with audiences, critical acclaim, the beginning of Pixar’s successful films?

2.The computer graphic animation, the characters, settings, home and rooms, action? The score? The songs – especially about friendship?

3.The strength of the voices, the humour, characterisations, drama?

4.The appeal to younger audiences, a children’s story, toys, birthday parties, outings?

5.Andy’s house and Andy himself, not appearing so much, the human dimension? Playing with the toys, ignoring them, the birthday party and the gifts, losing the toys and his concern, moving house? Finding Woody and Buzz?

6.Toys, devotion to toys, the role of a toy? Woody and his explanations to Buzz Lightyear?

7.The toys coming alive, the human parallels, the sheriff and his words, Buzz Lightyear and the explorations of space, the meetings of the toys, Woody presiding, their concern about Andy, the new toys and envy, the crowd mentality and ganging up against Woody, the clashes, the comic adventures? The serious adventures, Woody and Buzz in the house with Sid? The vicious dog? The rescue attempts? The cracker and the rocket? The car chase, rocketing into the air? The sense of menace? The success of the mission?

8.The moral: be a toy, be oneself, friendship not envy?

9.Woody as the sheriff, the leader, Andy’s favourite, his limits? Chairing the meetings? Concern about the house move? Concern about Buzz and his arrival? His tantrums against Buzz, the meanness, the talk, bringing Buzz down to size, explaining he was a toy? Pushing him out the window? Buzz’s beliefs? The fear of Sid, his vicious toys? Buzz, the fall, the rescue, the growing friendship, the chase? The toys ganging up against Woody? The final forgiveness?

10.Buzz Lightyear, the space explorer, his jargon, beliefs that he was real, demonstrating his skills, the attempt at flying, defying Woody, the toys following him because he was popular? Woody’s antagonism, falling out the window? Taken up by Sid? The truth and his listening to the television, knowing that he was a toy? Sid and his wanting to use the rocket? Buzz and his disillusionment, drinking the tea – and intoxicated? The chase, Woody and the rescue, his getting Woody out of the cage? Finally flying?

11.Mr Potato Head, the humour, sardonic? Slinky Dog and his stretching, his faith in Woody? Mr Hamm? Bo Peep and her devotion to Woody? Rex the dinosaur – and his continued emotional states, sense of guilt?

12.The soldiers, their mission, R. Lee Ermy and his screen roles, Full Metal Jacket? The soldiers being trodden on?

13.The humour for adults, the enjoyable parody? The delight of the story and the characters for children?

PAUL OF TARSUS

Spain, 2009, 100 minutes, Colour.
Directed by Pablo Moreno.

Paul of Tarsus is a reverent, rather conventional presentation of an overview of the life and work of St Paul. Paul had appeared in various films including Peter and Paul with Anthony Hopkins playing Paul.

The film opens with Paul in prison, has flashbacks to stories from the Acts of the Apostles, especially the stoning of Stephen. Paul appears as a harsh man, in the employ of the religious authorities. The film naturally shows his conversion, going to Damascus, his becoming a disciple as well as meeting Peter and other apostles. The film moves fairly swiftly, gives some indication of the travels of Paul, the controversies, his preaching, writing his letters. Ultimately, he is arrested, appeals to Rome and is imprisoned there. The film culminates with his death by beheading.

The film looks like European art images, the performances are somewhat stolid, the film a reverent rather than insightful look at the apostle.

1.Audience interest in St Paul? His conversion, his preaching, his letters, his martyrdom? His status in the church?

2.A Spanish production, the Spanish locations? Standing in for Israel, Syria? The re-creation of Rome – and the artificial sets, especially at the end with the Colosseum? The impact of the makeup – photographed not well? The musical score?

3.The character of Paul, as younger, as older? His appearance, manner?

4.Paul and his participation in the killing of Stephen, the stoning of Stephen, his holding the clothes? The authorities? Their relying on him? A Zealot?

5.The journey to Damascus, his experience, the voice, Jesus, conversion? Going to Damascus? Blind, Ananias? His time away from people, reflection? The mystical touch?

6.The mysterious old man who confronted Paul after the death of Stephen, who looks into Paul’s soul? Who appears at the time of Paul’s death? Passing through the crowd (as the demon did in Mel Gibson’s The Passion of the Christ)?

7.The overview of Paul’s journeys, his meeting with other apostles, with Mark, the travels, the glimpse of his writing?

8.Paul’s arrest, the background of the governor, his appearance, the appeal to Rome? Appearing in Rome, the Emperor Nero? Meeting Peter?

9.The flashback to the crucifixion? His own death, dignity, martyrdom?

10.How helpful for audiences wanting an introduction to the life and work of St Paul?

THE OTHER BANK

Georgia/Kazakstan, 2009, 93 minutes, Colour.
Directed by George Ovashvili.

Audiences do not usually see Georgia/Kazakstan in films. Rather, they see it in news items, especially in terms of invasions and wars.

This film offers a glimpse into the area, especially seen through the eyes of a young boy. However, it is unusual that the boy is cross-eyed and at times has to pretend that he is deaf and dumb. However, he gives a most impressive performance and carries the audience with him on his journey back to a bombed-out town to find his father.

The film presents the harshness of the outer suburbs of Tblisi, of the countryside, of people who are cruel to one another. However, at times some kindness breaks through and this makes for a more rounded picture of the people and of human nature.

The film is based on a memoir, The Trip to Africa – which explains the final shots of giraffes in the post-credits sequences.

1.An insight into Georgia/Kazakstan?

2.Audience knowledge and lack of knowledge of the politics of the area, the geography of the area? The particular wars? The universal message?

3.The range of settings, the suburbs of Tablisi, the roads, the countryside, the river, villages, the forests and the snow? The musical score? The songs?

4.Borders, frontiers, the guards, barriers, dangers, violence? The different languages spoken, Georgian, Russian, the language of Kazakstan?

5.The introduction to Tedo, his look, his eyes, his age? The house, the key? Going to work in the garage, his diligence? Not going to school? His precarious status as a refugee – to be deported if caught by the police?

6.The other boys, their hiding, stealing, their various tricks? Tedo and the puncture in the car, replacing the tyre, the other boys stealing the wallet, the division of money? Tedo seeing his mother with the men? Giving her the cash, her asking if it was stolen? His attitudes towards her, with the men in her life? The failed trick, the policeman chasing Tedo, outrunning him? At home and seeing his mother with the man?

7.His decision to leave, pack, the boy with his advice about being deaf and dumb? On the train, sleeping, ousted by the guard, sleeping in the fields, the encounter with the men changing the numberplate on the car, picking up the girl, their molesting her, his attacking the men, their throwing him out? Allowed on the bus, the help from people, the old woman with the flower calling him her grandson, the man who was kind, shot to death? Entrusted with the old man to go to the house, pretending to be mute, the woman and her giving him the meal, the man drunk and attacking him, the memories of their son dead in the war? Tedo sleeping under the bed, wanting to leave – the man and woman giving him breakfast, kindness, speaking his language?

8.The quest for his father, the village, waiting, the snow, meeting the old lady, hearing the story of his father, the remarriage? Not knowing where he was?

9.Hiding in the fields, the soldiers and the shooting, his being taken, the joke about his being a rabbit? The brutal treatment? The food? The singing, the intense dancing, Tedo and his beginning to dance, almost a frenzy, the final close-up of his face? Where to?

10.The book based on A Trip to Africa, the final images of giraffes?

11.A child’s story, the harshness of life for the child, questions about his future?

12.A refugee story, hard lives for survival for refugees?

13.War and its brutality?

14.The harshness of human nature, cruelty? The moments of kindness compensating?