JUDGMENT DAY: THE JOHN LIST STORY

US, 1992, 100 minutes, Colour.
Robert Blake, Carroll Baker, Beverley d' Angelo, Alice Krige, David Caruso.
Directed by Bob Clark.

Judgment Day: The John List Story is based on a true story, a man (dominated by his mother in his early life) is a perfectionist and, desperate, kills his mother, wife and children. He escapes, sets up a new life and eludes pursuit by the police and the FBI for 17 years. Ultimately, he was caught because of a program of America's Most Wanted.

The film is balanced in its presentation of List - some sympathetic aspects, but the significance of the domination by his mother. List is played by Robert Blake (who also appeared as a killer in the classic In Cold Blood). Carroll Baker is quite believable as his mother, filling him with all kinds of ideals, obsessive cleanliness, wariness of sexual misbehaviour. His wife is played by Beverley d' Angelo, a woman who was a widow, desperate for a husband, but who, it emerges, had been infected with syphilis by her GI husband and was unaware of it. There is a strong supporting cast including David Caruso as the police officer determined to find him, Melinda Dillon as his second wife. Alice Krige is his sister-in-law.

Direction is by Bob Clark, who was responsibly for the Porky's series as well as more serious films like Tribute and the Sherlock Holmes film, Murder by Decree.

1. A true story? American domestic violence? The reasons, the exploration of motivation, psychological pressure, mental imbalance? From one generation to the next? Religious dimensions? Violent results?

2. The American town, the List family and its ordinariness? His work as an accountant? The companies, his home? The church, the bowling alleys? The contrast with his change of life in the South, home, work? The police and the FBI officers? The musical score? The credibility of this re-creation of a Most Wanted case?

3. The title, the build-up to the arrest of John List?

4. The portrait of List: as a boy, the dominance of his mother, her bathing him, putting ideas of perfection in his head, cleanliness (and his scrubbing his nails)? The religious dimension? The absence of his father? His growing up, scrupulosity, perfectionism? Sanctified by the church? His mother still living with him? His work as an accountant, his skills, not taking account of the changes in technology and computers? His meeting with Helen, her being the opposite, being attracted? His mother's opposition? The marriage, the early years? Helen and her extravagance, her dream of the home? Her children? John and his reaction, the money, borrowing from his mother, desperation? His reactions to his children - and the daughter wanting to be in the play? The atmosphere of the church? Helen wanting to be taken off the membership? Her illness, the doctor, discovering the truth about her illness? Being infected by her former husband? The children not being infected? His mother's disgust?

5. The build-up to the shooting, the calmness, his mother, each of the children, the boy coming home last? The confrontation with Helen in the kitchen? Lining the bodies up in the ballroom? His calmly eating his meal? Disappearing?

6. List's skill in disappearing, moving to Colorado, changing his appearance, getting the job in the restaurant? His skills at accounting and his getting more jobs? The decision to go again to church? Meeting Eleanor, the courtship? The marriage? His reactions to her - and remembering Helen and her pressures about money, the house? Love for each other? The tensions? His losing his jobs despite the admiration of the staff? His lack of skills, the house, losing everything? The confrontation with Eleanor? His hearing that she might possibly leave him? Her friendship with Wanda, their discussions? The move to Richmond? The irony of Wanda seeing him on the television, her previous suspicions from the newspaper? Eleanor's disregarding them? Wanda informing the FBI?

7. The portraits of the two wives - similar, different? The contrast with his mother? His murdering Helen? The possibility of murdering Eleanor?

8. Alma List, her own experience of marriage, her love for her son, the intense caring for him, the obsession with righteousness and cleanliness? Her still living with the family? Relegated upstairs? Her interfering? Her still pressurising John, especially with the news about Helen's illness? The shock of her being murdered?

9. The police, Richland and his investigations, pursuit? The clash with the FBI agent? Suggesting a search in the church and the churches? The years passing? The discussions with Jean and her husband? His keeping them informed? The final capture, his satisfaction, the acknowledgment by the FBI agent?

10. Jean and her husband, the scenes of visiting the family, the bonds of relationship? Jean getting the news of the murders? The violence of her military husband? The funeral, the discussions with Richland? The holiday and their discussing what they might do if he were captured? Going to see him in prison, trying to find out the reason? The finale at the grave?

11. The Reverend at the church, his information about List, not knowing him deeply, the funeral, the shock of the truth?

12. The police and the FBI, investigations, the possibility of suspects eluding capture? The contribution to America's Most Wanted and Richland suggesting they do the program?

