UN COUPABLE IDEAL (MURDER ON A SUNDAY MORNING)

France, 2001, 111 minutes, Colour.
Directed by Jean-Xavier? de Lestrade.

Un Coupable Ideal won the Oscar for best documentary of 2001. French director of documentaries de Lestrade, was interested in making a documentary in the United States. When he visited Florida, he came across the case of Brenton Butler who was accused of a murder. In meeting Butler and, especially, his lawyer Patrick Mc Guiness, de Lestrade decided to follow the case to make it a documentary.

In fact, Brenton Butler was a fifteen-year-old wrongly accused of murder, wrongly identified by the husband of the victim, treated badly by Jacksonville police who lied during their cross-examination. When the trial was completed, he was acquitted in forty-five minutes.

The film focuses on Patrick Mc Guiness and his associate Ann Linnel. They were both public defenders who took their role seriously, examined the case, did more investigations than the police did. Mc Guiness comes across as a very impressive character as does Ann Linnell.

The film has been used in subsequent years in law schools to illustrate the work of public defenders, the ways of cross-examination, the ways of research – and interpreting the evidence put forward by police.

1. The impact of the film? Winning an Oscar? A European perspective on the United States?

2. The response of the legal profession, favourable, the use of the film in studies? The film screened on television around the world and the acclaim? The emotional effect, the intellectual effect?

3. The titles?

4. The director and his work, age, experience in documentary film-making, the decision to go to the United States, meeting Patrick Mc Guiness? Meeting Ann Linnel? The basis for his decision to make the film, the time devoted to it, his editing it? The importance of the extras on the DVD – giving background to the characters as well as some extra scenes, especially about the prosecutor and the police?

5. The documentary style of the film, reality, locations, people, the prisons, the scene of the crime, the streets, the court? Patrick Mc Guiness’s workplace?

6. The editing, pace, decisions for close-ups, the court, the cross-examinations, the jury …?

7. The impact of Patrick Mc Guiness, as a person, Ann Linnel as a person, public defenders, their role in the community, taking on cases, assessing cases and responsibility, guilt or innocence? The attitudes? The interiors of his office, the interviews? His working behind the scenes? Discussions with people concerned? The research and investigations?

8. The presentation of the crime, Mr Stevens, the experience of his wife’s death, his memory of detail, identifying Brenton Butler, his testimony in court? The fact that Brenton Butler was not guilty?

9. Butler himself, the situation, at home, his devout parents, the Sunday morning, prayer, in his room, the music, his brother? The plan to go to Blockbusters for a job application? His caring for the dog? His story, the identification as the murderer, his age, arrest, the interrogations, Glover and his violence, going into the woods and his being hit, the signing of the confession, words put into his mouth, in the court, introverted, his testimony?

10. The prosecutor, serious, her objections?

11. The judge, listening, fair, the scenes of the jury? (And the DVD extra showing the empanelling and rejection of jurors?)

12. Ann and her explanations, her role in the case, her cross-examination?

13. Patrick, his explanations, in court, his personal feelings, the cross-examinations?

14. The police personalities, their stories, Williams and his incompetence, the smug police officer? Glover and the implications of his job, connections, his getting confessions, violence? The manner of these men in the cross-examinations? Their lies? Saving face?

15. The witnesses, the doctor and her photos of Brenton Butler’s injuries, Stevens, the bag, finding it, the cross-examination? The irony of the money found so far from the scene of the crime?

16. The Butlers, the mother and her being devout, the father and his support of his son, prayer with him in the jail? Their visits? Brenton in this context?

17. The summaries, the emotional impact of the summaries? The quick verdict, the joy of the aftermath?

18. The irony of the DNA, the fingerprints, the arrest of the actual killer and his trial?

19. A significant experience, the power of cinema, capturing the procedures, the case, the personnel involved, the processes?

CHAMELEON

US, 1995, 108 minutes, Colour
Anthony la Paglia, Kevin Pollack, Mellora Hardin, Wayne Knight, Derek Mc Grath, Andy Romano, Robin Thomas, Richard Brooks.
Directed by Michael Pavone.

