ELEKTRA

US, 2005, 100 minutes, Colour.
Jennifer Garner, Goran Visnjic, Kirsten Prout, Will Yun Lee, Cary- Hiroyuki Tagawa, Terence Stamp.
Directed by Rob Bowman.

Rob Bowman is best known as the director of The X Files. He is still dealing with material where fiction is stranger than fiction and brings quite a visual flair to a story that does not always make logical sense but is hurrying on to the next episode.

Elektra appeared as a character in the film version of the Marvel Comics, Daredevil. She seems to have been despatched to her eternal reward. But, no, we find that she did die but has achieved a lively resuscitation – with empathy for those who have died violently. However, her new profession is as a paid assassin, so she does not mind too much despatching her marks. When she finds that a sympathetic neighbour and his daughter are her next targets, she wisely uses her intuitive powers, her contact with a group of supernatural power-hungry martial arts experts known as ‘The Hand’, and the Master who seems to have rejected her from the kind of training establishment that Uma Thurman and Daryl Hannah attended in Kill Bill Volume 2. The Master is an elegantly enunciating Terence Stamp – who seems to have the ability to appear out of nowhere, even in battle fatigues for some reason.

Elektra is Jennifer Garner looking spectacularly fit in exotic costumes and, despite the dangers and her previous death, coming off best against The Hand assassins who can be hurled into eternity at the swipe of a sword.

So, this is what Elektra is all about, a daft mixture of action, romance, comedy and special effects (and a somewhat obnoxious teenager who turns out to be the key to everything and will be the Elektra of her generation).

This review may not have given the right impression. Despite its being preposterous, let yourself go and it is a guilty pleasure.

1.The popularity of comic-strip heroes and heroines? Action film? Good versus evil, right and wrong? Heroics? Violent solutions?

2.Marvel Comics, their stories, the human and the heroic, heroes with extra powers?

3.Elektra as a female hero, audience response, the paid assassin? Her seeming failure in her training? The appeal to her emotions? Change? Stick and his blessing on her?

4.The visual style, light and dark, shadow, the colour, action, editing and pace? Musical score?

5.The prologue, Stick and the training, good versus evil, the history of the struggle, the visuals and tapestries? The Hand? The good versus the evil? The Treasure tipping the balance? The quest to get the treasure?

6.De Marco, sitting in his room, telling the story about Elektra, her pursuit, his waiting, the atmosphere, his protectors dying? The confrontation with Elektra? His death?

7.Elektra in herself, appearance, clothes? The domestic scenes, cleaning everything, having everything in order? Her agent, the discussion about cases and fees? The flashbacks to her training, Stick dismissing her? Her worries?

8.Terence Stamp as Stick, the sage, his sayings, blind? The pool match and his prediction? His later coming to Elektra’s rescue? His change of heart towards her?

9.Elektra going to the next mission, completing the order in the house, the swim – and the memories of her struggles to swim as a little girl? The encounter with Abby, her stealing? Meeting Mark, the concern about the theft, the invitation to Christmas Dinner? The talk? The information that they were the targets? Her inability to kill them?

10.The importance of the childhood memories, Elektra as a little girl, the difficulties, her mother?

11.The alternate killer, the rain, Mark and Abby talking, Elektra and the fight, saving their lives? The assassin vanishing in the smoke? The meeting of the Hand? The crow spy and getting information? The family and the escape? Elektra taking them to Stick, the pool, his rejection, talking about her atonement?

12.The ambitious martial arts hero, assassin, with the superior of the Hand? His magic, the birds, the attack on the house? The fight in the woods? The former Treasure? The symbolic animals and the fights?

13.The blind Stick, his minions, arriving to rescue Elektra? The training? The revelation of Abby as the Treasure?

14.Elektra and her deal with the assassin, the deal to beat the Hand and save Abby? The confrontations, the fights, the swords, the room with the sheets? The hero defeated, down the well? Restoring the balance?

15.The happy ending, Elektra continuing on her mission, not going with Mark and his daughter? The role of this kind of hero/heroine?

WAR

US, 2007, 103 minutes, Colour.
Jet Li, Jason Statham, John Lone, Devon Aoki, Luiz Guzman, Saul Rubinek, Ryo Ishibashi.
Directed by Philip G. Atwell.

There’s no mistaking the theme from the title. However, this is a particular war, a war between police authorities and a notorious and ruthless killer working for the Yakuza, killing for the Triad representatives in San Francisco, but, ultimately for himself. His name is Rogue.

Jet Li, doing far less martial arts action as he grows older but still skilfully wielding a sword, obviously relishes the opportunity to play the sneering and murderous Rogue. On the other hand, Jason Statham is his usual screen self, grim and laconic, as the officer who is upset at the murder of his partner and family and is determined to get Rogue.

This means that there are various set pieces of mayhem as Rogue goes about his business, as the Chinese and the Japanese try to outdo one another and the lone policeman pursues his prey.

It is all stylishly made, a cut above several of the more recent American vehicles for Jet Li.

However, there is an absolute whopper of a plot twist at the end which defies belief – and which makes the other plot twist seem rather small even though it is crucial.

1.Popular action film? Stunt work? Special effects?

2.The title, the war between the Yakuza and the Triads? The involvement of the Chinese, the Japanese, Americans? The war on American soil in San Francisco? The musical score?

3.The film as an action vehicle for Jet Li? Screen presence? Chinese? His history of martial arts films? Playing a villain? Older? Stunt work?

4.The film as a star vehicle for Jason Statham, an action star?

5.The background of San Francisco, the use of the city, locations? A character in the film? The contrast with the sequences in Japan, the beauty, elegance, different style?

6.The opening, Jack and Tom, their work together, the attempt to get the criminals? The shootouts? Rogue and his presence, escape? Nobody believing that he existed? Jack and his obsession? Wanting to get Rogue? Jack and his family, the neglect of his son? The exasperation of his wife? The dangers for them? Rogue and his going to Tom’s family, the deaths? Jack and the effect, wanting to avenge Tom?

