ACOLYTES

Australia, 2008, 90 minutes, Colour.
Joel Edgerton, Holly Baldwin, Michael Dorman, Sue Dwyer, Sebastian Gregory, Joshua Payne, Anthony Phelan, Belinda McCLory.
Directed by Jon Hewitt.

Acolytes is a teen slasher/thriller. It has attractive locations, the countryside of Queensland. However, some of the performances are rather stolid.

The film has a twist with teenagers discovering a grave, tracking a serial killer, not reporting him to the police but rather using him to get vengeance on a man who had abused them in the past (with some flashbacks for this). However, as one might expect, things get out of hand as each tries to get the supremacy over the other – leading to the touches of the horror film.

1.A slice of life transferring to horror film?

2.The title, the tones, the bonds, apprentices, the religious overtones?

3.The Queensland settings, the town, homes, the bush, the atmosphere, the score?

4.Mark, in himself, age, experience, the woods, discovering the grave, seeing the van, his expectations?

5.The group of friends, their characters, growing up in the town, as young people, bored, their attitudes? The grave, Mark, the expectations?

6.The van, the sighting, the angles, the audience seeing more than the group?

7.The killer, in the bush, the grave, at home, his van, his manner, look, sinister, his wife, his relationship with her, the tensions at home? Criminal? The grave – his being blackmailed?

8.The young people going into action, searching out the killer, their fears, change of attitude, using him? Their deal? Credibility?

9.Gary Parker, his mother, the background, her influence on him and his character? His bullying, sexual attitudes, the past, the flashbacks?

10.The build-up to a climax, the interconnection of Parker, the killer, the teenagers? The train of events, the murders, each trying to get control? The killer, the rapist? The violent resolution?

OUR GUYS: OUTRAGE AT GLEN RIDGE

US, 1999, 90 minutes, Colour.
Ally Sheedy, Heather Materazzo, Eric Stoltz, Sarah Botsford, Art Hindle, Lochlyn Munro.
Directed by Guy Ferland.

Our Guys is based on events in New Jersey. It is based on a book by Bernie Lefkowitz who acted as a consultant for the film, as did the character played by Eric Stoltz, Prosecutor Robert Laurino.

The film is set in the late 1980s and focuses on a middle-class suburb in New Jersey. The boys in the final year at high school are celebrated in the town as the footballers – although they have had a poor record in matches. They are a macho group, egging each other on, lacking in a moral perspective, presumptuous and proud of their prowess.

They are accused of assaulting a mentally impaired teenager. She is played with great conviction by Heather Materazzo (who made a great impact at the age of thirteen in a not unsimilar role in Welcome to the Doll House).

Ally Sheedy portrays a rather stern policewoman who has returned from New York City and hears the reports, decides to investigate them and perseveres for several years. She is assisted by Prosecutor Laurino. However, with the mental difficulties of the young girl who wants to please everyone, wants everybody to be her friend and lies in order to maintain friendships, they only break through after some years in a court sequence where the girl’s drawings are brought in and she is able to explain them and so convict the boys of their brutal assault. The visualising of aspects of the assault, with baseball bat and other implements, is kept until the end.

The film could act as an examination of conscience of middle-class parents who do not supervise their children, don’t give them some kind of moral perspective, who band together to support them even when they commit crimes. There is a criticism also of the school community which refuses to believe in the guilt of the young men and bonds together. The film also shows aspects of the media as bringing out the truth as well as exploiting the situations and tricking a mentally impaired girl.

The film maintains the interest as well as audiences wanting to know what happened and whether justice would be done (and the postscript indicates that the boys were let off a lot of the penalties that would normally be given to members of other races or in poorer circumstances who were accused of the same crimes).

1.The film based on true crime story, the 80s and the 90s? The nature of sexual assault? The law? Investigations? Justice? The greater consciousness since the 1980s of sexual assault, victims, penalties?

2.The title: the credits, the continued showing of the footballers in play during the film? The town, its pride, sports-oriented, banding together? The refusal of parents to believe in the guilt of their children? The school staff? The boys and their status, wealth, hiring defence lawyers?

3.New Jersey, the town, the school and homes, the parties? The police precincts and the courts? The musical score?

4.The structure: the introduction to the boys, seeing Lesley at the dance and her dancing alone, her talking to the boys, inability to make relationships? The story of Kelly Brooks, her time in New York, her return to New Jersey? As partner for Frank Bennett? The chatter of the other police? The interview with Carl, the reporting of the rumour, the investigation? The variety of reactions of parents, teenagers, the police, the school? The interrogations over the years? The court, the final decision? And the visualising of the crime?

5.Issues of community standards, public opinion, sexual behaviour, teenagers, assault, the truth? The critique of the tolerance of the boys? The girls and their being victims? The mentally impaired? Legal protection for the mentally impaired?

6.The focus on Lesley, seen alone at the dance, dancing, trying to talk with the boys, their dropping her? Her exaggerating reports to the parents? A mentality of eight years? Her particular pathology, wanting to be liked, wanting to please everyone, inventing stories, telling lies, adapting the truth? Her being adopted, her parents and their kindness? The past sexual assault case – and it being used in court? Children’s reaction to her, taunting her? Her attraction to the boys, sexual drives, behaviour, talk? With Kelly and the friendship, the guardian angel pin? Her friendship with Bobby? Yet her telling different stories, being nice to the parents of the boys? The trip with Maureen and the taping of her conversation, adapting her answers to Maureen’s requests? The importance of the drawings, the discussions with the psychologist? Their providing the key for the case?