Chameleon is a minor police thriller. It focuses on Anthony la Paglia as an undercover police officer, the effect of the death of his wife and child, his wanting vengeance, his mental instability, his ability to use makeup and disguise for his undercover work and his not knowing the difference between truth and fantasy. La Paglia gives a very effective performance, showing his range.

Kevin Pollack is the police chief, a rather better-written role, with more sympathy for his personal dilemmas as well as his own sympathy for La Paglia. Mellora Hardin is a bank executive, under suspicion, with whom la Paglia falls in love and who will ultimately be the person he can unburden himself to. Wayne Knight has a more serious role than usual as a chief agent.

The film has the usual plot about drug dealing, drug lords, the CIA and corruption, arms dealing outside America.

1. The popularity of this kind of police thriller? An officer going into deep cover? The repercussions for his work, for his own psychology?

2. The city settings, police precincts, squalid areas, affluent areas, banks? Inside prisons? The musical score?

3. The title, Willie Serling as a chameleon, his ability to put on many disguises, to be unrecognised, to infiltrate, to get people to confide in him?

4. Willie, his background as an officer, the video of the birth of his child, his love for his wife (and her appearing with her wound)? His being under cover, his wanting to get revenge on the murderer? Langston and his recruiting him to go to Los Angeles? His going west, the meetings with Matt Gianni, the various disguises, the discussions? Having his own terms? His being willing to go into prison, his disguise, computers, being used by the criminals in their luxurious life, in the processing of cocaine within the prison? His continued reports to Gianni? His finding out the truth, the disk? Being drawn out? His disguise as the bank auditor, his suspicions of Jill, the other members of the bank, especially Morris Steinfeld? His humour? His chatting up Betty and getting her to cooperate? His investigations, suspicions of Jason Ainsley? His reporting to Gianni, their discussions, the disguises, especially the fanatic protesting outside the courts? The falling in love with Jill, his dapper British manner, the discussions, the meals, allaying suspicions? His finding out what really happened? The set-up, going after the main villain? Langston coming, the reality of the mission to get the dealer, the CIA wanting him out? Gianni not knowing? Willie and his continuing to investigate, the death of Ainsley, Jill finding out the truth? His wanting to confide in her? Leaving her, the criminal and his attempt on her life, his shooting him? Being able to tell the truth – and have a future? The image of his wife approving?

5. Matt Gianni, police chief, personal dilemmas, how to handle the case, his angers and resentments? The deal with Langston? Working with Willie, the contacts, the disguises, his exasperation? Not knowing the overall mission? His sympathy towards Willie, personal sympathy? The finale, the killing, the parting as friends?

6. Jill, her work, connection with Ainsley, Willie’s suspicions, her falling in love with him, going out, the break with Ainsley, his owning the apartment? The sexual relationship, Willie beginning to confide in her, her discovery of the truth and her shock, wariness? The threat on her life, Willie saving her?

7. Langston, the CIA, arms dealers, drug dealers? Eliminating difficult people?

8. The prison, the underling and his comfortable life, the deal with the warden, the prisoners and their laboratory, processing the cocaine, big business, computerised? Willie as part of it? The final arrests?

9. Morris Steinfeld, genial, jokes, ambitions? His being persuaded to launder the money? The threat from Willie, his telling the truth, setting up Willie and his being shot?

10. Ainsley, his link with the criminals, the bank and its laundering the money, his antagonism towards Jilly, his death?

11. The police, their work, surveillance, the murder of surveillance personnel, the Mafia types, thugs, killers? The world of police thrillers and crime?

CHAMELEON

US, 1995, 108 minutes, Colour
Anthony la Paglia, Kevin Pollack, Mellora Hardin, Wayne Knight, Derek McGrath?, Andy Romano, Robin Thomas, Richard Brooks.
Directed by Michael Pavone.

Chameleon is a minor police thriller. It focuses on Anthony la Paglia as an undercover police officer, the effect of the death of his wife and child, his wanting vengeance, his mental instability, his ability to use makeup and disguise for his undercover work and his not knowing the difference between truth and fantasy. La Paglia gives a very effective performance, showing his range.