7.The unexpected twist at the end: the fact that the Rogue seen for three years was in fact Tom? The credibility of this twist? The further twist that Jack was in the pay of the Yakuza?

8.The passing of the three years? Jack and his work, wanting to avenge Tom? His confrontations of the Yakuza, fearless in confronting them? Facing Chang and the Triads?

9.Rogue, Jet Li's performance, his saying that he was serving only himself? The loyalties to the Yakuza? Recovering the horses for Chang? The massacre of the Japanese and the consequences?

10.Shiro and the Japanese Yakuza, his daughter and her strength? The henchmen? The mission to the US? The confrontation with the Triads? The police and their trying to get the Yakuza criminals? Shiro and his finally deciding to come to San Francisco, the confrontation with Rogue, with Jack? The final fight? His death? The personality of his daughter, fit to be her father’s successor? Ruthless? Her treatment of adversaries?

11.The Triads, Chang, his American wife, child? The luxury life? His keeping on the right side of the law? His deals? Wanting the horses? Rogue and his getting them?

12.Jack and his pursuit of Rogue? The irony of the chase, the combat? The final meeting, the swords? The final revelation of the truth?

13.The plastic surgery, Rogue and his being disguised? The irony of discovering that Tom had gone to the surgeons? The deaths of the surgeons, the meeting with Doctor Sherman, down-and-out, in fear, his confessing the truth?

14.Benny, his cover with the boxing? His being an agent? Giving advice to Jack, information? His concern about Jack’s marriage?

15.Jack, the separation, the wife in danger? Her giving up on him?

16.The murder of Chang and his entourage? Rogue (Tom) enabling the wife and child to disappear, giving them the horse to start a new life?

17.The resolution, Jack and his giving his life for Tom? Atonement?

18.The violence of the film, appropriate to the action, characters, issues?

MARTIN AND LEWIS

US, 2002, 90 minutes, Colour.
Sean Hayes, Jeremy Northam, Paula Cale, Sarah Manninen, Kate Levering.
Directed by John Gray.

Martin and Lewis is a biopic of the famous duo, Dean Martin and Jerry Lewis. They began in the 1940s with nightclub performance – with Dean Martin singing and Jerry Lewis interrupting and creating all kinds of antics. This became extremely popular. They then moved to radio and finally to film. This film shows the range of films they appeared in in the first half of the 1950s before they split as partners.

Sean Hayes is very good impersonating Jerry Lewis. He appeared in Billy’s First Screen Kiss, Cats and Dogs as well as his recurring role in Will and Grace. Jeremy Northam, a British actor, is suave as Dean Martin. Various characters from real life appear including Jackie Gleason and producer Hal Lewis.

The film sketches the personality of each of the performers. Jerry Lewis is determined to succeed, not helped by his father, doing mad impersonations. Dean Martin is a singer, rather carefree in his attitude, difficult to make firm relationships. However, after a time, Lewis’s ambition and Martin’s lackadaisical attitude meant the parting of the ways. Each had a successful career after the break-up.

The film was written and directed by John Gray, a prolific writer and director whose range extends from Steven Seagal in The Glimmer Man to Sissy Spacek in the emotional A Place for Annie.

1.Interest in Dean Martin and Jerry Lewis? Knowledge of them? From their films together? Separately?

2.Jerry Lewis as a comedian, a clown, his madcap antics? The contrast with Dean Martin as the suave lounge singer? The irony of their coming together, Martin appreciating Lewis’s comedy, allowing him to interrupt, reacting? The public’s response to this kind of performance?

3.The re-creation of the 1940s and 50s? New York, Hollywood? The nightclubs and their audiences? Film sets?

4.The songs of Dean Martin, impersonated by Jeremy Northam? Their occurring throughout the film? Giving an idea of Martin as a singer?

5.Sean Hayes and his performing Jerry Lewis antics? Exaggerated and zany? Popular in their time? (And Jerry Lewis as idolised by the French?)

6.Jerry Lewis’s story, his ambitions, changing his name from Joseph Levitch, his father’s work, meeting his father, his father not able to praise him? His wanting some kind of acknowledgment? His marriage to Patti, its lasting for years, the children? Separation from her, bringing her to New York, bringing her to Hollywood? Her devotion to him? Her friendship with Betty Martin? Feeling Betty Martin’s upset at the divorce? Lewis’s success? The touch of hypochondria? Ambition? Rivalry with Dean Martin? Yet wanting Martin’s approval? The final, (**should it be finale?) the farewell, the performance after the nasty performances? Each saying that they loved each other? The information given that they rarely came in contact with each other afterwards?

7.Dean Martin, singer, womaniser, his marriage to Betty, family? His seeing Jeanne? His marriage to Jeanne, the family? His always talking about her on his TV show? The tension, Jeanne feeling that he was unable to love? His wanting to be detached? His casual attitude towards the performance, Jerry Lewis’s rivalry, his getting upset, the parting of the ways?

8.The agents, the men relying on their agents? The various performances? Changing agents?

9.Hollywood, the collage of the posters of their various films? The re-enactment of a scene from My Friend Irma? The songs, the comedy? The arguments with Hal Lewis? His not moving in terms of contracts?

10.The film tracing this particular period? A cabaret period, a film period? Characteristic of the 1940s and 50s?

THE HEARTBREAK KID

US, 2007, 115 minutes, Colour.
Ben Stiller, Michelle Monaghan, Jerry Stiller, Malin Akerman, Carlos Mencia, Rob Corddry.
Directed by Peter and Bobby Farrelly.

The Farelly Brothers have made a name for themselves in movie comedy. They take ordinary situations – and then some! The then some is usually in the realm of crass jokes, especially bodily function jokes and pain jokes. Ben Stiller was tormented in There’s Something About Mary (probably their funniest film). Mental disorder and Jim Carrey were in Me, Myself and Irene. Obesity and Gwynneth Paltrow featured in Shallow Hal. Matt Damon and Greg Kinnear were Siamese twins in Stuck on You, probably their ‘nicest’ film.