13. The film as a comment on family values, American religious values, parental obsession, the effect on children, the eruptions of anger and violence?

JOURNEY FOR MARGARET

US, 1942, 81 minutes, Black and white.
Robert Young, Laraine Day, Margaret O ' Brien, Billy Severn, Fay Bainter, Signe Hasso, Nigel Bruce, Halliwell Hobbes.
Directed by W.S. Van Dyke.

Journey for Margaret is a piece of war propaganda. However, it stands the test of time because of its focus on the human story. It is a story of a journalist and his wife, their encounter with war orphans and the possibilities for adoption. The setting is Britain in the Blitz.

The film was directed by W.S. Van Dyke (here given his military title of Major). He was a veteran of many films at MGM, ranging from Jeanette Mac Donald Nelson Eddy musicals to Thin Man films.

Robert Young is a genial star. However, it was the first major film for the young Margaret O'Brien and she makes a confident impact - even with her famous capacity for being able to weep on cue (which she does here).

A slight film now, but a memory of World War Two - and a perennial human drama.

1. War propaganda? Human story? The impact of the Blitz, war orphans? New life in America?

2. MGM production values, re-creation of England, stars? Musical score?

3. The title, the focus on Margaret and the orphans?

4. John Davis and Nora, their work in the war? Arriving in England? The situation? The Blitz? Nora and her pregnancy, the loss of the child? The depression? Return to America? John and his work, the reports? The encounter with Peter amongst the rubble? The other war orphans? With Miss Strauss? Seeing the orphans, playing with them? Finding Margaret? Taking them to the English couple and their playing up? Their friends and concern, for his adopting a child? With Miss Strauss, with the people at the office? His plan for taking the children back to the United States, the importance of weight and luggage, his pleas to the various people to take the children? The decision to take Margaret? The journey, the woman who brought Peter? The reconciliation, the journey to America, meeting Nora? The future?

5. Peter and Margaret, typical of the orphans? In the home? Emotional difficulties? Treating the children? Their attachments, to John? To Miss Strauss? The failure of the outing to the English couple? The preparations for the journey? Peter as precocious, as a playful child, the separation? Margaret, her tears - and wanting to cry and her being forbidden? Her bomb? Attachment to John? The journey to America? With Nora?

6. Miss Strauss, the orphanage, her tact with the children? Her eye on potential parents?

7. The newspaper office, John and his friends, their support? Concern about family?

8. The war, suffering, orphans? The possibilities for new lives? The generosity of parents? The perennial values of this kind of film?

JOY OF LIVING

US, 1938, 90 minutes, Black and white.
Irene Dunne, Douglas Fairbanks Jnr, Alice Brady, Guy Kibee, Lucille Ball, Eric Blore, Jean Dixon, Warren Hymer, Billy Gilbert.
Directed by Tay Garnett.

Joy of Living is a light and frothy screwball comedy of the late '30s. Irene Dunne is at home in this kind of film (Theodora Goes Wild). Douglas Fairbanks is a debonair type of hero. It focuses on a musical comedy star, her serious supporting of an irresponsible family. Fairbanks charms her to make decisions for herself and leave the family. Included in the family are Alice Brady and Guy Kibbee as the parents and Lucille Ball as the younger sister. There are Jerome Kern songs. Direction is by Tay Garnett.

1. Entertaining screwball comedy? Of its time?

2. Black and white photography, atmosphere of the '30s, costumes and decor? The cast? Jerome Kern's songs?

3. Margaret, her performance, acclaim? The pressure of her family, her talkative mother, drinking father, sister as understudy, the twins? Her continued devotion to them? Stan Brewster following her, her having him arrested, change of heart, parole? The outing, drinking, skating, light-hearted and talking? Taking him home? The parents' scandal? Marrying him? The dilemma at the door - going in for her family, listening to them complain, leaving, taking off her shoes and going with Stan? The joy of living?

4. Stan, his background, the ships, following Margaret, arrested, the court and his pleading? The sentence, parole? Outings with her, drinking, dancing, singing, skating, the buffoonery of his knockabout comedy? Margaret coming to see him, the marriage, putting things straight to her? Waiting for her and the happy ending?

5. The family: the drinking father, the nagging mother, the sister understudy, the young man and his irresponsibility, the terrible twins? The contrast with Margaret's secretary and her support?

6. Values of responsibility, living?

JOHNS

US, 1996, 94 minutes, Colour.
Lukas Haas, David Arquette, Arliss Howard, Keith David, John C. Mc Ginley, Elliot Gould.
Directed by Scott Silver.

