I CAN’T THINK STRAIGHT

UK, 2007, 88 minutes, Colour.
Lisa Ray, Sheetal Sheth, Antonia Frering, Nina Wadia, Amber Rose Revah, Sam Vincenti, Kimberley Jaraj, Rez Kempton.
Directed by Shamim Sarif.

The play on words in the title (which some will not pick up at once) indicates themes of sexual identity. More and more films have tackled these issues, especially as young people struggle with finding their identity, experience confusion, experience hostility and find themselves in psychological and moral binds. Cinema has different ways of dramatising the theme, documentary, serious drama, or lighter dramas that offer characters to be identified with as well as the dramatising of fear, suspicion and rejection.

Writer-director, Shamim Sarif, has opted for the romantic drama. One of the dangers of this choice is that the plot and its entanglements may seem more than a little like soap opera with its melodramatic flourishes and its sometimes arch and 'staged' dialogue. Something of this happens with I Can't Think Straight. (In her second film, The World Unseen, with the same actresses, she is more successful by using the telenovella format rather than the soap serial.)

The director has a task on her hands because she is presenting a same-sex love story where one partner is a Palestinian living in Jordan with some Christian background and where the other is a Muslim Indian living in London. Issues of religion and culture are important, especially for women, many of whom experience oppression at the best of times.

By opting for the romantic drama, Sharim Sarif has also chosen affluent worlds and materially comfortable lives which puts the action at one remove from most audiences: lavish parties in Jordanian mansions, visits to Oxford, polo tournaments, book signings, and no end to fashionable clothes. This is the world of Santa Barbara or other serials which have an enormous following but are not likely to be labelled as reality.

This means that we get a glossy tale and treatment where the protagonists experience great difficulties – especially from caricature mothers, the narrow Indian who thinks only of making successful marriage matches and a Cruella de Ville of a Jordanian, anti-Israel, imperious wife and mother. Actually, it is the men who are instantly kind and understanding, both fathers and sympathetic former boyfriends.

1.The target audience for this film? Same-sex themes? For partners? For parents and relatives?

2.The settings in London, affluent, flats, homes? Oxford? Polo clubs? Restaurants? The comparisons with the mansions in Jordan? The musical score and songs? The frequent use of songs – and the lyrics illustrating characters and themes?

3.The title and the play on words?

4.The situation of same-sex relationships in England, in Indian Muslim families, in Palestinian families, in Jordan? The film’s appeal to change of attitudes?

5.The director’s decision to do romantic serious comedy? The nature of the dialogue? The characters, affluence – with more than a touch of the soap opera television serials?

6.Jordan, Tala, her many engagements, the lavish parties, her breaking off her engagements? Her dominant mother and her criticisms, haughtiness? Her dealing with the housekeeper – and the housekeeper spitting in her drinks and continually failing to get the drinks taken, her final achievement and laughter? The father, his being more considerate? Tala and her sisters, the dresses, their being modern young women compared with the traditions of Palestine and Jordan? The Palestinian background, the anti-Semitic statements?

7.The film’s stance on Palestinians, on the Muslim traditions? On Christian Palestinians? The references to the Israelis, the treatment of Palestinians? Political implications?

8.The contrast with India, Leyla and her writing, working for her father, her father’s kindliness, her sister’s ability to sell insurance, the father’s discussions about insurance? At home? Her encounter with Tala? The infatuation? Her boyfriend, his kindness, her not clicking? Her room, k.d. lang…? Her sister’s realisation? Her not being able to come out? The relationship with Tala, the visit to Oxford? The discussions with Tala about the relationship? Tala leaving? Leyla and her coming out to her parents? Her caricature mother and her cooking, fussing, wanting to arrange a marriage? The father’s consideration? Her sister’s support?

9.Tala, in England, the polo match, the attraction to Leyla, their being together? The beginning of the relationship? Tala and her engagement, having to return, the strong traditions and her silence? Her return to Jordan, the preparation for the marriage, her finally breaking it off? Her discussions with her sisters? The consideration of the groom? Her father? Her mother being frantic? Her return to England, the lecture on Jordan, the encounter with Leyla and the girlfriend? The later meetings, Leyla and her success with her book, the book-signings? Her signing Tala’s book?

10.The mothers and their behaviour with their daughters’ coming out? The touch of the caricature?

11.The fathers, instantly sympathetic? The boyfriends, Ali and his discussions with Yasmin, their consideration?

12.The gay relatives, the uncle, the cousin from New York – with caricature behaviour?

13.How interesting a drama, romantic comedy, the melodramatic flourishes, the soap opera dialogue? A story that was able to influence audiences and their thinking about same-sex relationships?

JUST VISITING

US/France, 2001, 88 minutes, Colour.
Jean Reno, Christina Applegate, Christian Clavier, Matt Ross, Tara Reid, Bridgette Wilson, George Plimpton, Malcolm Mc Dowell.
Directed by Jean -Marie Poire (under the name of Jean -Marie Gobert).