This time they have gone back to an Elaine May film of 1972, The Heartbreak Kid, which was written for the screen by that master of the one liner and observer of the foibles of human nature, Neil Simon. There is still quite a bit of Neil Simon still there – and that is nice. But the rest is the Farrelly brothers reminding us of how much comedy has changed in three or four decades and how the ‘grossout’ jokes are not confined to grossout films.

That should serve as a warning to those who remember the original film with some affection and may not be prepared for all the innuendo (and explicit jokes and scenes) and the quota of crass – though many will miss two of the crassest jokes during the exodus, now seemingly mandatory, as soon as the final credits begin.

Having said that, Ben Stiller is always very good at playing the put upon victim (both physically and psychologically) and sustains his character here even though he falls out of love with his wife on their honeymoon and is attracted by a young woman visiting the resort. (Charles Grodin was the original shy and awkward heartbreak kid and Cybill Shepherd the girl of his dreams.) Ben’s father, comedian Jerry Stiller, plays his motormouth father. Michelle Monaghan is girl next door as the ideal but the show is stolen by Malin Akerman as the initially attractive wife who turns into a nightmare.

There is much to enjoy in this interpretation of The Heartbreak Kid, but…

1.The work of the Farrelly brothers? Comedy? Expectations? The grosser aspects of human behaviour? The original Neil Simon screenplay – Farrellys meet Simon? 21st century update and style?

2.The American cities and city life, the shops, the Californian countryside, the beach resort? Musical score?

3.The title, the application to Eddie, the irony?

4.Ben Stiller and his screen presence, persona, comedy, being put on? Working with his father, his father’s crassness, the jokes?

5.The plausibility of the plot? The touches of realism, the elements of farce, the slapstick comedy, the gross-out jokes?

6.Eddie in himself, forty, past relationships, inability to commit himself, his discussions with his father, his father’s crass talk and urging him on, the discussions with Mac, Mac urging him on, Mac’s own experience of marriage, his wife, his being at her beck and call, her phone calls? The wedding, his being sat at the table with the children, the discussions about whether he was gay or not, his story of his murdered wife? His former girlfriend, her speech, the put-downs – and Mac’s supporting them? His reaction?

7.His meeting Lila, in the street, the thief, the bag, her being upset, his dilemma as to whether to talk to her, going up to her, the discussion, her being attractive? Explaining about the shop? Discussing her with his father, his father’s plan? Her coming into the shop, the sale, going out with her? Falling in love, the wedding ceremony? The future becoming possible? His father’s support?

8.Going on the honeymoon, the reality of Lila, her continual singing, her previous drug-taking, the deviated septum, her being a volunteer rather than being paid for her ecological work, the sexual energy, her stubbornness, the sunburn and the repercussions? Her tantrums in the room? The effect on him, depression, phoning his father and Mac?

9.Miranda, a vision to Eddie, with the family, the elderly couple and the renewal of their vows, from Mississippi, the types, the family range, the welcome, the couple at the bar assuming that Miranda and Eddie were married, the drinks all round, with the family, their all telling their stories, jobs, shops and expansion, the jokes about the south? Eddie and the drinking, the attraction, going back to Lila?

10.The deception, with Uncle Tito, taking Max pornographic video and being caught by Miranda? His excuses? Tito and his helping him out? The attraction to Miranda, their being together, not telling her the truth? Miranda going on the trip, the twins telling the story, the family hearing it, the misunderstanding, his thinking that she accepted the truth? The consequences of the deception?

11.The Mississippi family, the businesses, those who were very proper, the renewing of the vows, the issue of the numberplates and the name? Their seeing Eddie and his wife together, the story, the truth, the violent reaction?

12.Lila, wanting to make up, his eventually telling her the truth? Her reaction? The divorce and getting the shop?

13.Eddie, the failure of his marriage, the failure of the relationship with Miranda? Going to Mississippi, trying to find her, the older relations urging him to go? His returning to the resort, Uncle Tito helping him, in a relationship?

14.The family returning, Miranda, nice, the possibilities – yet the irony of his having to separate from another girlfriend?

15.The incidental Farrelly jokes, on marriage, sex, violence, puritan attitudes, the donkey, the boy with the cocaine?

SURRENDER, DOROTHY

US, 2006, 90 minutes, Colour.
Diane Keaton, Tom Everett Scott, Alexa Davalos, Lauren German, Josh Hopkins, Chris Pine, Peter Riegert.
Directed by Charles Mc Dougall.

Surrender, Dorothy is a telemovie about death and grieving. Alexa Davalos (Feast of Love) plays Sara who is killed in an accident. Her best friend, a gay playwright, played by Tom Everett Scott, is grieved as is her mother, Diane Keaton. This is a Diane Keaton performance with all stops out – Annie Hall after thirty years and the somewhat screeching emotional mother of such films as The Family Stone and, especially, Because I Said So.

The film has a strong supporting cast of friends of the young woman who died as well as Peter Riegert as a theatre entrepreneur.

The film is very American in style, the characters not so interesting – and grief for Sara overshadowed by the tantrums of Diane Keaton as her mother.

The film was directed by Charles Mc Dougall who directed a number of television series including Desperate Housewives, The Tudors, The Office.

1.The impact of this kind of drama? Death and grief? For American audiences? Non-Americans? Sentiment?

2.The settings, the young people and their lives, the contrast with Natalie and her life? The holiday house, the beach? Activities on holidays? The musical score?

3.The title, The Wizard of Oz, the key word between mother and daughter, their phone calls?

4.Sara and Adam, their friendship, discussions, driving, her recklessness, his caution? The outing with the ice cream, the lady with the beard, the song (and Natalie questioning her afterwards and getting a satisfying answer)? The driving, the affection, the crash, Sara’s death, Adam surviving, his grief?