7.The boys, their age, the backgrounds of their families, ordinary? Permissive, lacking values? Put on the school pedestal, Homecoming King? The scene of them speeding, going to the parties? Their partying behaviour? As individuals, as a group? Their later trashing the home of the young girl? Their parents’ reaction, the arrests? The media’s treatment of them? Their pleading not guilty, the fact that they were allowed out on bail? Their using Maureen to trap and incriminate Lesley? The graduation sequence, their being absent, yet going to the party? The finale and the audience seeing some of what happened? How well delineated were the characters, or were they seen as a group?

8.Paul Archer, Lesley’s attraction towards him? As more laidback? His not intervening to stop the boys attacking Lesley, his not attacking her himself? The plea bargain?

9.Kelly, her story, her age, sternness, the information about her? The discussions with Carl, the interrogations? Going to see Bobby, his support? Working with Frank, the revelation that his son was involved? With Lesley, with her parents, with the other parents? The presentation of the case to the judge, his saying there was lack of evidence? His taking Bobby off the case? Frank having to step down? Her treatment of Lesley, over the years, getting her confidence, friendship, the revelation of the tape, her patience in dealing with Lesley, the drawings? In court? Her friendship with Balke over the years? His not believing her? His apology to her at the end? The scene with Bobby and his brother, discovering the personality of Bobby, his care for his brother? The story of driving?

10.Bobby, his personality, his role as prosecutor, knowledge of the law? The meeting with Kelly and Frank? His meetings with Lesley, the parents? Going to the judge? His being reassigned to the case after being put off by the judge? His exasperation with the tape, careful listening, able to hear the full tape? In the court, using the drawings, the final questioning of Lesley? With his brother, mentally impaired, the story of his driving and his support of his brother?

11.Lesley’s parents, their adopting Lesley, the continued care? Trying to help her? Too soft? The finale with the mother and the pin? Urging her to tell the truth? The contrast with the other parents, their wanting to save their children, money, paying for defence lawyers? The harassment of the Faber family, the for sale sign, objects hurled at the windows…? Yet their finally staying and other families moving?

12.The school authorities, their behaviour, their standing by the boys? Without grounds? The media, the media pack? The journalists and their infiltrating, the interview with Lesley and the damage to the case? The school and the graduation? The role of Carl, the whistleblower, wanting to be anonymous, the information given out, his being spurned? The lack of applause at his graduation? His support of the girl whose house was trashed?

13.Johnny, his attack on the jocks? The girl who explained how she had been exploited? Their being put on the outer? Johnny and the banners? His being in the court?

14.The process, the effect on Lesley, on her parents? Her being vindicated?

THE FIEND

UK, 1972, 98 minutes, Colour.
Ann Todd, Patrick Magee, Tony Beckley, Madeleine Hinde, Suzanna Leigh, Percy Herbert, Maxine Barrie.
Directed by Robert Hartford- Davis.

The Fiend is a small-budget drama – in the tradition of some of the British horror films of the period. However, it is more drama and crime than any horror aspect. It was directed by Robert Hartford- Davis who had made some small films in the 1960s, made some horror films including Corruption and The Incense of the Damned. After this he went to the United States, directed two blacksploitation films, Black Gun and The Take, some television but died only a few years after moving to the US.

The film has a strong cast led by veteran Ann Todd as a repressed mother, doting on her son (Tony Beckley) and dependent on a sect minister played with his sinister aplomb and voice by Patrick Magee (who appeared in A Clockwork Orange at the same period).

The film is highly critical of sect religion, a group called The Brethren separate themselves from the world, have a chapel in the house of Ann Todd, the minister having a severe hold over everyone, demanding obedience, exercising very puritanical judgments.

The son is a serial killer, imbued with anti-women ideas from his mother who was abandoned when he was young. However, he feels strong sexual urges as well as the need to kill. The film may be pop-psychology but is rather interesting in its presentation of psychosexuality.

The film is really a mixture of the serial killings and the life of the son who works as a security guard as well as a swimming pool instructor. It is also interesting in its presentation of religion, the Jesus language of the period – but which is much stronger in subsequent decades with the publicising of more Pentecostal groups, fringe religions, the development of sects and fundamentalist Christianity.

1.A small-budget film of the 70s? Drama? On psychology, religion, crime? Sexual assault – and later consciousness about these crimes?

2.The title – with reference to Kenny as a killer, to the minister as dominating?

3.The London suburban settings, the ordinary streets, homes, clubs, factories, swimming pool?

4.The chapel, the iconic use of Christian imagery, crucifixes, banners, the Bible, Jesus’ words? The musical score? The interpolation of the songs – so beautifully sung by Maxine Barrie?

5.The credibility of the plot, heightened, melodramatic?

6.The focus on the minister, Patrick Magee and his appearance, voice? The solemnity and severity of his preaching? His stern manner? The small congregation, the singer and her efforts in prayer, the various testimonies, the baptism by immersion, the little boy and his baptism? Birdie and her playing the organ? The atmosphere of the Brethren, closed, puritanical, obedient, a sect, their meetings?

7.The critique of religion, blind faith, the faith of the minister, the severity of sect loyalties, brainwashing? The minister and his power, ruthlessness? Preventing Kenny being present at his mother’s death?