Johns is a film about male prostitutes in Los Angeles. One can trace the influence of My Own Private Idaho on this film, the story of two gay hustlers. The film also resembles a soft-core porn version of hustlers in Los Angeles, Bruce la Bruce's Hustler White. That film is very direct with its small budget and its plain presentation of the life of the hustlers. By way of contrast, Johns looks a rather more scrubbed up story and treatment - perhaps destined for the middle American audience.

The film takes place on one day, Christmas Day, John's birthday. His money and sneakers are stolen at the beginning of the film and he decides that he has to turn enough tricks in order to pay for a room at the Plaza to celebrate his birthday. However, he is pursued by dealers to whom he owes money, we see him with his girlfriend Nikki, we see him stabbed and his friend tending his wounds, we see him with various clients - until, ultimately, he is murdered by one of them.

David Arquette gives a very good performance as John. Lukas Hass is Donner, his friend. The supporting cast includes cameos from Keith David, Elliot Gould, John C. Mc Ginley and Arliss Howard as the killer. The film is a first writing and directing film from Scott Silver - who allegedly went round Los Angeles and paid hustlers $20 each for their stories for the basis of this film.

1. An interesting drama? Insight into character and situations? Or, a film remaining on the surface of the Los Angeles street?

2. The Los Angeles settings? Streets and homes? Hotels and beaches? Rooms for clients? The world of the Los Angeles street on Christmas Day? The musical score?

3. The title, the nickname for clients? John as the central character - and his continually meeting people called John?

4. David Arquette and his screen presence as John? His day, last day of life: waking up in the park, seeing the thief take his sneakers and money, his decision to have to earn more to celebrate his birthday and going to the Park Plaza hotel? The discussions with the hustlers on the street, the warning about Jimmy the Warlock searching for him? Finding his friend Donner, the bond between the two, discussing Donner's being beaten up? The irony of the American family pulling up in their car and paying to have their photo taken with the two men? John and his relationship with Nikki - and Donner looking on, with the touch of jealousy? John and his being stabbed, Donner looking after him? The deposit for the hotel room? The possibility of a job as a lifeguard at a theme park? Stealing the pearls, pawning them, Jimmy and his henchman beating up John, taking the money, demanding the rest by midnight? John finding Donner who had also been beaten? Deciding to go to the theme park? Getting the deposit back? Going to meet Manny Gould and trying to get some money from him? John going to the bus station, picking up the last client, the sexual encounter, his being brutally murdered? The irony of Donner having stolen the sneakers - to save all the violence towards John? A portrait of a hustler?

5. The contrast with Donner: his age, coming from the Midwest, short time in Los Angeles, the irony that he stole the sneakers and his motivation? His having been bashed by a client? Being photographed by the family, watching John meet Nikki? His looking after John's wounds? Phoning the cousin for the possibility of a job? The elderly date beating up Donner? John's apology? Donner paying off the debt to Jimmy? Donner finding out the truth and finding John's body? Going on the bus alone - turning his back on the prostitutes' life?

6. The portrait of the other prostitutes on the street, their backgrounds, friendship, clients?

7. The range of clients and their backgrounds? The film producer in the car? Manny Gould at home? The homeless John and his kindness towards them? The elderly client? The violent client? The final client who murders John?

8. The violence with Jimmy the Warlock and the law of the jungle on the Los Angeles streets, especially with money?

9. The framework of the one day - the heightened episodes, life and death? Audience sympathy for the characters? The response towards their work, their clients? Their prospects for life - or death?

JOHNNY DOESN'T LIVE HERE ANY MORE

US, 1944, 77 minutes, Black and white.
Simone Simon, James Ellison, Minna Gombell, Alan Dinehart, Robert Mitchum, Grady Sutton.
Directed by Joe May.

Johnny Doesn't Live Here Any More is a slight piece of war propaganda froth. It focuses on the difficulties of getting accommodation in the big American cities (a theme treated with much more verve and style in George Stevens' 1943 The More the Merrier). The film is a star vehicle for Simone Simon, a French star who appeared in a number of American films during the war. While the supporting cast is not well-known at all, however there is an appearance by Robert Mitchum as a navy chief (whose film name is Jeff Daniels!). This is one of the earliest of Mitchum's appearances.