Kevin Pollack is the police chief, a rather better-written role, with more sympathy for his personal dilemmas as well as his own sympathy for La Paglia. Mellora Hardin is a bank executive, under suspicion, with whom la Paglia falls in love and who will ultimately be the person he can unburden himself to. Wayne Knight has a more serious role than usual as a chief agent.

The film has the usual plot about drug dealing, drug lords, the CIA and corruption, arms dealing outside America.

1. The popularity of this kind of police thriller? An officer going into deep cover? The repercussions for his work, for his own psychology?

2. The city settings, police precincts, squalid areas, affluent areas, banks? Inside prisons? The musical score?

3. The title, Willie Serling as a chameleon, his ability to put on many disguises, to be unrecognised, to infiltrate, to get people to confide in him?

4. Willie, his background as an officer, the video of the birth of his child, his love for his wife (and her appearing with her wound)? His being under cover, his wanting to get revenge on the murderer? Langston and his recruiting him to go to Los Angeles? His going west, the meetings with Matt Gianni, the various disguises, the discussions? Having his own terms? His being willing to go into prison, his disguise, computers, being used by the criminals in their luxurious life, in the processing of cocaine within the prison? His continued reports to Gianni? His finding out the truth, the disk? Being drawn out? His disguise as the bank auditor, his suspicions of Jill, the other members of the bank, especially Morris Steinfeld? His humour? His chatting up Betty and getting her to cooperate? His investigations, suspicions of Jason Ainsley? His reporting to Gianni, their discussions, the disguises, especially the fanatic protesting outside the courts? The falling in love with Jill, his dapper British manner, the discussions, the meals, allaying suspicions? His finding out what really happened? The set-up, going after the main villain? Langston coming, the reality of the mission to get the dealer, the CIA wanting him out? Gianni not knowing? Willie and his continuing to investigate, the death of Ainsley, Jill finding out the truth? His wanting to confide in her? Leaving her, the criminal and his attempt on her life, his shooting him? Being able to tell the truth – and have a future? The image of his wife approving?

5. Matt Gianni, police chief, personal dilemmas, how to handle the case, his angers and resentments? The deal with Langston? Working with Willie, the contacts, the disguises, his exasperation? Not knowing the overall mission? His sympathy towards Willie, personal sympathy? The finale, the killing, the parting as friends?

6. Jill, her work, connection with Ainsley, Willie’s suspicions, her falling in love with him, going out, the break with Ainsley, his owning the apartment? The sexual relationship, Willie beginning to confide in her, her discovery of the truth and her shock, wariness? The threat on her life, Willie saving her?

7. Langston, the CIA, arms dealers, drug dealers? Eliminating difficult people?

8. The prison, the underling and his comfortable life, the deal with the warden, the prisoners and their laboratory, processing the cocaine, big business, computerised? Willie as part of it? The final arrests?

9. Morris Steinfeld, genial, jokes, ambitions? His being persuaded to launder the money? The threat from Willie, his telling the truth, setting up Willie and his being shot?

10. Ainsley, his link with the criminals, the bank and its laundering the money, his antagonism towards Jilly, his death?

11. The police, their work, surveillance, the murder of surveillance personnel, the Mafia types, thugs, killers? The world of police thrillers and crime?

THE CORRUPTOR

US, 1999, 110 minutes, Colour.
Chow Yun Fat, Mark Wahlberg, Ric Young, Bryan Cox, Byron Mann.
Directed by James Foley.

The Corruptor is a police film, set in New York, in Chinatown. It is a film about police partners, a Chinese policeman, the first to work in Chinatown, partnered with a white American. He seems naïve. The Chinese policeman is his mentor. However, there is corruption from the leader of the triads in New York, and rivalry between different groups.

The irony, halfway through the film, is that the naïve young policeman is actually Internal Affairs, investigating the corruption. However, he is indebted for his life to the Chinese policeman. The film builds up to a climax and a confrontation between the police and the triads.