Just Visiting is an American remake of a very popular French film of the early 90s, The Visitors. Jean Reno and Christian Clavier were the stars of that film as well as a 1998 sequel. They collaborated with the director of both films for this American version.

The Visitors seemed to tickle the French funnybone – though it was a bit farcical for audiences outside France. This American remake continues the farcical aspects of the film.

The setting is the early Middle Ages in France. An evil British duke wants to kill his rival and marry the daughter of the king. He consults a witch. However, the potion has the effect of sending the knight and his attendant into the 21st century. There is the usual, Crocodile Dundee-like, comedy of strangers in an American city. They are bewildered, make a mess of things, are overwhelmed by the technology – of cars and speed, of lifts, of toilet bowls…

They both meet up with attractive girls, the attendant who makes a fool of himself in public but seems to get away with it, meets a young woman (Tara Reid) who tames him and persuades him to stay in the present. The knight meets one of his descendants who works at the museum and is able to extricate her from her plotting fiancé. He also is able to get back with the help of the wizard who made the mistake in the first place and who also turns up in the present (Malcolm McDowell).

Christian Clavier contributed to the writing as well as the performance as the servant. Jean Reno makes the action a bit more credible with his strong screen presence. However, many audiences will find this a hit-and-miss film.

1.Time travel? Popular in films? From the Middle Ages to the present?

2.The re-creation of Mediaeval France, the English duke, the witch and her house? The court, the banquet? Costumes and décor? Thibault and his place in the court, his engagement to Rosalind? The confrontation with the duke? The potion, his going berserk, killing Rosalind? His fleeing with Andre, the encounter with the wizard, the wizard able to transform them – but leaving out one of the ingredients and sending them into the 21st century?

3.Rosalind, her love for Thibault, her place in the court? Her shock at being killed?

4.The museum, the children and the teachers, Thibault and Andre waking up? Everybody’s alarm? Doctor Brady and his keeping control in the museum? Consulting Julia? The escape of Thibault and Andre into the city?

5.The jokes about Mediaeval people finding the 21st century: the people, the language, the museum, the elevator, cars and being car sick at a slow speed, the food and manners at eating in restaurants, Thibault throwing food to the servant on the floor, the plans for the selling of the castle? The humour and farce of these jokes?

6.Julia, being a descendant? The issue of the castle in France, her cousin dying in the boating accident? Hunter and his engagement, wanting to manage the sale, his two-timing Julia with Amber? His obnoxious character? His being exposed by Thibault, the confrontation and chase, his being literally kicked out? Amber, her disappointment? The femme fatale?

7.Andre, meeting Angelique, the jokes at the gate, the boss and Andre humiliating him? Angelique and her helping Andre, buying the clothes, the car, pawning the jewels? His decision to be free, telling Thibault, going with Angelique to Las Vegas?

8.Julia, making allowances for all the strange behaviour, loyal to her family? At the restaurant, in the house and her being covered in food? The bath, the toilet…? Hunter’s reaction?

9.The wizard, his being inept, coming into the 21st century, able to manage, finding the ingredients, able to get everybody back to the Middle Ages?

10.The enjoyment of this kind of contrast between Middle Ages and the present? The realisation of how things change? The technology and abilities of the 21st century? The blend of comic seriousness and farce?

LONG TIME DEAD

UK, 2002. 94 minutes, Colour.
Alec Newman, Joe Absolom, Lara Belmont, Melanie Gutteridge, Lukas Haas, James Hillier, Mel Raido, Marsha Thomason, Tom Bell.
Directed by Marcus Adams.

Long Time Dead might be seen as a British equivalent of the Friday the 13th trend. However, it tries to give the film more substance by a prologue in Morocco where one of the later characters is present as a child at a séance where a djinn is released. However, the boy does not remember what happened and his father was charged with murder of his mother.

The film then goes to contemporary London where a group of young twentysomethings – with indeterminate characters and creating not particularly interesting types, decide after a night at a club to hold a séance with a Ouija board. They release the djinn again. After that, the various members of the group are despatched with leaving only the now grown-up boy (Alex Newman) and his friend Rob (Joe Absolom). In the background is their landlord, played by Tom Bell, who is league with this séance group and the djinns. It is also revealed that the young man’s father is in prison and he goes to visit him.

At the end, there is the usual device of having the djinn enter into the best friend who is then killed. The young man goes to visit his father in prison – and, of course, is possessed by the djinn.

The film is interesting insofar as it is made by Working Title who produced much more upmarket films as well as providing the British variation on the young people in peril theme. The screenplay was written by Eitan Arrusi who wrote Inju for Barbet Schroeder and directed his first film which he wrote, Reverb, 2007.

1.The popularity of this kind of film? Young people? Horror? The supernatural? Deaths?

2.The London setting, flats, clubs? Abandoned buildings? The scenes in Morocco? The dark colours and tones of the film? Musical score?

3.The title, the Ouija board, the séance in Morocco? The liberating of the djinn? The death of Liam’s father? Becker’s role? The young people and the Ouija meeting? Frantic? The release of the djinn? Murderous presence?