The film is a touch frantic, has all the elements of farce - as well as having some animation with a gremlin who appears, animated, to try to wreck whatever is going on. Interesting as a piece of American propaganda of the time, for Mitchum's performance, and for the direction by Joe May, a well-known German director (Asphalt - which was restored in 1994) as well as American films like The House of Seven Gables.

1. Entertaining wartime comedy? Farce? Fantasy?

2. Black and white photography, the city? The American cities of the wartime '40s? The musical score?

3. The gremlin, his style of animation?

4. Katherine, the story about being an orphan, her father, travelling in the train, prospects of a job? defence works? Wanting an apartment? Meeting John, the interaction with him? The range of people who came to the apartment, her turning them away, the sailors, the young boy along the corridor? The chief wanting the apartment for his wife? At work, socialising, Johnny falling in love with him? The farcical peculiar ending with the friends arriving, and Katherine married to the judge.

5. The portrait of Johnny, going into the services, giving the keys to his friends? Mike, having a bath, friendship with Katherine? The two buddies meeting, discussions about Katherine, their clash? Katherine's friend and her boyfriend? Selling the key to the chief who wanted her to meet his wife?

6. The court case, the stickybeak woman and her testimony? The judge and his reaction? The demands that Katherine make up her mind?

7. The light touch and the style of humour of the mid-'40s - as used for morale-boosting?

JOHNNIE MAE GIBSON

US, 1987, 96 minutes, Colour.
Lynn Whitfield, Howard E. Rollins Jr.
Directed by Bill Duke.

Johnnie Mae Gibson is an American telemovie about an FBI agent, a young black woman played by Lyn Whitfield (Thin Line Between Love and Hate, Eve's Bayou).

The film shows her upbringing in a poor but proud family in Georgia. She becomes a police officer, is recruited by the FBI, goes through the training, proves her worth in an arrest and then agrees to go undercover. The film shows the dangers of undercover work, especially psychologically, the effect of personal relationships and lies and betrayal for the sake of arrests and justice. Howard Rollins Jnr portrays her partner.

The film has expected sequences of FBI work, but, with the acting, it is particularly strong in showing the effect of undercover work on the participants. The film was directed by Bill Duke, who went on to direct Deep Cover, A Rage in Harlem, Sister Act II, as well as perform in such films as Payback.

1. The impact of the telemovie as a police and FBI thriller? Psychological drama? Race drama?

2. The Georgia locations, Miami, San Francisco and the Bay area? Washington and Virginia and the training? An authentic atmosphere?

3. The introduction to the family, Johnnie Mae as young, her mother's illness and the crisis, the work her father did in mending chairs, his refusal to take the turkey and to take charity? Her determination to take the turkey, the clash with her father? Her going to college?

4. Her motivation and drive? A determined woman? Wanting to get out of the poverty she grew up in? The fascination of work, study, a cause? The fascination of the affluent world?

5. Her roommate at college, seeing Marvin, falling in love, marrying him? The birth of Tiffany? Their love for each other? Her decision to join the police?

6. Her police work, the experience of racism, the domestic violence? Her being recruited? The clash with Marvin? Her going to Virginia, the meeting with the officials, the details of the training and its stress on her - especially the huge man and his humiliating her? Her graduation and the family being present? Marvin absent?

7. Friendship with Gina, the contrast between the two? Her letters to Marvin? Her wanting Gina to make her look attractive?

8. Phil Barnes and her work in Miami, his disdain for her? Her desk work? The suggestion that she go with him to find the criminal, the arrest?

9. Meeting with T.C., her decision to go underground? The arrest in the voodoo temple? The dangers? Her fearful reaction afterwards? The build-up to the case against Prentice and the gunrunners? Her decision to go undercover, the psychologists and the supervisor? The warnings? Her determination? The clashes with Marvin, his not wanting to leave home, coming to visit the daughter? The daughter wanting her mother to come home? The telephone calls?

10. Befriending Adam Prentice, on the yacht, her slip about the watch and the time? The other criminals? The affluent way of life, the hotels, nightclubs? Prentice falling in love with her? Her having to handle the situation?

11. T.C., his undercover work, her attraction towards him? Their working together, being a couple? His inability to tell her about his family? Taking her home to meet his wife and children? His acting as a mentor to her? His concern, the dangers, the psychologists and wondering whether she would cross over?

12. The build-up to the confrontation, Adam's proposal to her, taking her to the arms, her seeing the demonstration of the weapons? Phone calls to T.C? The danger, the criminals investigating her background? The set-up and the stakeout? The exchange of fire with the criminals getting the weapons? The confrontation with Adam and the bosses? Johnnie and her quick thinking, saving Adam? The FBI telling him to run - setting him up, then arresting him?