5.Adam, his friends, Shawn and his partnership, would-be actor? Emotional? Maddy and Peter, their love, the child? The holiday together? The detailed interaction of the young people? Their helping Adam in his grief?

6.Natalie, mother, phone calls, emotional? Her relationship with Peter? Her grief at her daughter’s death – hearing it in the car, her reckless driving? Almost being killed? Her decision to come to stay with the people? Antagonism towards them, especially Adam? Wanting to know more about Sara?

7.Natalie as a character, emotions, age, love for her daughter? The various rituals of grief? The carefree, Annie Hall type behaviour? The night out, her dressing up in her daughter’s dress? Flirting? Her meeting Mel, the attraction? The New Age rituals, the Buddhist rituals? Her being involved? Adam and his scepticism?

8.Peter, the relationship with Sarah, the discussions with Natalie, Sara’s pregnancy, Peter assuming Natalie knew? The news, the fact that Adam accompanied her to the abortionist? Her needs?

9.Maddy, her jealousy, the relationship with Peter, suspicions of Sara, of Natalie?

10.Mel, the entrepreneur, his relationship with Adam and the putting on of the plays? Shawn and his putting the photo on the windscreen? Adam’s reaction?

11.The gradual breaking down of barriers? Natalie overcoming her immediate reactions? Adam becoming calmer? The discussions between them all?

12.The resolution of the grief, of the drama? A future and Natalie’s relationship with this group?

THE USUAL SUSPECTS

US, 1995, 106 minutes, Colour.
Gabriel Byrne, Stephen Baldwin, Benicio Del Toro, Kevin Pollak, Kevin Spacey, Chazz Palminteri, Pete Postlethwaite, Giancarlo Esposito, Suzy Amis, Dan Hedaya, Paul Bartel.
Directed by Bryan Singer.

An unusual crime thriller - and we are not sure that all the suspects are so usual either. Verbal Kint (Kevin Spacey) tells the police a story about a heist on a ship that went wrong. As he tells his vivid story, we learn about a gang whose ruthlessness and viciousness increases as they take on commissions from crime czars. And it all seems to be moving to a clear and neat ending when one realises that there is a twist (but not exactly the twist expected). A strong cast, led by Gabriel Byrne, brings the suspect gang to life and Chazz Palmenteri leads the police. Kevin Spacey won his first Oscar for his role and Christopher Mc Quarrie won an Oscar for best original screenplay.

The criminal is a Hungarian mastermind with the memorable name of Keyser Soeze (quoted in many films after).

The strength is in the plot and in the writing so characters are vivid and the audience stays involved in all the ramifications of the plot. Forceful crime drama and characters.

1.The acclaim for the film? Awards? Seen as a classic of the 1990s?

2.The title, the tone, the expectations, the ironies?

3.The strong cast? The international range? Kevin Spacey and his Oscar-winning performance?

4.The structure of the film: the fire, the introduction to Keaton, the confrontation with Sozei, Keaton’s death? The mystery? The background to the arrests of all the gang, the set-up? The various flashbacks? The interview with Verbal Kint? The flashbacks for his story? The cumulative effect of the personalities, the planned crime, the set-up, their deaths? The irony of the ending?

5.The focus on Keyser Sozei? Talk about him? The set-up of his power, strength? The flashbacks about the fire, the deaths, his Hungarian background, in Turkey? In the United States? The response of people in terror? Talking about seeing his face? Verbal and his recounting the legends? The value of seeing the film the second time, listening to Verbal, looking at him, the flashbacks – and the final revelation?

6.The arrests of each of the characters, the line-up? The introduction to each? Dean Keaton, his police background, corruption, prison? His relationship with Edie, her work as a lawyer? In love with him? His dominance? His attitude towards the police interrogation? Michael Mc Manus and his friendship with Fred Finster? The reckless personalities? Todd Hockney, his work in the garage, offhand, ruthless? Verbal Kint, hanging on, hanging on, his lame leg? His brains? Unobtrusive? The importance of the interviews with the police? The revelation that Keyser Sozei had a hold over each of them? Mr Kobayashi and his calm accusations? The police reaction?

7.The set-up for the crime, the success – but their being set up by the police?

8.Mr Kobayashi, his appearance, his allegiance to Mr Sozei? Talk, the hold? Verbal Kint? In the building, the threats by the gang? The irony of the ending and his driving Verbal away?

9.The local Los Angeles crime boss, the drugs, the set-up, the motivations? The failure, the confrontation?

10.The death of Finster, the effect on the group? On Mc Manus?

11.Dave Kujan and Sergeant Rabin, their personalities, the interviews, the discussions, the background of Keaton and his police work? The interview with Verbal? Their trying to work out what had happened? Finally letting Verbal go – and the irony of realising that he was Keyser Sozei?

12.Edie, her relationship with Keaton, her being seen with the police – and her death?

13.Verbal, the finale? The background of his being Keyser Sozei, the setting up of the drug haul – with the money on the boat? The boat itself? Wanting to destroy the witness – and the scenes of him going to hospital? His dread about Sozei? The killings, the burning of the boat? The irony of Kujan looking at the calendars and the various other objects in the office – and realising that Verbal had created the names and the characters from these names?

14.The overall effect of the film? Audiences having to pay attention to the convolutions of the plot? The understandings of character? Set-ups and betrayals? Power? The role of the police? A satisfying thriller – and a satisfying twist?

DEATH AT A FUNERAL

UK, 2007, 90 minutes, Colour.
Matthew Mac fadyen, Keeley Hawes, Andy Nyman, Ewen Bremner, Daisy Donovan, Alan Tudyk, Jane Asher, Kris Marshall, Rupert Graves, Peter Vaughan, Thomas Wheatley, Peter Egan, Peter Dinklage.
Directed by Frank Oz.