4.The characters – how well defined – or not? Young British people and an American? Cipher characters rather than developed?

5.Liam, his background, the incident in Morocco? His being a boy? Not remembering? The truth hidden about his father? Becker? His friends? Going to the club? The drugs, the dancing? The Ouija board? His being affected? His discovering the truth? Having to cope with all the deaths? Going to visit his father? The confrontations with Becker? With Rob who was possessed by the djinn? Final vindication, going to visit his father, his being possessed?

6.The boys, their friendship, their talk, clubs? Their being pursued, the dangers, their deaths?

7.The girls, relationships, fears? Lucy surviving the longest? The gruesome deaths?

8.Becker, the landlord, his sinister attitudes? The truth about him? The confrontations, explanations to Liam? His death?

9.Liam’s father, superstitions, séances, Ouija boards?

10.The credibility of this kind of supernatural experience? In real life? In films?

MONSTERS VS ALIENS

US, 2009, 95 minutes, Colour.
Voices of: Reese Witherspoon, Seth Rogan, Hugh Laurie, Will Arnett, Kiefer Sutherland, Rainn Wilson, Stephen Colbert, Paul Rudd, Julie White, Jeffrey Tambor, Amy Poehler, Renee Zellweger, John Krasinski.
Directed by Rob Letterman and Conrad Vernon.

It sounds like one of those old (very old) B -Budget science fiction movies from the 1950s – and basic plot-wise it is more or less the same. But, budget-wise, it is very, very different. This is a brightly animated entertainment for the family, sharply drawn with a colourful production design and filmed in 3D. Not that the 3D is essential. Apart from a worker in Antarctica batting a ball into our faces, the main effect of the 3D is the beauty and eerieness of outer space.

The monsters are near-relatives of Monsters Inc, so to speak. There is a huge but benign insect monster who turns into a butterfly. There is The Missing Link, a genial kind of cross between a fish and a comedian. There is Dr Cockroach who was a top scientist, experimented on himself and exited from his machine as a mad-scientist-cockroach. Then there is a genial globule blob of what looks like blue jelly with one eye, B.O.B.. And their voices are very good indeed: Will Arnett as Link, Hugh Laurie, very British as Dr Cockroach and Seth Rogen being, well, Seth Rogen as B.O.B. (who has most of the funny lines).

But the intrepid heroine is Susan, voiced by Reese Witherspoon, who is engaged to self-centred local TV News Anchor, Derek (voiced by Paul Rudd), but who, just before her wedding, witnesses a meteor crash and absorbs a powerful chemical that turns her into the 50 ft woman. US Security demands that she be impounded in the Monster Centre with Link and co. The installation is run by macho, red-neck General Monger (and Kiefer Sutherland sounds as if he had a really good time voicing him). When an alien spaceship arrives and rebuffs the US President (Stephen Colbert) who tries to play the tune from Close Encounters as a wewlcome, General Monger urges the government to use the Monsters to combat Galaxhar (Rainn Wilson), the egocentric alien commander.

The rest of the film shows the antics and adventures of the Monsters in confronting Galaxhar and (would you believe it!) winning.

It's not the best of recent animation comedies and 3D shows, but it is lightly entertaining.

1.A popular animation film? Drawing on the B-budget science fiction films of the past? Audience enjoyment of this kind of science fiction fantasy?

2.The film photographed in 3-D, the effect, the vistas of space, the action sequences, the characters? The atmospheric score for the adventure?

3.The title and expectations? The humorous perspective?

4.Susan, her wedding day, her girlfriends, her dominating mother, her kindly father? Derek and his ambitions? Talking with her before the wedding, breaking the news about his audition instead of a honeymoon? Her acceptance of this? Her going for the walk, the meteor landing, the effect on her, the dirty dress, her mother’s concern? In the church, going up the aisle, the ceremony about to begin, her transforming into Ginormica? Her concern? The reaction of all the guests?

5.Her being captured, General Monger, from the South, macho, military? Her being imprisoned? His centre for monsters? General Monger and the secrecy about the monsters? His long caring for them? B.O.B. and his being a jelly blob? Doctor Cockroach and the background of his transformation from a scientist into a cockroach, the mad scientist? The appearance of The Missing Link? The giant insect? Susan and her interaction with the monsters, her fear, attacking them?

6.General Monger explaining the situation to Susan, her being trapped, the way of life? His explanation of his centre, the staff, their reactions? Her upset at having to stay for the rest of her life?

7.Gallaxhar and his ruling his planet, destroying everyone? Relying on robots? His wanting the secret ingredients? Realising that it was centred in Susan? His voyage through space, landing in the United States?

8.The president, the spoof on presidents? His big talk? His designing the buttons – and the danger of pressing the nuclear button? His advisers? General Monger and his advice? The landing of the spaceship? His going out, the guards, the stairway, his going up the stairs to confront the visitors, the theme from Close Encounters, the music? The reaction of Gallaxhar and his hurried escape? His plans for attacking? The military, the planes? His own fears?