The film is similar in theme to Michael Cimino’s 1985 film, The Year of the Dragon. Chow Yun Fat had appeared in a number of John Wu’s Hong Kong films, like Hardboiled, and a variety of police thrillers. In the United States he appeared in The Replacement Killers and Bulletproof Monk as well as a more serious role in Anna and the King.

1. The popularity of police stories? Partners? Gangs in New York?

2. The New York streets, Chinatown, the atmosphere? The police precincts? The musical score?

3. The focus on the triads, Uncle Benny and his setting up business, drugs, illegal immigrants? The rivalry of Henry Lee, his gang? The violence and the murders? The killing of the women? The industry with the migrants, prostitution, drugs? Lee and his ambitious young followers? His suave manner, Nick Chen being indebted to him? His patronage to Danny Wallace? Guiding him as to raids? Using him to eliminate rivals? The build-up to the confrontation between the police and the triads after the murder of Uncle Benny? The role of the Chinese in New York City?

4. Nick Chen, the first Chinese cop in the area, his history of people not speaking to him, alienated from the white police? His asking for a partner? Getting Danny Wallace? The shoot-outs in the streets, the investigations of murder, the dead women? Danny and his not confiding in him? The revelation that he was under the influence of Henry Lee? Information, federal agents, deaths? Surveillance with Danny? Telling him off, giving him warnings? The build-up to the climax, his not knowing that Danny was Internal Affairs? The shipment of illegal immigrants, his finding out the truth, his being ordered to kill Danny? On the ship, the raid, the discovery of the people? The shoot-outs, his death – his being given full police honours at his funeral? Good cop/bad cop? Honest/crooked? The pressures on the police in this kind of situation? Repaying debts, doing favours?

5. Danny Wallace, his seeming inexperience, earnestness, sense of duty? Partnering Nick, freezing in the raid, his life being saved, feeling indebted? The story of his father, his father’s visits, the bagman, gambling habit, illness? Clashes with his father? Getting the money from Nick, helping his father in hospital? His father denouncing him for being Internal Affairs?

6. Henry Lee, suave leader, sinister, smooth talker, manipulator, building up his young gang? Getting the police to eliminate his rivals? The confrontation with Uncle Benny? His not counting on being taped, his arrogance, his arrest?

7. Bobby Vu and the other fanatical young men, their loyalty to the triads, murderous? The confrontation with Uncle Benny, his taking his own life? The young man with the girlfriend, the police putting pressure on him, his carrying the tape, the phone call, Nick’s quick thinking and avoiding disaster? The tape and the arrest of Henry Lee?

8. The local police, the chief, the investigations, not knowing that Danny was Internal Affairs, the FBI, the suspicions about Nick? His deals, the District Attorney, the FBI investigation, interrogations? The final funeral?

9. The Chinese in New York City, established restaurants, the hold of the triads, the immigrants, being used for prostitution, their being murdered?

10. The title, with reference to whom – especially Henry Lee? Nick?

CHASERS

US, 1994, 101 minutes, Colour.
Tom Berenger, William Mc Namara, Erika Eleniak, Crispin Glover, Dean Stockwell, Gary Busey, Seymour Castle, Frederick Forrest, Marilu Henner, Dennis Hopper.
Directed by Dennis Hopper.

Chasers got very bad reviews. Dennis Hopper was criticised as losing his touch. After his breakthrough in direction with Easy Rider, his made the very self-indulgent The Last Movie. During the late 1980s he began again to direct with such films as Colours and Hot Spot. However, after studio clashes with Catchfire, his directing career faltered. However, he continued to act in a great number of films, usually giving some kind of variation on a manic character.

This is a film about two navy personnel accompanying a prisoner across country. It is a road film, the prisoner trying to escape, the chasers (those commissioned to accompany a prisoner) keep getting her back. The film is a routine action adventure with touches of comedy. Many of Dennis Hopper’s friends take cameo roles.

1. An entertaining action comedy thriller?

2. The south, the navy, the road, transporting the prisoner? The various locations on the road, diners, houses…? The musical score, the songs?

3. The title, the reference to the work with the sailors accompanying the prisoner? Their being tricked into accompanying Toni? Their not wanting to do it, their trying to avoid it?