8.The opening and the girl being pursued, murdered? Kenny, coming home, his mother and her doting on him, his father abandoning them for another woman, Kenny and his preoccupation with the girls? The dependence on the minister? His security work, at the swimming pool? The prostitute and her client, killing her? Disposing of the body on the building site? In the river? Picking up the girl at the cinema, going for the swim? The effect on his psychosexual torment? At home, his relationship with his mother, her dominance? The role of the nurse and his mother urging suspicion?

9.The investigation, the police, the commissionaire with the prostitute, the interrogation?

10.The nurse, at home, with Patty, the doctor, the discussions? Patty and her journalism? The nurse with Birdie, injecting the insulin, Birdie’s severe demands? The minister’s reaction to the news about the insulin, it being forbidden? The nurse telling the stories to Patty and the doctor?

11.Patty, wanting a story, the appeal of the sect, going to the meeting, pretending to be helpless, meeting with Birdie, Birdie’s friendship, the sexual stirring for Birdie? The sermons, the immersion? Her return to the house, searching, trapped, tied up, escape?

12.Birdie, the past, her dependence on the minister, animosity towards her husband, his women, the way that she brought up her son, spoiling him, making him dependent on the minister, the chapel, playing the organ, the minister and the long scene of her confession, pressuring her to speak out? Her feelings about Patty? The revelation about the insulin? Her collapse, lacking the insulin, the minister letting her die – all in the name of God’s will?

13.The minister and his cruelty, Birdie dying and his depriving Kenny of seeing her?

14.Kenny, the reaction to the minister, putting him on the cross? An alternate Christ figure?

15.The themes of the 70s, religion, later decades, fundamentalist churches and sects? A greater knowledge of psychosexual behaviour?

16.The effect of the melodramatic style – making the characters and events credible or less credible?

TAKE ME HOME AGAIN (THE LIES BOYS TELL)

US, 1994, 90 minutes, Colour.
Kirk Douglas, Craig T. Nelson, Bess Armstrong, Bonnie Bartlett, Ernest Thompson, Marley Shelton, Eileen Brennan.
Directed by Tom Mc Loughlin.

Take Me Home Again is based on a novel called The Lies Boys Tell but was adapted for the screen by Ernest Thompson who wrote On Golden Pond. Thompson also appears in this film as Cal.

The film is taking on familiar material: Kirk Douglas as an elderly dying man, Craig T. Nelson as his son who was a draft dodger twenty years earlier and whom he calls back for him to drive him to his home town so that he can die in the bed that he was born in. The family are over-protective of the old man – rather frantically so at times. They are also hostile to the long-lost son. What follows is a road film across the United States as father and son encounter various people, play golf at an exclusive club, visit an old flame (Eileen Brennan), stay with the old man’s sister as well as his daughter-in-law, the former wife of his son. Eventually the family are in pursuit – and all assemble and are present at the death of the old man.

Kirk Douglas does this kind of thing with great ease (filmed when he was seventy-seven although he was still alive in his early nineties). Craig T. Nelson is the son and Bess Armstrong is sympathetic as his former wife.

The film was directed by Tom McLoughlin?, director of many television films and series episodes.

1.A film about old age? Dying? Family troubles? Reconciliation? How well did it work as a drama? As a comedy?

2.The American settings, the homes, the roads, the final goal in the west coast? A piece of Americana? The musical score?

3.Kirk Douglas as Ed: memories of his life, on the road as a salesman, his relationship with Sada, his respect for his wife and care for her? His children? His alienation of Larry? His love for Larry and inviting him back? Russ and his fussing? Nell and her support? His relationship with his wife, her concern about his illness and dying? His feisty spirit, his plan to go back to the place of his birth, wanting Larry to do it? The preparations, the money, the car, persuading Larry? The quick escape?

4.The adventures on the road, the people they met, the service station, Sada and the memories of the past and his relationship, the exclusive golf club, the con, Larry and his winnings? Their getting the cap? Seeing the experience as a road adventure?

5.Larry, his background, hippie, conscientious objection, escaping from the US and the draft in the 70s, his marriage to Connie, not seeing his children? The reason for his return? The reaction of Russ, Russ’s wife, the various members of the family? Nell welcoming him back? His antagonism towards his father, his father’s expectations? Being persuaded to go on the road? The adventures, the motels, the diners, petrol, playing golf, the meeting with Sada? Going to the aunt’s house? Her welcoming her brother, supporting him? Ed and his decision to go to see Connie, Connie and the children, their love for their grandfather? Meeting Cal? The family in pursuit, finding the bed, wanting to go to his birthplace?

6.Connie, sympathetic, love for her children, bringing them up? The visits to Ed? Her farm, relying on Cal? Welcoming Larry, going with him on the trip? The children welcoming their father, also going? Cal, in the background, hostility towards Larry, phoning the family to reveal where he was?

7.Russ, his wife? Uptight? Their son? Russ and his resentment towards Larry, the credibility of the final reconciliation? Nell, supportive, Larry liking her, her daughters, their getting on well with their grandfather, his not wanting to frighten them about death?

8.The arrival in the home town, the paying of the money to the couple in the house as if it were being used for a film commercial? Ed and his collapse, dying, final words, the reconciliation with Larry?

9.Larry, with the whole family, the family at peace? Connie leaving with the children and the car? His finally pursuing them?

10.A look at family issues – with a rather light touch?