9.Gallaxhar, his looking for Susan? General Monger and his deciding that the monsters would defeat the aliens? The president listening, his agreement? The group, their bonding? Susan and her change of heart, her encounter and Derek and discovering the truth about him and his selfishness and ambitions? Her parents? B.O.B. and his imagining that Derek liked him? The group going through the American roads? The confrontation with the spaceship] and the robot?

10.Gallaxhar, taking the monsters, imprisoning them? His getting Susan, on the spaceship? Her defiance, her self-confidence, her fighting Gallaxhar? His withdrawing the substance from her and her coming back to normal size? The sympathy of the monsters, her wanting to stay with them?

11.The action sequences, the group and their confrontation of Gallaxhar? B.O.B. and his being mobile and able to draw them up into the spaceship? The humorous devices, the chase? Gallaxhar and his cloning his forces? The monsters in their disguise, getting the gun? Getting advice?

12.The abandoning of the spaceship, Gallaxhar and his being trapped, the insect and its transforming into a butterfly? General Monger to the rescue? The escape? The spaceship blowing up – after the computer had the delayed mistake?

13.The comedy of Katie and Cuthbert and their dating, Katie as forward, Cuthbert resisting, the sports jock, the landing of the spacecraft, Katie and her adventurousness, Cuthbert and his fear, her carrying him and his being intimidated?

14.The happy reunion, the press, Derek wanting an interview, the monsters getting rid of him? B.O.B’s disillusionment with Derek? The parents being proud of Susan?

15.A genial story? The play on the old science fiction and fantasy films?

DUPLICITY

US, 2009, 125 minutes, Colour.
Clive Owen, Julia Roberts, Tom Wilkinson, Paul Giamatti, Denis O’ Hare, Kathleen Chalfant, Thomas Mc Carthy.
Directed by Tony Gilroy.

Despite the poor grammar, one of the advertising taglines for Duplicity is 'Who's playing who?'. That needs to be kept in mind right up to the final credits. This is one of those films which requires constant attention. If you let your mind wander, you miss a step in the game-playing between the central characters and their companies. With the screenplay out to be duplicitous for the audience, it plays the audience and shows them a variety of scenes that need to be reinterpreted in the light of subsequent events – or, because there are a number of flashbacks, some of them deceptive as well, in the light of previous events.

Pre opening credits, an MI6 agent and a covert spy have a brief encounter and a night's liaison in Dubai in 2003. They meet again in New York in 2008 and clash because she says she can't remember him. They are both now involved in industrial espionage for two rival global cosmetic companies. We realise this more strongly as we watch the credits and a tarmac slow motion battle between the two presidents of the corporations. They then go head to head behind the scenes for the rest of the film as the two industrial spies work covertly and try to steal a formula for a miracle cure.

Maybe you have seen this story before but that does not really matter. What matters is that the two spies are Julia Roberts and Clive Owen (who had appeared some years before in Mike Nichols' Closer). They obviously relish playing off each other both in love and war, keeping each other wondering whether they can trust each other – and we sharing this wondering and asking ourselves who is in control and what will be the outcome. It also matters that the two industrialists are played by Tom Wilkinson (who had received an Oscar nomination for his role in director Tony Gilroy's previous film, Michael Clayton) and that very versatile actor, Paul Giamatti, who has an opportunity to chew the scenery in a kind of Oscar-bid performance.

The settings for the encounters between the two spies are touristic and colourful, including Rome, London, the Bahamas, Zurich and by way of glamour contrast, Cleveland.

Tony Gilroy has written a number of screenplays, including the Bourne trilogy. He knows how to construct deceptive puzzles and some smart dialogue.

While the intrigue, the romance, the uncertainty and the conspiracy theories are always attention-grabbing, ultimately one brings a moral perspective to these highly immoral and amoral characters and their behaviour: so much energy, ingenuity and planning for greed and power. What if all that effort and all that wealth were put to good use for the benefit of people in need? The world could be so much better without the intrigue and lust for money.

1.The form of romantic comedy, thriller – but variation on the theme?

2.The title, Claire and Ray and their relationship, their work? The companies, the staff, industrial espionage?

3.The high-tech aspects of the plot? The low ethical aspects?

4.The introduction to Ray and Claire, in Dubai, the glamour, Fourth of July, his talk, approach, the pickup theme, the banter, the night together, her stealing the documents, his reactions? The passing of five years?

5.The structure, the tricks? The flashbacks, their gradual revelation, aspects of the puzzle, plan and execution?

6.The credits, the fight between Garsick and Tully on the tarmac? Slow motion? Effect? Introduction to the battle between them?

7.The present: the business work, the rivalries of the companies, their products, research, the surveillance teams, the vast amounts of money for spying? The nature of industrial espionage? The set-ups, spies working both sides? Set-ups and counter set-ups? The visuals of Garsick’s surveillance room?

8.Ray, his style, appearance, the job, on the team, following Claire in New York, the contact? Claire, the bar, their talk, hostility (and the later tape)? Not knowing each other, Claire as Tully’s spy for Garsick? The two companies and the meetings? Garsick, his thuggery, the surveillance team: Duke, Pam, the computer nerd? Tully and his business style, calling the meeting, Jeff and Claire and their discussions? The staff?