13. Johnnie's talking with Adam in the prison? Her coming to herself? His gratitude that she had kept him alive?

14. The resolution of the problems, discussions with T.C., her finding herself, reuniting with the family, her skills in her work, her supervision work in Washington?

15. Portrait of an enterprising woman? Women's issues? Men's issues? Race issues? Police work and its toll?

JOHN AND YOKO: A LOVE STORY

US, 1985, 146 minutes, Colour.
Mark Mc Gann, Kim Miyori, Peter Capaldi.
Directed by Sandor Stern.

John and Yoko: A Love Story is a long telemovie focusing on John Lennon from the mid-'60s until his death in December 1980. It focuses on his relationship with Japanese artist Yoko Ono.

The film was written and directed by Sandor Stern, writer and director of many telemovies. Mark Mc Gann is excellent in the role of John Lennon, creating the impression that this really is Lennon. Kim Myori is also excellent as Yoko Ono. The film focuses on the success of the Beatles, the pressures on them and their breaking up, the breakdown of John Lennon's marriage to Cynthia, the affair with Yoko Ono, their marriage - and his decline in output and popularity, his identification with the peace movement in the United States and the suspicions and surveillance of the FBI, the separation of Yoko Ono and John Lennon, their coming back together again, hoped-for pregnancies, the birth of Sean, the restoring of relationship with Julian Lennon - his coming back in his career and artistry and the assassination.

The film is a tribute to John Lennon, though it does not underestimate his eccentricities and failures.

Another portrait of John Lennon, much more of a documentary, is Andrew Solt's Imagine. Other films highlighting the life of the Beatles include Richard Marquand's The Birth of the Beatles, the documentary Let It Be, the animated Yellow Submarine.

1. The impact of the Beatles in their time, succeeding generations, into the '90s? The significance of John Lennon as an English artist, musician, embodiment of popular culture? His life and career, Liverpool to New York, the assassination? Yoko Ono, the artist, her relationship with John Lennon and being part of his life? The widow?

2. The impact of the telemovie - the portrait of John and Yoko for the wide television audience? The tailoring of the story for the television audience?

3. Audience knowledge of and interest in the Beatles and their music, the career of John Lennon? His verbal wit, art, music and lyrics? Life? The stances of the screenplay for and against him and Yoko?

4. The background of the Beatles' career, the opening in 1966, the demonstrations of the Ku Klux Klan, his statement that the Beatles were more popular than Jesus Christ? The fundamentalist religious reaction? The acclaim of the American teenage audience? The tours? The style, each of the Beatles glimpsed in this film? Characters, talents, interactions, the break-up, hostilities? To Yoko Ono? Brian Epstein as their manager - and the impact of his suicide?

5. Yoko Ono and her art, her marriage to the American Tony Cox, her daughter? Her belief in her art - and its eccentricity? The sequences with her parents in Japan?

6. The encounter between John and Yoko, the gallery, her not knowing him, his being playful about the art? Cynthia and John watching Yoko Ono on television and Cynthia's reaction? The mutual fascination, interactions, going out on occasions, sharing, the affair? The credibility of their becoming a romantic couple?

7. The effects on Lennon himself and his work, going to India with the other Beatles and their wives? The impact of the '60s and his becoming tired? Plans to move away, records, law cases and people suing one another? The break with the Beatles and his handling of it? The possibility of joining in the concert for Bangladesh but George Harrison not wanting Yoko Ono to participate?

8. Yoko's pregnancy, the hope for the child, hospital, the loss of the baby? The going through the divorces? Custody questions and Yoko being deprived of her daughter? Her daughter's hostility? John reminiscing about his parents' break-up, the holiday with his father, having to make choices, going to his father who had given him a happy holiday, the pain for his mother? His understanding of the impact on children? The wedding, the publicity honeymoon of them staying in bed?

9. Going to America, the impact of the Vietnam war and his stance? Antagonism towards Richard Nixon? The inserts of news footage on the war, the Nixon campaigns and the 1972 election? His participating in protest songs and concerts? Yoko Ono and her singing, singing with him? The antagonism of the public, the press, the Beatles towards her? The FBI and surveillance at his concerts? The drug case in England and its being held against him? Wanting to get a visa for the United States, the government wanting to deport him? The lawyer, consultation and advice?