STAR TREK

US, 2009, 126 minutes, Colour.
Chris Pine, Zachary Quinto, Leonard Nimoy, Eric Bana, Bruce Greenwood, Karl Urban, Zoe Saldana, Simon Pegg, John Cho, Anton Yelchin, Ben Cross, Winona Ryder, Clifton Collins Jr.
Directed by J.J. Abrams.

It should be said that any cinema buff or those interested in the development of the movies, even if they are not Trekkies/Trekkers or have never even seen an episode of the several television series which spun off from the original (1966-1969), should see this film – whether they like it or not! It is, of course, state of the art technical craft and effects. It also brings to new life pop culture characters and space exploration and peacekeeping, especially the image icons, Captain James Kirk of the Enterprise and the Vulcan Spock, as well as the crew of the Enterprise.

In a year of sequels (Transformers 2 -written by the same team who wrote this one, Terminator 4, Harry Potter 6) and prequels (Wolverine), producer director J.J. Abrams, a man with a solid television reputation for Alias, Lost and Fringe, as well as the sequel Mission Impossible 3, has opted for the Star Trek prequel instead of the sequel.

In a spectacular and fast-paced prologue, Star Trek takes us back to Kirk's father, his confrontation with the embittered space villain, Nero, his sacrificing his life for his crew to escape spacecraft destruction ,as well as save his wife who gives birth to James. There follows an incident from a reckless childhood (a stolen car and speeding to the edge of a cliff) and then teenage (a brawling and flirting rebel in need of a cause) and a challenge from Captain Christopher Pike for Kirk to emulate his father. Which, of course, he does.

We are also introduced to the young Spock, a Vulcan who opts for logic and reason instead of feelings which he inherited from his human mother.

By this stage we have a strong cast with Chris Pine persuasive as the young Kirk, Zachary Quinto as the young Spock, Ben Cross and Winona Ryder as his parents, Bruce Greenwood as Captain Pike (all of these from the television series) but also a new character, an impressively evil Nero, Eric Bana.

The crew of the Enterprise are also introduced and are cast for their physical resemblance to the original performers or their ability to remind audiences of the originals while making their characters their own. Zoe Saldana is Uhura, John Cho is Sulu, Karl Urban is 'Bones', Anton Yeltchin is Checkov and Simon Pegg is a comic Scotty.

Were synopses writers trying to explain plot developments, they would have considerable difficulties attempting to elaborate on the time shifts (the swift place shifts with 'beaming up' are easier even if the physics is still suspect). Characters come from the future, including Nero. At the end we find the older Spock confronting his younger self. Scotty hasn't found the formula yet for 'Beam me up' which he is credited with inventing but we see him find it from the future!

The film does not lose its pace, with fights on the surface of a space ship, with Kirk stranded on an icy planet pursued by two rapacious monsters, the black hole destruction of the Vulcan's planet, the final battle with Nero.

So, in its own right, Star Trek stands as an intelligent (though difficult to explain logically) space and futuristic entertainment with skill and craft to admire. It also is a helpful tale of the personalities and psychologies of characters who have been and grown in the popular consciousness for over forty years.

While William Shatner, the original Kirk, does not appear, a great bonus for the film is a substantial presence of Leonard Nimoy as the older Spock, contributing well to the plot as well as to the continuity of television and film.

And he has the final word from long ago, the goal of the Enterprise and, probably, the best known split infinitive in the English language, 'to boldly go...'.

1.The success of the television series, the reputation for over forty years? The various series drawing on it? The ten cinema features over a thirty-year period? The possibility for a prequel and explanations?

2.The scope of the film: the origins of the characters, the federation, the wars, the mathematics, the science, the technology? Travel, warps, beaming up? Warfare? The variety of worlds and planets? The different races, creatures? Time warps and time change? The future coming into the past? By location and by temporal presence? The Vulcans and the use of reason? Humans and emotion?

3.The human emotions: Captain Kirk, the confrontation with Nero, fighting, taking the spacecraft into the enemy and enabling others to escape? Sacrificial death? His pregnant wife, the birth of his son, knowing that it was a son? The name? The young Kirk, reckless with the car, as a teenage, brawling? As an adult, relationships, feelings? The appeal to the good of human nature? Heroism, quick thinking and acting?

4.The Vulcans, their planet, as a race, the importance of logic, science, humanity being a drawback? The relationship between feelings and logic?

5.The prologue setting the mood and content of the film: Captain Kirk, Nero, his grudge, the confrontation, the huge battleship, the captain and his decision, the fight, the evacuation, the birth, the captain’s death? The information later about the captain’s survival in an alternate world? Setting the tone and the pattern for a career of James Kirk?

6.The reckless boy, taking the guardian’s car, the antique car, the police and the helicopter chase, stopping at the edge of the cliff, the car going over? In the bar, his intelligence, flirting, the fight with the starship cadets? Wanting to know Uhura’s name?

7.Spock, as a boy, the fellow students taunting him? His father, ambassador to Earth? Marrying the human wife? The loving wife, the loving mother? Spock and his exams? His appearing before the tribunal, the reference to the drawback of his being human, his resigning the scholarship? Joining the Starfleet? His place on the missions, anti-Kirk?