A tongue-in-cheek title which sounds something like an Agatha Christie title. And, it all takes place in a village which, in its more sedate past, might have been a setting for Miss Marple to do her investigations.

This comedy and farce is much less sedate – and is directed by Frank Oz who knows how to be irreverent since he began voicing Miss Piggy and other Muppet characters more than thirty years ago. He has also directed some funny comedies including Dirty Rotten Scoundrels and In and Out. This comic flair serves him well here as his flamboyance is tempered by a very British setting with some stiff upper lips having to become quite, quite loose.

The amusing credit sequence traces a hearse travelling along the country roads on a map – and getting lost. An obvious joke follows but it is handled with aplomb and gets the audience laughing. The atmosphere gradually builds up as we are introduced to all those going to the funeral. Some of the stories are serious, others farcical. And, gradually, things get right out of hand what with some hallucinogenic tablets mistaken for vallium (which propels the plot right until the end), a mysterious dwarf with some incriminating photos, an extra death which one knows will lead to the corpse being hidden in the coffin, and hilariously being discovered… and more.

It goes for only 90 minutes but, apart from the swearing and some innuendo, most audiences will have smiles or get some good (and some surprise) laughs.

Matthew Mac Fadyen has to hold the film together in the serious role as the son of the deceased and he achieves this very well. Rupert Graves is his self-centred novelist brother. Jane Asher is their proper mother. Keeley Hawes as Mac Fadyen’s wife provides the pleasantly normal anchor to the proceedings. In the meantime there are some funny turns by Andy Nyman as a hypochondriac, Peter Vaughan as the irascible old uncle, Kris Marshall as the student who has put the hallucinogenics in a vallium bottle and American Alan Tudyk who has the most difficult role of all, the ordinary young man who has been given the wrong vallium and who hallucinates accordingly. Peter Dinklage (The Station Agent) is the mysterious dwarf.

Old style British comedy with a 21st century tone.

1.The appeal of black comedy? The British tradition? The 21st century style – language, issues?

2.The credits sequence, the suggestion of the hearse being lost, the build-up to the jokes about lost coffins? The kind of humour, of characters, of situations, slapstick, farce, satire? Verbal and visual? The unexpected?

3.A film of interiors, the flats, the house? The exteriors of the road, the bad driver, parking? The garden? The roof? The musical score?

4.The title, the irony, the Agatha Christie-sounding title, variations on a theme?

5.Daniel as the focus: his age, the delivery of the coffin, the mistake, his relationship with Jane, living with his mother, the deposit on the flat, his dithering? His relationship with his mother, memory of his father, preparing the eulogy? The relationship with Robert, with Martha and Simon? His Uncle Alfie? A serious man, the anchor of the mayhem? The preparations, putting off the minister? His anger at Robert, the importance of his own novel? Noticing Peter, putting him off? The eventual conversation?

6.Robert, the successful novelist, living in New York, away from all the family and difficulties? Relationship with his mother? Flirting with the girls, his not having any money, not being able to pay his part of the funeral expenses?

7.Martha and Simon, their relationship? Going to check with Troy? The valium? The drive, Simon and his hallucinations? Martha and the past relationship with Justin? His following her round? Her rejecting him? Her concern about Simon, the humiliation of his outburst about the coffin, her father’s disapproval, Simon in the bathroom, naked on the roof, her going to rescue him, the news of her pregnancy? Simon as a nice person, understanding the effects of the drugs, his behaviour, the final humour of the moving lid of the coffin? A happy ending for Martha and Simon? Justin revealed as a fool?

8.Troy, the drugs, changing the bottle, the valium for Simon, searching for the lost bottle, the humour of the valium? His being involved in disposing of the body?

9.The valium theme, Simon, giving the valium to Peter and its effect, finally with Uncle Alfie?

10.Justin and Howard, the drive, Justin and his focus on Martha? His self-centred style? Howard, the hypochondriac, having to pick up Uncle Alfie, his concern about his skin, pursuing Victor for an explanation? Taking Uncle Alfie to the toilet and the repercussions, his concern?

11.Victor, serious, anger with Martha and his dislike of Simon? Martha speaking the truth to him? His becoming a bitter old man?

12.The mother, not knowing the truth about her husband, her grief, the encounter with Howard and his talk? Her being overcome? Getting back to the funeral?

13.Peter, the dwarf, his presence, wanting to talk to Daniel, eventually the discussion, the truth, the photos, the past relationship, wanting fifteen thousand pounds, Daniel and Robert and their argument, almost signing the cheque, the refusal? His being drugged? His being high, jumping on the table, falling, hitting his head? Their thinking he was dead? Troy, Howard and their helping? Explanations to Jane? People outside watching Simon on the roof, their hiding the body in the coffin? The irony that he wasn’t dead? Moving the lid?

14.The reverend, wanting to leave, continually waiting for five minutes – but finally dragooning everyone in to speed up the service?

15.The mayhem, the revelations? Everybody seeing the photos? Daniel and Robert and the future, Robert reading the manuscript, taking his mother to New York? Uncle Alfie and his sitting on the roof after taking the valium?

16.Daniel’s speech, the eulogy of his father – the sentiment, the truth? The importance of the funeral for each of the characters?

FEAST OF LOVE

US, 2007, 101 minutes, Colour.
Morgan Freeman, Greg Kinnear, Radha Mitchell, Billy Burke, Selma Blair, Alexa Davalos, Fred Ward, Jane Alexander.
Directed by Robert Benton.

Feast of Love could pass for a very old-fashioned kind of serious romantic comedy were it not for the frequent sex scenes which might surprise an older audience attracted by the plot and by Morgan Freeman.

This is a small town story with Morgan Freeman as Harry, a retired University professor still grieving at the unanticipated death of his doctor son from a drug overdose. Jane Alexander is his strong and supportive wife. The screenplay provides for a voiceover narrator and Freeman’s resonant voice and delivery are a pleasure to listen to (whether it be for The Shawshank Redemption or The March of the Penguins).