10. His private life, music, 1971 and the peace movement, his songs? The second pregnancy and the loss of the child? Yoko and John doing everything together? His infidelity at the time of the election? Yoko's reaction? Her feeling that they were suffocating each other? Their attempts to be together, home in the country? Yoko asking for the separation?

11. John Lennon in Los Angeles, encounters with Harry Nilsson, Elton John and other musicians? His disorganised year, sexual encounter with the Japanese producer, infidelity? His staying away a year? Yoko and the phone calls, her not wanting him to come back? Elton John's asking him to participate in the concert after the success of the record? His return, its success, Yoko reunited - `the separation didn't work out'?

12. Yoko's pregnancy, the birth and the Caesarian section? Sean and their delight, the visit to Japan - the reaction of Yoko's parents? John's aunt? The visit of Julian - and the talk about the Sex Pistols, a sense of reconciliation? The songs of the period - especially about women and the beautiful boy? The happiness, John Lennon from 35 to 40? The information given that he could stay in the United States? At home in New York, its atmosphere and life? The possibility of retiring also to the country?

13. The brutality of the assassination? Its effect on the family? On Yoko Ono? The grief of Beatles fans and the impact around the world?

14. The character of John Lennon, his Liverpool background, broken family, his aunt? The music, its success, world response? Lennon as the eccentric, the rebel, the touch of continued counter-cultural poses? Popularity, songs? Idolised? The break-up of the Beatles, his collapse? The impact of Yoko Ono on his life? An emotional man, relying on her? The separation and his having to work through his problems, coming to some kind of understanding and peace? His achievement?

JOHNNY BE GOOD

US, 1988, 91 minutes, Colour.
Anthony Michael Hall, Robert Downey Jr, Paul Gleeson, Uma Thurman, John Pankow, Seymour Cassell.
Directed by Bud Smith.

Johnny Be Good is a film about high school students, college opportunities, sports scholarships. It is the kind of film that has its cake and eats it. While it moralises on the worldly opportunities given to students and the effect that this has on them, it indulges itself in showing what the perks are, in terms of wine, women, money.

Anthony Michael Hall (from several of John Hughes' films including 16 Candles, Breakfast Club) is the football champion. Robert Downey Junior gives a variation on his buddy performances as Leo. The film introduces Uma Thurman (Dangerous Liaisons, Baron Munchausen).

The film makes its point about the colleges, their ambitions, their use of money to ensure top football players. It also shows the power of corruption. In this moralising film, needless to say, Johnny makes a stand at the end.

1. Youth comedy? Teenagers and school? Relationships? Careers and scholarships? The world of sport and professional football?

2. The American town, the American family, relationships? High schools and possibilities? College and possibilities? The razzamatazz and exploitation of the colleges?

3. The title, the song reference, musical score, range of songs?

4. Johnny Walker, his skill in playing football? His fans in the town? Friendship with Leo? Relationship with his parents and their sensible attitude? His coach and his demands? The invitations from the various schools? The coach as an agent pressurising him? His relationship with Georgia, the clash with her policeman father? Love for Georgia, her belief in him? His going out of town, Texas and the Texan style, the barbecue, the girls, the striptease and its effect on him? His going out with Tex's wife, the floodlights in the stadium? The pressures on the family from Texas? The other invitations? California, the world of commercials, contracts, promotion, exploitation? Johnny and his desire for perks? His change of dress, change of attitude? Going to the local coach and his straight talking? Georgia and her suspicions and hurt? His family, the children and their reaction, his parents? Leo and the set-up, the girls, the police coming, the blackmail for pressurising him? The coach bailing him out of jail? The finale, the footballers, their choices? Johnny's taking a stand, his public confession, going to the coach and playing for the home team? Temptation and redemption?

5. Leo, his friendship, sharing Johnny's perspective, helping him, Georgia? His setting him up in the motel? His embarrassment, change of heart? Support of Johnny?

6. Georgia, her father the policeman, his wanting to catch Johnny, his later vindictiveness? Georgia, her work, love for Johnny, hurt by his behaviour? Happy ending?

7. The family, his mother and her wisdom? His grandfather and the fishing? The pressure from interstate? The happy ending?

8. The coach, financial deals, pressure, big businessmen? The coach of the local college and his straight talking?

9. The razzamatazz, Tex and his wife, life in Texas, wining and dining the footballers? Women and sex? The Californian experience and commercials?