9.The international flavour of the story: Rome, London, New York, Zurich, Cleveland? A world of glamour, modern, buildings, offices, technology? The score?

10.Audience reaction to the Rome meeting, Ray, seeing Claire, following her? Who was leading whom? The discussions about Dubai, their affair? Memories, chat, the development of their plans? The motivation, being able to be duplicitous, greed?

11.The London scene, the meeting, time, the development of the plot? Ray and his plan for the pizza formula? Claire and her going to work for Tully?

12.Ray in Cleveland, drab, Claire’s arrival, the mutual suspicions, Ray and his work, moving out of the pizza plan, Claire and her being employed by Tully? The set-up?

13.The present, the different perspective, their rehearsing their lines for the taped interview, the issue of the formula, people’s speculation about it, the revelation that it was for hair growth? Each company and its secrets? The set-up for the stealing of the formula, Ray in Garsick’s room? The tension, Claire in Tully’s office, Jeff and his intervention, tying him up, the security guards, her rushing from room to room, the technology assistant trying to make the connections, find which room she should go to, no names on the door? Jeff and his reactions, trying to get free?

14.The meeting between Ray and Claire, cat-and-mouse, Zurich, who had the formula, the two testing each other, the waiting for the Zurich scientists to look at the formula? The failure?

15.Tully, his team, Tully as bombastic? His having Jeff as a plant? The irony of Pam and her working for Tully?

16.Garsick, his methods, the double going in the car, his love of plotting?

17.The young inventor, his background story, young, his life, studies, work, invention, a gambler, his disguise? Ray and Claire’s reaction to him? His participating in the set-up?

18.The convention, Garsick and the welcome, his vanity, the TV monitor, his speech? The interruption and the revelation of the truth? His being tricked?

19.Tully, Jeff and Pam? The set-up, knowing what was happening with Ray and Claire, the tape? Their room being bugged?

20.The fiasco for Garsick? The victory for Tully?

21.The irony of Ray and Claire with all their skills, their gamble for the years, not succeeding?

THE LIFE BEFORE HER EYES

US, 2007, 90 minutes, Colour.
Uma Thurman, Evan Rachel Wood, Eva Amurri, Gabrielle Brennan, Brett Cullen, Oscar Isaac, Jack Gilpin.
Directed by Vadim Perelman.

We have to pay attention to the art lecture that Uma Thurman gives on Paul Gauguin during this film. She asks her students what questions it is asking: about life and its meaning. She explains that his visual style seems to blend reality and the imagination. That is a helpful indicator of what is going on in The Life Before Her Eyes. When we listen to the lecture by the philosopher professor, we might realise exactly what is going on.

During the credits there are bright close-ups of flowers and this close-up (often extreme close-up) technique continues during the whole film. The images are very detailed and vivid.

Diana is a high school flirt with a seriously bad reputation, clever but avoiding studies for boys and the 'good life'. She is played with verve by Evan Rachel Wood. We also see Diana in her early 30s, married with a daughter, an art teacher who never left the town she grew up in, despite all her declarations of wanting to get out. However, she is haunted by a Columbine-like tragedy when a berserk young student shot dead many of the students and teachers.

The scenes of the massacre, both the close-up confrontation between the shooter and Diana and her friend, Maureen, in the school ladies' and in the panic outside, bring home the horrors and uncertainties of such a violent event.

Uma Thurman brings poise to the role of the older Diana even when she is fearful and paranoid about her husband and the safety of her young daughter. Eva Amurri (Susan Sarandon's daughter who looks and acts quite like her mother) gives strong support as the religious and principled Maureen.

When the audience realises what is happening and the nature of Diana's story, all the parts fit together quite satisfyingly.

A brief film, intended principally for a women's audience, but interesting because of the connection between the younger Diana and her rather different older counterpart.

1.The title, the evocation of death, the variation on a theme? Mysterious, mystical?

2.The target audience, female, identifying with Diana, both younger and older, with Maureen?

3.The history of the Columbine massacre, the evocation here? The deranged student, his motivations, cool calm, the gun, automatic? The massacre of the teachers, the students? The outside sequences, the students leaping from windows, the injuries, the medics, the police, the anxious parents? The effect? The close-ups, in the toilet, the contrast with the exteriors and the crowds? The insertion of the brief episode, the later fuller treatment?

4.The beauty of the visuals, the credits, the close-ups on flowers, the extreme close-up style? The details? The moods, the focus and attention? Real and imagination – and the lecture on Gauguin?

5.The structure: Diana, in herself, her age, with her mother, the friendship with Maureen, the other students in school, her reputation? The year passing, the strong friendship with Maureen? The massacre? Fifteen years later, the anniversary of the massacre, Diana, her family, living on her nerves, the structure going to and fro from the younger to the older Diana? The clues, the memories, sense of anticipation? The use of fast forwards rather than flashbacks? The final choice and the ending?