8.The three years passing, the training, Uhura and the clashes with Kirk? His relationship with the girl? The information about the attack by Nero, the situation, Captain Pike? Kirk and his test, the simulation, his lackadaisical attitude, decisions, winning? Spock accusing him of cheating? Their appearing before the assembly, confronting Spock, saying that Spock cheated by setting up an impossible task? His not being allowed to go on the expedition? The meeting with Bones, Bones and his being airsick, their friendship over the years, Bones giving him the jabs, taking him aboard the spaceship? Kirk and his realisation about Nero’s tactics, his giving information, being persuasive? Kirk and his emotional realism? The appeal to the audience? Spock and his logic? Examining Uhura’s information, language contacts? Pike and the decision to confront Nero? Going to the spaceship, being imprisoned, tied up, wanting information, the scorpion in his mouth?

9.The crew, Sulu and his background from Asia, Chekov and his being seventeen, Asian background? Uhura as the African American? Scotty and the Scottish background? The choice of these performers because of their similarity to the characters in the television series? Their spirit together, collaboration?

10.Spock and the clash with Kirk, stranding him on the planet, the ice and the snow, the fierce creatures and their pursuit, Kirk in the cave, discovering the older Spock? The issue of time travel? Their talk, the plan, the strategy for Kirk taking over the spaceship? Finding Scotty stranded, his formula, not knowing it yet, discovering it, their return – and the difficulty of Scotty’s return through the water system?

11.The fight on the spaceship, Sulu and Kirk, their helping each other, in space, the battle, the rescue?

12.The planet for the Vulcans, Nero and his attack, the explanation of what had happened to him and his wife, the mechanism to create the black hole, wanting Spock to suffer? Spock’s blame, Spock’s explanation, accepting responsibility, it being visualised? Spock and the rescue? The council, his being able to get the members of the council – but his mother’s death? The billions killed? Kirk’s return, the confrontation with Spock, Spock angry, stepping down according to the rules about emotions, Kirk becoming captain?

13.The confrontation with Nero, the visualising of the battles, beaming Kirk back, the discussions with Nero, the final fight? The rescue of Pike? The destruction of Nero’s spaceship?

14.The return to Earth, Kirk and the medal, becoming captain of the Enterprise, the crew members, Pike and his endorsement?

15.The scene with the two Spocks, their discussing their lives, the older deceiving the younger? The beginning of the friendship with Kirk?

16.The final words by Spock, the motto of the Enterprise – to boldly go where others have not?

RYSA (SCRATCH)

Poland, 2008, 89 minutes, Colour.
Jadwiga Jankowska- Cieslak, Krzysztof Stroinski.
Directed by Michal Rosa.

A very sombre delving into Poland's Communist past – and the issue that has kept raising its head in recent years (also concerning priests and bishops-elect): who were the informers at those times, what did they communicate, what did they do, and what should happen to them now.

After a dinner party celebrating many years of marriage, a couple look at their gifts and find a video of a television program. As they watch, a TV guest, claims that the husband married the wife so that he could inform on her politically suspect and imprisoned father. They gloss over the claims as impossible. But the wife, a university science lecturer, cannot let it go. She visits the TV guest, visits a friend of her father and his daughter, looks at copies of documents, pores over photo albums. She withdraws from her husband – and also loses her sense of taste. And, the ever present but unanswered question: who sent the tape?

The film shows the consequences of deteriorating trust between spouses, the investigative paranoia of the wife as she continues to probe.

The screenplay leaves the audience unsure about the truth of the claims, though there are enough indications that they may well be true.

The husband's health declines. Their daughter visits, defends her father's care for her while growing up, while her mother was uninterested and pursued her career. The mother then moves to another town, rents a house, explores its locked rooms and (symbolically) identifies with the unknown people who lived there.

The film's questions about informers are important. However, even more important are the questions about consequences, the possibilities for change, the roles of forgetting and/or forgiving.

1.Polish history? The communist era? The totalitarian experience? The contrast with later freedoms? The past catching up with individuals and society? The consequences?

2.The Krakow locations, the city, the park, homes, the university? The passing of the seasons? Nova Huta? Authentic atmosphere? The musical score?

3.The year 2000: ten years of freedom, changes in Poland, openness, yet an atmosphere from the past? The justification of the past?

4.The park theme, Joanna passing through so often, the crowds, the man in the wheelchair? The friends, sitting, eating? The change of seasons?

5.Joanna and Jan? Forty years married, the celebration, his cooking, her being the host, the friends arriving, the chatter, the gossip, the variety of gifts, the video, putting it in the machine, looking at it, experiencing the accusations?

6.Joanna and teaching, the images and the symbol of the insects, the enemy, appearances? University and friends, the students in the lecture, her stern demeanour? Colleagues? The bugs, transferring them to her home? The scenes of care?

7.Her checking the gifts, pondering what had happened, talking to Jan, his denying the accusations? His asking what if they were true? What difference would it make? Her staying at home? Her manner, her clothing, the gradual transition from red to black? The visit to the interviewee, her anger, his giving her the documents? Her examining them? The photos, looking in the album, her suspicions? The evidence of the polka dot dress? The suspicion eating away at her? Literally losing her sense of taste? The phone calls?

8.Her continuing the investigation, the difficulties with Jan, the bedroom, the health declining, Joanna moving out, the new apartment, Jan and his illness?

9.The visit of the daughter, her supporting her father, rebuking her mother for her lack of care when they were growing up?

10.The new apartment, the locked room, Joanna searching, identifying with the people who lived there? The clothes, the wig, going out in the wig?