10. The touches of humour, the coach and his wife and her party, the raid? The teenagers, the other football candidates?

11. Comedy, serious, exploitation, moralising?

I LOVE YOU, MAN

US, 2009, 105 minutes, Colour.
Paul Rudd, Rashida Jones, Jason Segal, Andy Samberg, J.K.Simmons, Jane Curtin, Jon Favreau, Jamie Pressley, Thomas Lennon, Sarah Burns, Rob Huebel.
Directed by John Hamburg

Trailers were quite misleading in indicating what this comedy was about. It is the story of a man about to get married who finds that he has no men friends, no one, apart from his brother, that he could ask to be his best man at his wedding. His fiancee and her friends are concerned, so they all urge him to make some male friends.

This is a very amusing comedy. It is well-written, quite funny at times. It is also very well acted, especially by Paul Rudd who tends to be cast as the friend rather than the hero. He can be both funny and serious and has fine timing for repartee and for facial expressions.

It should be said that, in the recent tradition of Jud Apatow comedies, it begins with the touch of raunchiness (this time in the dialogue) but mellows as it goes on and finishes with an emphasis on moral values, especially commitment. Rudd has appeared in several Apatow comedies as has co-star, Jason Segel, who wrote and acted in the 2008 comedy, Forgetting Sarah Marshall.

We have a sympathy for Rudd's character, real estate agent, Peter Klaven, who has a big opportunity for success in selling Lou Ferigno's house (jokes about The Incredible Hulk and a guest appearance by Ferigno himself). After some internet matching attempts (including a funny cameo by Thomas Lennon (who was so eccentric in 17 Again) as a prim closet gay, Peter has made little headway with friendship. He is also goaded by his father, J.K. Simmons, who is a master at outlandish dead-pan (and who could have had some more funny speeches).

At an open house at Ferigno's, he encounters a large, casual man, Sidney Fife (Segel), who attends open house inspections for the spread. They get talking, click and soon become friends. But, Sidney's way of doing things is more than a touch bohemian but Peter finds it quite liberating and is soon spending more and more time with Sidney. Sidney is one of those extraverts who doesn't know what he thinks until he says it, a blurter – which is the final joke of the film during the final credits which should not be missed.

Needless to say, there are some crisis moments, especially with Peter's fiancee, Zooey (Rashida Jones) but, also needless to say, all's well that ends well.

The director is John Hamburg who wrote, amongst others, the screenplays for Meet the Parents, Meet the Fockers and Zoolander.

1. A film about a man finding himself, relating well to women, but lacking in self-confidence, trying to discover male friends, a best friend?

2. The Los Angeles settings, homes, offices, real estate business, Lou Ferigno’s mansion, restaurants, wedding preparations? Rock concerts? The musical score?

3. Peter and Zooey, the conversations, the house, the proposal, her telling all her friends and their reactions? His response? Zooey’s girlfriends talking, his having no male friends? No best friend? The meal at home, his father’s raunchy remarks, best friend, his son, the gay son and solidarity? His mother?

4. Peter at work, real estate, Tavin and his rivalry, smooth talking, self-promotion, his face on the urinal soap cakes? The prospect of Lou Ferigno’s mansion Peter, the open house, meeting Sidney, Sidney eating, the conversations diagnosis of the young man not buying the house, breaking wind? The exchange of cards?

5. Peter, his brother helping him, at the gym, the assistant and his high-pitched enthusiasm? The online dating, the very old man and Peter befriending him, later inviting him to the wedding? Doug, prim and prissy, the dinner, the farewell kiss and Peter’s reaction? His mother warning him against having dinners? Doug later meeting him and insulting him? But, still at the wedding?

6. The exchange of cards with Sidney, the meeting up, the restaurant and the food, drinking? Peter confiding in Sidney? Sidney being an easy listener? Brashly talking about his sexual relationship with Zooey? Her later being upset? Cause of tension between them, the explanation about the past, her willingness? The dissatisfaction?

7. The outings with Sidney, walking the dog, the man slipping in the poop, Peter and his enjoying the company?

8. Sidney, easy going, not wanting a commitment, picking up women at the open houses, eating, his house, his set up and Peter’s admiration, the dog? The outings? Asking for the loan? Going to the restaurant, attacking Tavin, comments on Lou Ferigno, Ferigno getting him in a hold? Putting up the billboards – and the humour of the photos of Peter, the various poses? Peter’s reaction, going to Sidney, the break, going to the office, all the phone calls, the contacts, the sales, the promotion of his career? Telling off Tavin?

9. Peter and Barry, Denise and her partner, their continually quarrelling, making up? Peter winning at cards, the beer competition, his being sick over Barry? Barry and his antagonism?