6.Diana young, her age, her family background, her mother, relationships, home? Friendship with Maureen? The relationship with Marcus? The issue of pregnancy, abortion? The effect and the break-up with Marcus? Talking with Maureen, sharing their lives, the name Emma? The professor and his talk, philosophy, the meaning of life and questions? The classes, Mr Mc Leod, the biology, the heart and the strongest organ, nerves? The classes, her grades, Mr Mc Leod and the extra essay, taking the test? The portrait of the younger Diana?

7.The contrast with Maureen, her Christian background, going to church, a girl of principles, her mother, chastity, her love for Nate, the dates? The friendship? Talking with Diana, swimming in the pool of the absent people, Diana trying out brighter clothes for her? The driving lessons? Talking straight to Diana, the issue of her being a slut? The argument, her telling the truth? In the car, the apology and Diana tricking her? Maureen’s hopes for a life in the town, family and children?

8.The teachers, the class, Mr Mc Leod, the skeleton and the jokes about it, the writing on the blackboard? His speech to the kids, his help for Diana? Seeing his death scene several times? Diana thinking she saw him in the future?

9.The massacre, the sounds and the girls hearing, the boy, Diana speaking with him the day before? His confronting the two girls? The death of Mr Mc Leod? The girls and their fear, weeping, his making them make choices, Maureen offering to die? Diana’s choice?

10.Diana fifteen years later, difficulties in sleeping, upset? Her husband the philosophy professor, his good news about giving the lecture? Her paranoia, suspicions of him in the street with a girl? Crossing the street, the accident? In hospital, brusque with her husband? Her love for Emma, the home scenes, in the car, taking her to school? The presentation of the nuns, their ‘Hollywood’ habit? Stern, the reasons for sending Emma to the Catholic school, Diana upset, Emma running away, discussions with the principal, chasing her in the woods, finding her? Her talking with her friends? Her reputation, classes, the students, art, Gauguin, imagination and reality? Her ordinary life, family, staying in the town? Discussions with Amanda? Their reminiscing about the past?

11.Diana’s death, her choices?

12.The potential, mistakes, a life that could have been lived but was lost?

CROOKS IN CLOISTERS

UK, 1964, 97 minutes, Colour.
Ronald Fraser, Barbara Windsor, Bernard Cribbins, Davy Kaye, Wilfrid Bramell, Melvyn Hayes, Gregoire Aslan, Joseph O’ Conor, Corin Redgrave, Francesca Annis, Patricia Laffan.
Directed by Jeremy Summers.

Crooks in Cloisters is a mild variation on the Carry On films. However, it shows a group of rather unexpected but successful train robbers who decide that they have to hide out for some time. Their leader, Walt, played by Ronald Fraser, decides that they should go to an abandoned friary off the coast of Cornwall. There they impersonate a community – with the jokes about criminals being monks and friars, including Bikini (Barbara Windsor) who has to learn to cook. They actually take to the monastic life with some zest and enjoy their remoteness. However, Bernard Cribbins has a gambling habbit and by placing bets leads the police to them.

The film has a variety of English comics including Bernard Cribbins, Davy Kaye and Wilfrid Brambell, pre-Steptoe, as a sailor who is involved in smuggling. Francesca Annis plays his niece. This was the first feature film for Corin Redgrave and there is a glimpse of Patricia Laffan, Poppeia in Quo Vadis, as a rich lady.

The comedy is mild – and more or less expected when one accepts that the group has decided that they like it and the monastic life. The friars come back for a visit – and, as the criminals escape, they leave money for the restoration.

1.An entertaining British comedy? Of its period? The period of the Carry On films?

2.The premise: train robbers, their success, hiding out, imitating friars, learning their way of life, accommodating?

3.Colour photography, the island, the friary, the musical score?

4.Seeing the group in action, their success? Their meetings and discussions? Walt as leader? Bikini with him? The age and range of the other members of the group? Their being summoned? Squirts and his gambling? Specs? Lorenzo with Lady Florence? Young Willy? Their discussions, working as a group, going to the island?

5.The comedy on the island, Walt as superior, the habits, the kitchen and Bikini, Walt’s room, the work in the grounds, Walt acting as their superior? Their reactions, cooperation, criticisms? Their interactions with each other? Lorenzo as the intellectual expert?

6.Phineas and his boat, the tourists arriving, his agreeing to participate in the smuggling? The trips, the confrontations with the group?

7.June, at the shop, Squirts and his placing bets? Willy and the attraction? June and her helping out?

8.The arrival of Father Septimus, Brother Lucius, their friendliness, the discussions with the community? The memories of the past? Their hopes for the future – and receiving the money?

9.The police, the investigations, the greyhound bet check? Interrogation of the man at the shop? Finding out the truth?

10.The crooks and their escape, to new adventures? And their graciously leaving the money for the friars?

UNDERDOG

US, 2007, 84 minutes, Colour.
Peter Dinklage, James Belushi,Patrick Warburton, Alex Neuberger.
Voices: Jason Lee, Amy Adams, Brad Garrett.
Directed by Frederik Du Chau.