11.Jan, his collapse, in the hospital, Joanna’s reluctance to visit, her finally giving in?

12.Themes of forgiveness, forgetting? The truth, change, reparation?

13.The title, the scratch on the glass of the photo? The image of scratching the surface and finding depths?

LIKE MIKE

US, 2002, 99 minutes, Colour.
Lil Bow Wow, Morris Chestnut, Jonathan Lipnicki, Jesse Plemons, Crispin Glover, Anne Meara, Robert Forster, Eugene Levy.
Directed by John Schultz.

For those who want wholesome movies for families, they don't come more wholesome than this. A 4 feet 8 inch African American boy, Calvin (played with sweet toughness by an actor called Lil Bow Wow!) is a basketball whizz back at the orphanage. When the orphans receive some reject clothes, he is given a pair of sneakers with the initials, M.J., which he believes belonged to Michael Jordan. Wearing the sneakers, he can do anything on court. When his lucky number is drawn during an interval at a game as a promotion gimmick and he beats the champion of the team in baskets, he is contracted by the team and plays in the Major League. This is more than a Lil Bow, it is a Wow!

The story is generally predictable with nice best friend (Jonathan Lipnicki, Stuart Little's brother, George), a bully, a jealous player who needs to reconcile with his father and who is asked to be Calvin's mentor, a serious coach (Robert Forster) and Eugene Levy doing another of his oddball types as the publicist. The film was made in association with the American National Basketball Association and encourages all the values, good sportsmanship, friendship, family...

1.A family-oriented film? Sports? Family? Childhood?

2.The city settings, the orphanage, the basketball courts? The crowds? The tours around America? Realistic atmosphere? Musical score?

3.The magic realism, the sneakers, Michael Jordan, the magic powers? Their use in the basketball matches? Murph and his trying them? The fairytale aspects of the magic sneakers?

4.The orphanage, the children and their friendship, Murph and Reg as friends of Calvin? Ox and his friends as bullies? Calvin as victim? Stan Bittleman and his running the orphanage, his mercenary attitude? Sister Teresa, the humorous caricature of the old-fashioned nun? Her sternness with Calvin, with exams?

5.Calvin, his background, the orphan, his basketball skills? Small for his age? His friends? Wanting to be adopted? Finding the sneakers, the M.J. initials? Ox taking them and throwing them onto the wires? Calvin and Murph retrieving them in the rain, the lightning strike, the electricity, the magic powers? Calvin and his collecting money – and his honesty with the coach? Getting the tickets? Winning the competition? His play with Tracy Reynolds? Scoring, winning? Frank Bernard and his ideas for moneymaking? The contract with Stan Bittleman, the extra money? Tracy and his reaction, being beaten by Calvin? Calvin and his game, needing the sneakers and not the uniform? Going to the toilet, changing, the success? The season and the matches? The opposition? On tour, sharing the room with Tracy, Tracy’s reluctance? The room service and his gorging himself? The girlfriend and her care for Calvin? The continued friendship, Tracy telling him he had no father, Calvin going to his house, reconciling him with his father? Sister Teresa, the exams, geometry, Tracy’s explanations? Murph and his being upset? Bittleman and his bet, Ox and the sneakers? The confrontation, Ox supporting Calvin? The riding to the match, Murph and his getting the sandshoes from the driver? Getting into the match, the coach’s reaction, playing, victory? The range of people wanting to adopt him, the musical people, the military people? The wealthy family from Bel Air? His finally being adopted by Tracy, with Murph tagging along?

6.Tracy, basketball player, the difficulties with the team, the coach, Frank Bernard? The demonstration, being beaten by Calvin? His resentment? Sharing the room? His fear of planes – and the parallel with Calvin not wanting to sleep with the lights off? The growing friendship, sharing the room, the girlfriend’s reaction? His father? The bond, his taking the pills, Calvin driving the car, taking the blame? The teaching of geometry on the side of the house? The final match, the adoption?

7.Murph and Reg, orphans, wanting to be adopted? Their support of Calvin? Murph feeling on the outer? Their rallying to his support, Murph and the burning of his mother’s photo by Bittleman? Confession to Calvin? Helping?

8.Ox, the bully, helping Bittleman? Change of heart?

9.Bittleman, the orphanage, manager, guardian, the money for the contract, learning about the magic shoes, putting them in the safe? His bet and his loss?

10.The coach, admiring Calvin for being honest, the tickets, helping him play, exasperation at the end, victory?

11.Frank Bernard, the comic touches, the mercenary manager, Eugene Levy’s comic style?

12.Sister Teresa, the comic presentation of the nun – severity but kindness?

13.The backing of the National Basketball Association and the film as promotion as well as promoting human values?

VERSAILLES

France, 2008, 113 minutes, Colour.
Guillaume Depardieu, Max Baissette de Malglaive, Judith Chemla.
Directed by Pierre Schoeller.

A homeless woman wanders Paris streets with her young son. Helped by aid agencies, despite her innate anger, she goes to Versailles for help and work. On the way to the railway station through the woods, they encounter a former addict who lives rough and helps them. However, after a night together, she leaves her son and goes away to work and eventually return. However, the boy and the man bond during her absence and he goes back to his estranged family where the boy gets a chance to find some stability. The reformed addict decides to officially recognise him as his own son – but is unable to follow through in responsibility.

Guillaume Depardieu plays the addict and Max Basette de Malglaive plays Enzo, the young boy. Their scenes together give force and emotion to this social-minded film.