10. Hailie, friends with Zooey, the outing with Sidney, the golf game, her hitting him, her walking off in exasperation?

11. Zooey, wanting time out, going to stay with Denise, Peter upset, coming to apologise, the reconciliation?

12. The preparation for the wedding, the places? Not inviting Sidney?

13. The wedding, everything ready, Zoe phoning Sidney, on his bike, arrival, becoming best man, the range of people at the wedding including Lou Ferigno and Doug?

14. And happy ending, the story about friendship, male bonding, love and commitment?

THE COVENANT

US, 2006, 97 minutes, Colour.
Steven Strait, Laura Ramsay, Sebastian Stan, Taylor Kitch, Chace Crawford, Toby Hemingway, Jessica Lucas.
Directed by Rennie Harlin.

The Puritans in Salem, Massachusetts 1692, those self-righteous persecutors of women falsely accused of being witches, have more than the savage goings on in their day to answer for. They have ‘inspired’ quite a lot of lesser horror stories (although Arthur Miller immortalised them effectively in The Crucible) – The Covenant is the latest.

What if several families formed a covenant to protect their supranatural powers, keep them secret and hand them on for generations? “Until now!”, as the opening of this film reveals.

Four seventeen year old high school students at a private institution all have the powers. One of them, the very earnest Caleb (Steven Strait) knows from sad family experience that the more one uses the powers, the more life and energy they use up. And the trouble is that it is addictive. He is about to turn eighteen and ‘ascend’, inheriting greater powers. So far, so good. However, a couple of his friends waste their powers. And, more however, somebody mysterious is exercising even greater powers. Could it be the handsome new student? Of course.

Caleb is destined to confront the usurper. Meanwhile, he has fallen for the attractive Sarah (Laura Ramsay) who has transferred from a public school. His mother is an alcoholic because Caleb’s father became addicted to power and grew prematurely old. The father holds the solution to the final battle.

As with so many American soap operas, most of the young cast all look the same, so that one has to check on the different coats Caleb and his foe wear to tell who is who. It doesn’t matter all that much because one is looking at the very flashy action and you know who is going to win. A male alternative to Charmed?

1. The popularity of this kind of horror film? For a younger audience? Special effects? Supernatural themes?

2. The background, the information at the opening, the Salem witch trials, the religious refugees in New England? The covenant, the families, the Ipswich Covenant? The three hundred years? The secrecy of the powers? The credibility of this kind of hypothesis?

3. The New England settings, the contemporary scenes? Homes, mansions, eerie homes, the school, dormitories? Authentic atmosphere? The coast? The beach parties? The cliffs? The atmospheric score?

4. The title, the families and the covenant? The consequences? Breaking the covenant?

5. The introduction to Caleb and his friends, the party, the cliff, their exercising their powers, jumping over the cliff? The characters? Interchangeable in character and appearance?

6. Caleb, the hero, the leadership? His relationship with his alcoholic mother? The memories of his father, his father addicted to the powers and becoming old? Caleb bringing things to his father, his relying on Gorman to look after his father? At the parties, studies, swimming, sports achievement? The clashes with his friends? The meeting with Chace, Chace becoming part of the group? Friendship, swimming rivalry – and Caleb crashing into the wall? His meeting with the girls, the attraction towards Sarah? The meetings with Sarah? The news of the death of their friend, the words of the principal? The preparation for the party?

7. Chace, his background, his family, his powers, addicted? Insinuating himself in the group? With Kate? Killing the student in the car? Spying on Sarah? His manifesting himself to Caleb, trying to injure him in the swimming? The arguments? The build-up to the finale – and the special effects for the struggle against each other, the exercise of powers? His defeat?

8. The group, in school, classes, parties, relationships? At the bar, the fights? The reprimands of the bartender? The concern by the principal?

9. Sarah and Kate, friends, sharing the room, Sarah and her nightmares, the spiders – and her reading in the library, finding out about the covenant, the effect of the spiders? Her fear in the shower? Her attraction towards Caleb, meeting his mother? Preparing to go to the dance? The hold over her by Chace, suspended, the fire, her being rescued? Kate, friendly, the accident?

10. Evelyn Danvers, alcoholic, her love for her son, his birthday? Her friendship with Sarah? Going to James Danvers, seeing him decrepit, addicted to his power? His giving his power to his son?

11. The popularity of this kind of story? The supernatural? The touch of the diabolical? New England and witches and the tradition? A youth-oriented horror film?