No, this is not a sports film about an unexpected champion who seems to have come out of nowhere. But, it is about a champion whose career markedly resembles that of Clark Kent/Superman as well as Peter Parker/Spiderman. The difficulty with this parallel is that it should read Superdog and Spiderdog. Yes, this is the story of a nerdish security dog named Shoeshine who fails some of the basic tests for his job but who is mysteriously transformed by the experiments of a (very) mad scientist, Dr Barsinister (Peter Dinklage) and his dumb henchman (Patrick Warburton).

While Clark Kent had his foster parents and Peter Parker his aunt and uncle, our poor hero has to find a family that will take him in (and persuade them that he can actually talk). Fortunately, Jack (Alex Neuberger) whose mother has died and whose former policeman father (Jim Belushi) is now a security guard at the laboratories where the made scientist works befriends him. He is also supportive when the dog discovers his special powers and rescues the young girl our hero is attracted to - and her dog which our superdog finds even more attractive. Before you can say ‘krypton’ or a word to that effect, our canine superhero is the darling of the populace, feted by the media, relied on by the police. But, modestly, he chooses the name ‘Underdog’.

Needless to say, it all builds up to a confrontation in Washington DC with the president under threat as well as the girlfriend. Underdog versus the mad scientist and his mad sidekick.

Jason Lee is the voice of Underdog and Amy Adams the voice of his dogfriend. I hope that younger audiences enjoy it. I did.

1.An entertaining family film? Children’s response? Adults?

2.The tradition of dog films, a human’s best friend, the variation on the theme?

3.Using popular films, especially Superman and Spider Man? The canine variations?

4.The plausibility and implausibility: the plot, the voices, action?

5.The introduction to the dogs, their training, the dog failing, being taunted, let go, wandering?

6.The mad scientist and his assistant, their characters, caricatures? Plans, budget, power? The dwarf and his wanting power? The assistant and his being slow? The experiments?

7.The security guard, the background of his being a policeman, the death of his wife, relating to his son, at his job, the crises and explosions?

8.The dog and its powers, scent, intervening, becoming a hero? The title Underdog? Reputation, the sweater? The newspaper reports – and the parallels of being undercover like Superman? The interventions like Spider Man?

9.The boy, at home, his father, school, discovering the dog, its making a mess, his decision to have a pet, the talking dog, communicating? Their work together?

10.The police, the city, Underdog’s reputation?

11.Polly and her pet dog, the boy’s attraction, together, Underdog flirting, the female dog like Lois Lane, not knowing the truth about Underdog? Polly and the dangers? Her being accosted, Underdog rescuing her?

12.The mad scientist, the pills, their effect on Underdog?

13.The build-up, Polly’s abduction, the bomb, the confrontation with the politicians, the mad scientist, the assistant trying to solve everything? Underdog and the heroics and saving the day?

14.The film satisfying as a dog movie, as a thriller, as a comedy, as a parody of the comic strip films?

EMPIRE RECORDS

US, 1995, 87 minutes, Colour.
Anthony La Paglia, Liv Tyler, Renee Zellweger, Robyn Tunney, Maxwell Caulfield, Debbie Maza, Rory Cochrane, Johnny Whitworth, Ethan Randall, Brendon Sexton.
Directed by Alan Moyle.

Empire Records is one of the few films directed by Alan Moyle, a noted Hollywood screen doctor. He made the cult film Pump Up the Volume with Christian Slater. His interest in slackers and eccentric types extends to this film and also to his 2006 film, Weirdsville.

This is a day in a record store managed by Anthony La Paglia. On the staff are Liv Tyler, Renee Zellweger and Robyn Tunney. The men include the ingenuous Rory Cochrane, the artist played by Johnny Whitworth and the rather dumb Ethan Randall. Brendon Sexton plays a young shoplifter. Maxwell Caulfield is a celebrity singer who comes to sign records and Debbie Maza is his assistant.

There is quick delineation of most of the characters, their crises, the financial situation of the store, the role of the boss. The film is also a satiric look at the self-absorbed singing star and his exasperated assistant. Maxwell Caulfield is the star, Debbie Maza his assistant.

While the film ultimately makes a resolution of all the problems, the last, rather lengthy part of the film, shows everybody exuberant and singing and dancing.

Most audiences would find this film somewhat difficult to sit through – but for those who want to see adulation of the film, the blog entries on the Internet Movie Database are extremely enthusiastic.

1.The impact of the film? Its target audience? In the 1990s? Younger audiences? Older audiences? Popular music?

2.The title, the shop, the layout of the store? The exteriors – the streets, banks?

3.The brevity of the film, the film as a short story? A day in the life of the store, with the characters, their crises, interactions? The final resolution and celebration?

4.The range of music, songs, taste?

5.The introduction to the store, Joe as the manager, Lucas and his taking the money to Atlantic City to gamble in the hope of paying off the debts? The crisis the next morning? Mark and A.J., the girls arriving at work, their own particular stories? The manager and his relationship with the owner, deceiving him about the money? The arrival of the star, his behaviour, his signing the autographs, the sexual encounter, the reaction against him?