1.A French tale, social awareness, humane?

2.The title, the ironies, the city of Versailles, the rich palaces, the woods, the musical score?

3.French cities, property, shelters, the woods and the huts, the more ordinary way of life?

4.Nina and Enzo, wandering the streets, the article about the unemployed, their hunger, the rescue, Nina’s angers, the bonds of mother and son, eating the food, in Versailles, seeking the station, going through the woods, meeting Damien, the talk the bond, the sexual encounter, Nina leaving the note and going?

5.Nina, her work, at the hospital, the elderly thinking her marvellous, her return, the search for Enzo, the burnt hut, losing him, finally finding him and the final letter? Meeting him again?

6.Enzo, his age, the young child, playing, his dependence on his mother, sleeping, hungry, the meeting with Damien, staying, Damien caring for him, getting him food, washing him, their work in building, their friendship? The other people in the woods? Taking Damien to the hospital? Waiting, going to his home, a new life, the adoption? Not wanting to be at school? Damien leaving? His message about having strength and guts? The later Enzo, surly, the letter from his mother, the woman reading it, his going to meet her?

7.Damien, the drugs background, living in the woods, alienation from his family, the meeting with Nina and Enzo, the encounter with Nina, the note, his friendship with Enzo, caring for him, sharing everything, the food, the washing, the work? Tony and the others in the woods, the jokes about the clothes, Tony’s death and the funeral? The burning of the hut? Going to hospital?

8.Damien going home, the change, his father and his new wife, Damien going to work, paying his board, the hard work, the decision for adoption, his leaving?

9.The father, his reaction, caring for Enzo, his wife?

10.The glimpse of social workers, doing their best, the angry reactions?

11.The addicts, the streets, living in the woods?

12.The comment on French society, employment, the marginalised?

DELTA

Hungary, 2008, 90 minutes, Colour.
Orsi Toth, Felix Lajko.
Directed by Kornel Mundruczo.

A film that cineastes admire for the beauty of its photography, the unrelenting treatment of its grim theme and its uncompromising ending. However, this Hungarian film, photographed in the Romanian Danube delta, takes us into a harsh world with hard characters who can be brutish. A man returns home to find his father remarried and a sister he did not know of. He builds a house and his sister comes to join him (being roughly raped by her stepfather on the way). While the couple find some happiness, the workers on the delta disapprove. This comes to a nihilistic climax on the night of a celebration of the new house. This is an Eastern European sensibility which is difficult to identify with.

1.The awards for the film? The impact on audiences?

2.Filming at the delta of the Danube, Romania, the people living there, isolation? Their work? Their attitudes?

3.The beauty of the scenery, the river, the delta, the landscapes, the waterscapes, the beauty of Nature? Humans interacting?

4.The basic plot: the man returning, his alienation from his father, meeting his stepmother, meeting the sister he did not know existed? His wanting to stay, to work? The sister coming to stay with him? His building the house? The relationship between the two? Inviting the people to the party, the celebration, the reactions against them?

5.The portrait of the man, silent, his background, his relationships, his work?

6.The girl, her place in the house, leaving, the warnings of her mother? Her stepfather and his reaction, the violent rape scene? Her going to the house, the relationship with her brother?

7.The parents, life on the delta? Hardships, morals?

8. The people, the help in the building of the house? The party, the drunkenness, their disapproval? Their taunting the girl, the attack, pushing her in the water? The attack on the man, his death?

9.The grimness of the subject and the treatment? Insight into human nature? Eastern European sensibility? Different from other sensibilities?

CHANGELING

US, 2008, 141 minutes, Colour.
Angelina Jolie, John Malkovich, Jeffrey Donovan, Michael Kelly, Colm Feore, Jason Butler Hana, Amy Ryan.
Directed by Clint Eastwood.

Clint Eastwood turned 78, May 2008. His films made during his 70s have been impressive and award-winning. There will be a positive response to Changeling.

Based on actual characters, including the mother at the centre of an abduction and the mayor of Los Angeles, the Police Chief, police captains, detectives, prominent lawyers, a killer and a Presbyterian minister, Gustav Briegleb, who used the new medium of radio to attack the police for corruption, the film starts domestically, moves to the abduction crisis, police incompetence and brutality, mental institutions, abuse and killing of children to courts, investigations and perspectives on capital punishment. Quite some contents for a film even at two hours twenty minutes.

The setting is LA 1928. Cityscapes, streets and homes, trams, buildings, costumes and décor are all impressively used to create the atmosphere of the times. While the newspaper media play an important role in information, protest (and headline seeking), it is the new media of radio that is making a difference.

The Police chief of the times, James Davis (Colm Feore) ran a tight ship that employed violence against criminals and acted unscrupulously and without warrant against the rights of ordinary citizens. The Reverend Brieglib (John Malkovich) denounces the authorities with names and details every day and takes up the cause of Christine Collins whose 9 year old son, Walter, disappears.

Christine Collins is played convincingly by Angelina Jolie in a very substantial role.

The film’s title indicates what goes wrong. Her son is not found. She persists and the police won’t listen to her, especially the captain who is irritated by her and commits her (Jeffrey Donovan).

Another detective, sent on a routine enquiry to a ranch outside Los Angeles, eventually discovers a series of killings.

As Christine, with the help of the Reverend and a growing number of sympathisers and protestors in the streets, mounts civil suits against the police, the film deals with the trial of the killer and the cross-examination of the police.