Harry spends a great deal of his spare time at a coffee shop owned by Greg Kinnear as Bradley, an amiable man who does not recognise the deeper feelings of people, and suffers the loss of his wife (Selma Blair) to a lesbian athlete, who marries an attractive estate agent (Radha Mitchell) who admires him but does not love him. Harry is a good supportive friend though he does not make decisions for people. Rather, he tries to enable them to make decisions themselves. This is especially true of the young man who works at the coffee shop and the young woman (Alexa Davalos is particularly glowing) who applies for a job – the two falling in love.

There is plenty of talk about love – and we see much of the sexual side of it. We also see sex without love, so that we are continually wondering what love is and making comparisons between the various couples: the elderly devoted couple, the youngsters who are in love and committed, the middle aged adults who are confused and move in and out of relationships.

The title rather inflates the plot and the relationships. Not a feast, not a famine, but somewhere rather ordinary in between.

1.The impact of the film? Its title and its relationship to the principal characters? Feast as too strong a word?

2.The locations, the town, homes, streets…? The focus of the coffee shop for people meeting? The musical score?

3.The characters and relationships? Love? Sexuality, affection? Commitment? The duration of commitment? Contrast between young and old? Midlife crises? Moving in and out of relationships?

4.The voice-over, Morgan Freeman’s style, obserevations, wise advice?

5.Harry, in the café, friendship with Bradley? The coffee with Kathryn and Jenny? His observing Jenny moving in on Kathryn? His talking to his wife? The background of their son’s death, his being in his mid-30s, his being a doctor, their not knowing he was addicted? Shock, grief? On leave from the university? His continuing to stay away? His observing the young, walking with his wife and discussing matters with her? Tender affection? Next door and the house with a curse? Observing Bradley and Diana moving into the house, discussions? The social visits? His life, with Chloe and Oscar, Chloe talking about adoption, his advice about having two babies? The wedding, dancing? Oscar’s death, grief? His going to support Chloe and adopting her?

6.Esther, her age, experience, love for her husband? The mixed-race marriage?

7.Bradley, his life, the coffee shop, his love for Kathryn, watching her at the softball, the encounter with Jenny? The coffee, not observing Jenny’s mood? The birthday party, taking her to the dog pound, to overcome her fear, her naming the dogs, his getting the gift, giving it to his family to mind? Kathryn’s reaction, walking out on him? His sadness, his having Oscar work, Harry’s advice to employ Chloe? The chance encounter with Diana, the rain, talking? Going out with her, the house, buying it, the proposal, the wedding? Life and the possibilities of happiness for him? Her leaving him? His sadness, suicidal? The curse of the house? Going to the hospital, the doctor, discussions with her, going out with her – a future?

8.Kathy and her life, softball, the attraction to Jenny, the pick-up, the flirting, the sexual encounter, Bradley taking her to the dogs, her naming them? Her fears, the card with the dog, walking out?

9.Diana and David, their affair, Diana meeting Bradley, the rain, telling a lie to David, showing him the house? David and his anger? The separation? Diana marrying Bradley, life, her kissing David and Oscar and Chloe seeing her? Leaving, the divorce? Their later being seen together after David’s divorce? Diana’s encounter with his wife?

10.Diana, a character, the affair, the wife, her demands, David and his furtiveness, the separation, marrying Bradley, her hesitation at the wedding ceremony, together with David again?

11.Oscar, the background of his life, drugs, his father and his brutality, mother leaving? Staying with his father? Bringing Chloe home and his father’s violent reaction? Chloe’s arrival, getting the job, the attraction, together, love? Harry’s advice, the wedding, Chloe going to the palm reader, her foreseeing death? Giving her part refund? Pregnancy, the game, Oscar’s collapse, death? The funeral – and his father at the background? His going to the house, prepared to attack Chloe? Harry, his confronting the father, rescuing Chloe?

12.The ending, the impact of the death, everyone helping, the traffic jam, the hospital? Everybody seen together?

13.Oscar’s father, brutality, a coward?

14.The palm reader, sympathy, the cards, fate, death?

15.Themes of love, sexuality, commitment?

SPIDERMAN 3

US, 2007, 144 minutes, Colour.
Tobey Maguire, Kirsten Dunst, James Franco, Thomas Haden Church, Topher Grace, Bryce Dallas Howard, Rosemary Harris, J.K. Simmons, James Cromwell, Theresa Russell, Dylan Baker, Bill Nunn, Bruce Campbell, Elizabeth Banks, Cliff Robertson, Willem Dafoe, Stan Lee.
Directed by Sam Raimi.

When Spiderman was released in 2002, it created an enormous impact. Not only was it one of the best of the adaptations of a Marvel comic for the screen but it also came to the notice of moral and religious groups who were pleased to write and publicise articles on Spiderman as a role model (well, not his acrobatics but his moral decisions and motives). At a crucial moment, Peter Parker had a significant conversation with his wise Aunt May about power meaning responsibility and service. So far, so good.

Two years later, Spiderman 2 made an even bigger impact. I went back to my review of three years ago and found that I was echoing the kind of comments on the first film:
‘His work in keeping law and order and rescuing those in danger means that Peter has difficulty with his true identity. His inner potential, a more extraverted hero, emerges when he is Spiderman. He has a highly developed sense of responsibility and duty which he sees as requiring self-sacrifice in renouncing his love for Mary Jane, especially since Spiderman’s enemies would put her life at risk (which they do). Aunt May gives him a strong pep talk about the need for heroes…’.

Three years later, it is now Spiderman 3 time. There is plenty to satisfy the fans of comic book heroes as well as those still looking for the values. The running time is almost two and a half hours, so it is quite long and younger audiences may fidget at the dramatic interludes – but some action will come along sooner rather than later. In fact, there is probably too much plot for one film, Spiderman having to fight three villains, though there is a pleasing twist before the final battle in downtown New York and the ultimate confrontation between good and evil.