6.Anthony La Paglia as Joe, running the store, tolerant, anxious, a kind of father figure? Cory, her doing her studies, working at the store, her infatuation with the singer, throwing herself at him, her reaction to his behaviour, her having to calm down? Gina, self-confident, her throwing herself at the singer, the relationship, the reaction of everybody else? Debbie, shaving her head, her own problems, A.J. and his attentions, her moodiness, work, reconciling with him? Lucas, ingenuous, telling the truth, exasperating people with his honesty? A.J., his infatuation for Cory, trying to tell her, the sketch, her rebuffing him, the reconciliation? Mark, ingenuous, enthusiastic? Warren, being caught shoplifting, his saying he was Warren Beatty, with Lucas, Joe’s reaction, calling the police, his return, his reaction against the singer, with the owner of the shop? The owner, his coming, financial difficulties, wanting to change the shop? The singer, his arrogance, his appeal, the fans, Cory providing the meal, his reaction to her advances, the encounter with Gina in the locked room, people turning against him? His assistant, trying to manage, her siding with the people at the shop?

7.How well delineated the characters, suggestions of character, crises, audiences identifying with the characters and their problems?

8.The resolution, the music, the singing and dancing and the happy ending?

WE OWN THE NIGHT

US, 2007, 118 minutes, Colour.
Mark Wahlberg, Joachin Phoenix, Robert Duvall, Eva Mendez.
Directed by James Gray.

James Gray has shown particular interest in Russian criminals in New York since his first feature, Little Odessa. It is 1988 and large deliveries of cocaine are being made and distributed in clubs. Joaquin Phoenix plays the fast and loose manager of Club Caribe in Brooklyn (owned by the Russians) while Mark Wahlberg and Robert Duvall play his police brother and father.

The opening credits have a collage of stills which reminds us of the police culture of New York and the range of criminals that they have been up against. The plot does not quite work out the way we would have expected although there are the usual investigations, undercover work and stakeouts. Gray seems more interested in the complicated family relationships as they are played out during the drug pursuit.

The clash between the brothers is very strong, a kind of Cain and Abel relationship which moves into something more like the parable of the Prodigal Son. Mark Wahlberg has established himself as a strong screen presence as has Joaquin Phoenix, who with Gladiator and Walk the Line shows he is capable of more versatility. They both appeared in James Gray’s previous crime thriller, The Yards.

The cast give solid performances with Eva Mendes as Phoenix’s Hispanic girlfriend who was after a good time but finds herself caught up in a witness protection program. There are some very nasty villains, once again the Russians who show how the Russian Mafia could develop in the US. Gray does have some car chases and shootouts but does not overdo them, contributing to a competent and interesting thriller.

1.An effective police thriller? Drug crime? Family? The title – and the motto of the New York police?

2.New York 1988-89, the settings, the atmosphere, police work and the reputation, the precincts, action, clubs and club life, the drug centres and dealers?

3.The credits, the photo, the tradition, the changes and the new atmosphere?

4.The nightclub, Caribe, the crowds, the music, the dancing, the drug exchange? Bobby and his management, his relationship with Amada? Jumbo and his presence? The boss, the family style? The plans for expansion, drugs, taking over Manhattan?

5.The Polish background, the Catholics, New York, police families, the church crowd, the honour for the father, the speeches, Bob and Amada coming, the father’s reaction, Joseph as the loyal son? The tensions, talk? The Russians and their takeover? Bobby and his refusal to collaborate? The clash at the party, his going?

6.Joseph, the relationship with his father, the strategy, in action? The relationship with Bobby, the event?

7.The past, the two brothers, the different paths in the family, family expectations, Bobby at the club, at home, the Russians not knowing who he was or about his family, his father and brother in the police?

8.Bobby, his name, style, collaboration with the Russians, the contacts, the types, with the dealers, his being accepted, the visits, yet his being controlled? Amada and her place with him?

9.Joseph and the raid, Bobby’s reaction, the confrontation, the vicious attack, Bobby and his change of heart? Joseph in the hospital? His father?

10.Bobby and the discussions, the police, the credibility of his agreement, going to the factory, being followed, the police, the raid, the arrests?

11.Neshinski, the Russians, the Mafia, tough, the owner and the respect in the family, the loyalties? Discussions, the truth, the revelation of cruelty?

12.Jumbo, his character, work, attitude, relationship to Amada, the reaction to being confined, the escape?

13.Custody, the effect on each, being confined? Jumbo, the pursuit, the car attack?

14.Bert, tradition, work, honour, tough, at home, expectations, Joseph at the hospital, Bobby in charge, his death?

15.Bobby, incorporated into the force, the information, Jumbo, Neshinski, the boss and his being exposed?

16.The confrontation, in the reeds, Neshinski, the smoke, Bobby and the shooting, the acclaim?

17.The work of New York police at the time, drugs, the Russians? The individuals, pressures, family, decisions?