Just when we are thinking the film will end, there are additions. This happens several times. Eventually, the fine screenplay by Michael Straczynski, the ever skilful and unobtrusive direction of Clint Eastwood and the fine performances bring the film to a satisfying end. (And, then one remembers that only 20 years later there was the Black Dahlia murder and 25 years later the world of LA Confidential – and in the 90s, the Rodney King event…)

1.The work of Clint Eastwood, his range of interests? The history of Los Angeles?

2.1928, Los Angeles city, the streets, cars, trams, city hall and the precincts, the phone company, the mental asylum, the interiors of the asylum, the court hearings?

3.The countryside, the desert, California, the ranch, the site of the farm and the killings?

4.The variety of moods, the personal story, the social story, Clint Eastwood’s reticent score?

5.The title, children, the abduction, the cases, tracing the children, the abuse, the deaths, the killers? The role of the police?

6.Angelina Jolie as Christine Collins, at home, her love for her son, waking, the bonds, the father absent and her story of the box of responsibility and his inability to accept, taking Walter to school, working overtime, Walter and his self-confidence, Christine at work, the supervision, the skates, her skills? Ben and his offer of promotion? Her missing the tram, late, her dismay, the search for Walter, the police and the twenty-four hours delay in report, her checking interstate agencies, her sadness and her strength?

7.The Reverend Gustav Briegleb, his church, congregation, the broadcasts, prayer for Christine, the media and its being new, the radio, the attack on Davis and the corrupt police, the violence, his gun squad, killing criminals? His later interest in Christine, the newspaper interviews, helping her, the search for Christine, the confrontation of Jones, going to the asylum, her release, hearing the information about the deaths, her collapse? The doctor and the release of the women from the asylum? His getting the lawyer? His help in the court, his subsequent career? The role of the media, press and radio?

8.The incident in Der Kelb, the vagrant, not paying for his meal, the boy with him, the boy and the police, the information to Los Angeles, the train journey, the journalists at the station, the photo opportunity, Christine’s reaction, Jones persuading her to be photographed – and its later use against her? The testimonies, her reaction, the boy and his statements? Christine and seeing that he was shorter, circumcised, the dentist with the information about his teeth, the teacher and the wrong seat in the class, Christine and the press, talking to Jones, his sudden using Code Twelve and interning her in the institution?

9.Christine in the asylum, escorted not thrown? In the cell, the woman talking incessantly? The doctor and his pressure? The attitudes of the staff? The breakfast, the encounter with Carol Dexter? Carol and her warnings, her own history? The medication? Carol and her attack on the doctor, electric shock therapy? Christine and the discussions with the doctor, her refusing to sign, his offer of the easy way out, treating her for hysteria, the medication, wanting to start shock treatment? Her getting out?

10.The information about the ranch, Ybarra and his going, seeing the killer with the car, the boy at the ranch, his attack, the issue of deportation, the boy and his nervousness, his memories, wanting to talk to Ybarra? His explanations, identifying the photos? The farm and the axes? The summons to Ybarra to come back by Jones? His obedience? Yet his concern, taking the boy, taking detectives, their going to the ranch, the boy digging the hole, finding the bodies? Calling the coroner? The media reports?

11.Davis and his reputation, at the train to meet the boy, trying to persuade the media to support the police? The crisis, his interview with Jones, urging him to fall on his sword? Christine and the situations, her lawsuits, the reports, the mayor and his visit? The boy and the truth about his identity? Reunited with his mother – Davis and the press opportunity?

12.The boy, with Christine, keeping up the pretence? Ybarra threatening him with prison, his telling the truth, liking Tom Mix and wanting to come to Hollywood, his pretence, reunited with his mother? Saying the police told him to identify himself as Walter?

13.The portrait of the killer, first seen at the car, buying the ticket to Seattle, going to his sister’s house, her organising his arrest? His reaction? His madness? Prison, going to court, his not guilty plea, the evidence, the cross-examinations? The verdict and his outburst, especially praising Christine, likening himself to her? Saying Walter was an angel? The two years before his execution? The reaction of the judge? In San Quentin, sending the telegram, Christine going? His refusing to tell her the truth? Her attack on him, wanting him to go to Hell? His own talk of salvation and not wanting to go to Hell? The execution, confessing, praying, his death?

14.Clint Eastwood and the portrayal of capital punishment – and audience response for or against?

15.The investigations, the hearings, the popular protests and the people in the street? The president? Hahn and his prestige as a lawyer, getting the women out of the asylum, his cross-examination, especially of Jones? Jones and his rationalising of his behaviour?

16.Jones as a character, seemingly decent, his subservience to Davis, refusing to listen to Christine, irritated by her, above the law, no warrant, consigning her to the institution? His being condemned – and the court applause?

17.The role of Briegleb and his denunciations of corruption, naming the mayor, naming Davis? Davis’s condemnation?

18.Christine and her continued obsession, that Walter was alive? Briegleb and the others and their advice to get on with her life?

19.1935, at work, her skills, Ben and his praise of her, the Oscars and her bet on It Happened One Night? The Clays’ phone call, the interview with the boy, his reappearing after seven years, the flashbacks, Walter helping him to escape? Her telling Ybarra that this interview gave her hope?

20.The aftermath, her continuing to search? Police corruption continuing in Los Angeles? The film as an interesting piece of 1920s Americana?