Sam Raimi has achieved quite a feat in directing three successful episodes of Spiderman (but it makes you wonder if there really is any potential for a fourth). In terms of special effects and stunts, there is more than enough to satisfy.

The cast, mainly from the previous films, are fortunately given plenty to do. This is true of supporting characters like J.J. Simmons who gets some quite hilarious moments as the Bugle editor. Even Willem Dafoe and Cliff Robertson have cameos, their characters contributing to new plot developments. (Spiderman 3 relates more to the original film than to Spiderman 2). Rosemary Harris as Aunt May is still as wise and long-suffering as ever. And, again, she is the character who is able to put the moral sense and perspective into words.

Tobey Maguire has always been convincing as Peter Parker. Last time, he had to face the conflict between heroism and love for Mary Jane. It goes much deeper this time. And we see a lot more of Peter’s complex personality. We see his succumbing to vanity and an inability to empathise with Mary Jane and her acting crisis. But, with an alien substance crashing to earth and insinuating itself into Peter’s body and psyche with frightening effect, it unleashes some of his shadow side in both arrogance (trying to outdo Travolta’s Saturday Night Fever strutting) and in violence, in consuming vengeance for the death of his Uncle Ben. He sees a sinful side of his nature and has to deal with it and make serious decisions.

Kirsten Dunst is back as Mary Jane with her character developing and having to cope with professional disappointment as well as Peter’s self-centred behaviour. She also has plenty of opportunity to do some heroine-in-peril screaming at the end. James Franco is also back as Harry. His role is considerably built up this time, giving him big stunts and evil action as well as some sweetness-and-light niceness.

There are two more spectacular villains. Thomas Haden Church gets atomised while on the run from the police and transforms into The Sandman – plenty of eye-popping effects there. Topher Grace is an ambitious young photographer who covets Peter’s photography job at The Bugle – and opts for the dark side.

Bryce Dallas Howard offers some (unwilling) rivalry to Mary Jane as Peter’s lab partner in studies, daughter of the police chief (James Cromwell) and Topher Grace’s girlfriend. Longtime Raimi collaborator, especially in the Evil Dead films, Bruce Campbell, has some funny scene-stealing moments as a restaurant maitre d’.

Quite a cast line-up bringing the wide range of characters alive.

And, of course, the issue of Peter Parker/Spiderman as a role model. At the opening, he is still the same service-oriented, responsible superhero ready to combat evil. But, to our surprise (and our wishing he wasn’t), he becomes a rather vain twit. He has feet of clay and is obtuse to Mary Jane, basking in his popularity and crowd adulation and being given the keys to the city. But, it gets worse, when we see his literal dark side. But, this is interesting in terms of exploring the good and the propensity for evil in human nature, even in a superhero. We wait for the resolution of the moral dilemmas and for Peter to come to his senses. Aunt May is key again with her advice.

In fact, there is quite an impressive sequence towards the end when Peter has to face the corrosive nature of revenge and acknowledge the grace of being able to forgive. It is preceded by a sequence with explicit Christian imagery. The dark Spiderman sees a cross on the steeple of a church. He then sits brooding, like a gargoyle, on the high roof. However, he goes into the belfry and makes the choice for light and goodness. Meanwhile the ambitious photographer who has lost his job and reputation kneels in the body of the church below, praying before a large crucifix. But, his prayer is that Peter Parker will be killed. At this moment, the alien ooze which Peter is shedding falls on the photographer and he chooses evil.

Spiderman 3 is pro-good, not only in combating the personifications of evil in the villains but also in the hero.

1.The popularity of the series? Achievement as cinema? A third episode?

2.The nature of the appeal: the hero, his life, heroism in action, the villains, the combat between good and evil?

3.The values dimension of the film: a hero who has a sense of responsibility, duty, self-service and self-sacrifice? The importance of vengeance, revenge and its eating away at people? Forgiveness?

4.New York City as a character, the detail of the skyscrapers, the ordinary streets, apartments, school? The musical score and its atmosphere? The themes?

5.The stunt work and action, the pace, editing? For Spiderman, for Harry, for the Sandman, for Venom? For the asteroid creature? The movement through the city canyons?

6.The special effects, the transformations for Harry, Venom, the Sandman? For the crises? The crane and the crashing into the skyscrapers? The taxi in the spider web?

7.The credits, the score and the moods, indication of themes? The glass shards, mirrors, the glimpses of the past two films? Linking the present to the other films?

8.Tobey Maguire as Peter Parker, as a character, seeing him in action, people’s acclaim, saving Gwen from the fall, the crane? His ordinariness, in class, with Gwen? The police, with the police chief, the photographs and Eddie, the rivalry? The job? With J. Jonah Jameson? The keys of the city?

9.His going to see Mary Jane in the play, her name on the awning, her performance of the song, the applause, Harry in the audience, his watching Peter, the encounter afterwards? The tension between the two? The bad reviews, Mary Jane being upset, Peter and his talking about himself and fame, not taking notice of mistakes? Mary Jane feeling that he didn’t understand her? His going to Aunt May, the talk about the proposal, Aunt May and her wisdom, the fifty years, memories of Ben, the proposal, giving him the ring, the advice? Mary Jane going to the theatre and her being sacked? Her trying to get into Peter’s apartment? The reaction to the keys of the city, talking with Peter, his flight in, Harry? The kiss with Gwen (and the echo of Mary Jane’s kiss with Peter and her claiming it)? The restaurant, her tension, her leaving? The comedy with the maitre d', the ring, his French accent, the failure of the engagement?

10.Mary Jane and her past, singing, acting, reaction to the reviewers, her feelings, talking, Harry and his sympathy? Discussions with Harry, going to see him in the hospital? His being nice, trying to phone Peter, not answering his calls? The restaurant and her being hurt, seeing Gwen? Harry and his help, the cooking? The kiss, her being upset and leaving? Harry’s transformation, his abducting her, the phone call, Peter at the bridge, her rejection of him? Caught in the taxi, the dangers in the web, her screaming, her being saved?

11.Harry, his experiments, the transformation, memories of his father, attacking Peter, the fight, cutting through the web, Peter and his trying to save the ring? Harry and the invocation of his father, pride? The crash, being in hospital, losing his memory, becoming nice, friends with Peter and Mary Jane? Back home, Bernard looking after him? The portrait of his father? Memories of his father? Hearing his voice? His painting, cooking, the kiss, upset, regaining his memory? His anger, fighting Peter, the bombs, the explosion, his disfigurement? Bernard and his telling him the truth? Harry rejecting Peter’s appeal for Mary Jane, the truth and his change of heart, helping, the fight, his being wounded, dying?

12.Aunt May, her age, experience, memories, the story of the proposal, giving Peter the ring, puzzle about him, talking about vengeance and revenge when Peter described the death of the murderer? Her visit to his apartment? Her talking to him?

13.Marko and his story, a development from the first film and the killing of Uncle Ben? His escape from prison, on the fire escape, his daughter, her illness, the confrontation with his wife and her anger, wanting the money for the operation, his daughter giving him the necklace? The chase, going into the facility, being pursued, the atomiser, his being disintegrated, coming back together again, emerging from the sand? The Sandman? His interventions, flowing through the city as sand? The police, the truck, the robbery? The crashes? Spiderman’s intervention? The menace? His confrontation with Spiderman, the fight in the subway, his seeming to be destroyed? His reappearance, the plan with Venom, to confront Spiderman?

14.J. Jonah Jameson, the comedy, his talk, taking the pills, his nervousness, Miss Brant and her warning him, Eddie and the photos, hiring and firing, his assistant? The photos, the false photo of Spiderman, his having to retract, his buying the camera from the little girl – and the film?

15.Eddie, ambitious, relationship with Gwen, selfish, taking the photos, boasting to Peter, his forging the photo, his failure, the humiliation? Going into the church, praying for Peter’s death? The slime, hearing the truth, his being transformed into Venom, his teeth? The slime going back and forth from his face? The attack, joining with Sandman, his final choice to be evil, his death?

16.Gwen, in class, modelling, the rescue, the key to the city, the kiss? Meeting Mary Jane in the restaurant, her niceness? The dance with Peter in the club – realising that he was trying to make Mary Jane jealous? Her apology to Mary Jane? Her father, his police work?

17.Peter and the truth, the asteroid on the bike, going into the apartment? Going to the professor, discussing the composition, the professor and the phone call and the warning? The black suit, in the trunk? His deliberate decision to put it on? His meanness, public opinion, the newspapers against him, Eddie wanting to take the photo, the false photo? His wanting vengeance against the Sandman, the discussions with the police commissioner, the photos? Recognising the Sandman? His vengeance on Harry? Their fight, Harry’s disfigurement? Listening to Aunt May’s advice, wanting to reconcile with Mary Jane? The finale, his true self, the choices, the appeal to Harry? Fighting with him? The pathos of Harry’s death? The final talk with the Sandman – the Sandman and his explaining what he did? His apology? Peter’s forgiveness? A grace? The Sandman disintegrating?

18.Peter and his false persona, the clothes, strutting down the street, the club, the false image, interrupting Mary Jane’s song, playing the piano, the dance with Gwen? Narcissistic and making a fool of himself?

19.The religious emblems, the crucifix in the church, his sitting on the church and like a gargoyle, his having to change? The cross on the steeple? The belltower, the bells, his transformation, taking off the asteroid? Its falling down to Eddie, Eddie in the church, praying to the crucifix devoutly, to kill Peter? Eddie and the slime, his being transformed? The religious aura of the value themes?

20.The film combining action, character, values?

THE EXTRA

Australia, 2005, 96 minutes, Colour.
Jimeoin, Rhys Muldoon, Katherine Slattery, Shaun Micallef, Bob Franklin, Helen Dallimore, Michael Veitch.
Directed by Kevin Carlin.

The Extra is a star vehicle for Jimeoin. Best known as a stand-up comedian and on his television programs, he also made the 1999 comedy The Craic. Response to him will be a matter of taste.

This is a fairly broad comedy, an actor who wants to be a star, getting into all kinds of mix-ups during filming in Melbourne. It all depends on your sense of humour.

Kevin Carlin directed Boytown as well as The Extra – also acquired taste films.

1.Australian comedy, verbal, visual, the little man and his attempts to succeed?

2.The Melbourne photography, the city, homes, film sets, the buses and the streets, the countryside, the musical score?

3.The title, expectations? The introduction to the extra, his anonymity and insignificance? The place of extras in film-making? Their treatment?

4.The structure of the film: with the gun, the flashback, the phone and waiting, the film, the job – and the premiere (**you said it like premier, but it is premiere, isn’t it?) again? The humour of his frustration at the premiere?

5.Jimeoin’s comedy and screen presence, age and appearance, the loser, anonymous, jobs, as a stripper, the extra and the mistakes, standing on the hand? Yet the dinner, smiling at the star, the club and his being ousted?

6.The extra and his friends, the premiere, the back wall, the cut, others, going to the party and being ousted?

7.The bus, talking, home, sex, crabs? The doctor and the pants? The Romeo and Juliet style, the meeting, glamour, the star, home, the ending?

8.The Crimestoppers and the star, the audition and the police?

9.The director and his assistant, the thugs, the focus on money, Mr Big? The robbery and the escape, stealing from the set, the plans, the film? The trailer? The drive, the act in the lane, on the hill, the vehicle going down? The end of the film, the Weinstein producer?

10.The girlfriend, character, the thug?

11.The star, her tantrums, pleasant star, no-one talking, Jimeoin disappearing?

12.The jokes about movie-making, epics, the extras, the stars, assistants, fans, advertisements?

13.The amusing visual jokes, verbal jokes, the little man – no parties, but being satisfied with his lot?