4. Fast Eddie Devane and his age, experience, conman, last day in the navy? His wanting to get his push? His being forced to transport the prisoner? His relationship with his partner, Rock Riley? The reaction to getting Toni Johnson? On the road, the incident at the diner, her disguising herself as a waitress, the getaway? Their getting her back, the breakdown of the van? The episode at the mining shaft? Her getting on their shoulders to get out of the shaft, her deciding to save them?

5. Rock Riley, gruff, the usual navy veteran? His reaction to being with Eddie? To Toni? Keeping an eye on Toni, her escapes, the getaway, the breakdown? In the mine shaft?

6. Toni, her offence, the transport back to the base? Her reaction to the two men, her wanting to escape, as a waitress, the car breakdown, the sexy overtones of the mine shaft escape? Her deciding to save the two chasers?

7. The subsequent reaction, their getting to now one another, their discussions, their life stories? Toni and her striking the officer, her wanting to visit her brother, his overdose? Eddie and his talk about the Porsche? Riley and his story? The irony of Eddie releasing Toni, her escape, taking the car? Her being recaptured yet again?

8. Finally getting Johnson to the navy? Riley and Eddie and their clashes, the fight?

9. Riley, his change of heart towards Toni, again organising an escape, Eddie helping?

10. The postscript, Eddie and Toni in Mexico, the phone call to Riley, his living in retirement? The future get-together?

11. The portrait of the navy, chaser duty?

12. The range of minor characters, the people encountered on the way, the officers, the diner, the mine, the salesman…?

 

 

 

 

 

CLEAN

France, 2004, 110 minutes, Colour.
Maggie Cheung, Nick Nolte, Beatrice Dalle, James Dennis, Don McKellar, Jeanne Balibar, James Johnstone, Martha Henry, Letitia Spigarelli.
Directed by Olivier Assayas.

Olivier Assayas has made very different kinds of films in recent years, his nostalgic 19th century costume drama, Sentimental Destinies, and his mod, hi-tech social thriller, Demonlover. This time he has made an interesting and thoughtful contemporary drama, though not as emotionally intense as might have been expected.

The opening shots of Hamilton, Canada, with its vast smoking industrial complexes, evokes an overwhelming mood of polluted air and difficulty in breathing – which is what most of the characters experience, whether they be in Hamilton, Vancouver, Paris or London.

Maggie Cheung (Asseyas' Irma Vep) is Emily, a faded rock singer, an addict, fighting with her singer husband who dies of an overdose. She spends six months in gaol for possession. Can she clean up her life, especially since she has a young son who is being cared for by his grandparents? The film focuses principally on Emily, her methadone treatment, her making an act of the will to be ready for her son, her attempts to get work (especially from an egotistical past lover, Jeanne Balibar), her dealings with the boy's grandfather. Nick Nolte as Albrecht gives one of his best performances, understated but deeply felt, a man who has not been much of a father to his own son and who fears the responsibility when his wife dies.

The story and the performances are strong enough to engage the audience.

1. The work of Olivier Assayas, the range of his genres, history, drama, science fiction? This film as a straightforward human drama? Its international tone, settings, cast, appeal?

2. The opening with Hamilton, Canada, the vast industrial complex? Hamilton as the ordinary and sometimes ugly North American city? The contrast with Paris and its world? London and its hotels, hospitals? Vancouver and ordinary people’s homes? The internationality of the film, the moving from English into French and back again?

3. The title, the focus on drugs, addiction, people coming off drugs, methadone treatment, health and life and being clean? The background of contemporary industry and its polluting the atmosphere? Moral pollution – unclean?

4. The portrait of Emily, Maggie Cheung and her screen presence, in Canada, her relationship with Lee, their fighting, the nightclub, the songs? The arguments with Vernon? The performance, down on their luck, Lee and his taking drugs, the discussions about contracts, his hopes, the hostility, her going to buy drugs, staying out after taking the drugs, coming back to find Lee dead? The police, her aggression, their arresting her, being in prison for possession? The six months’ experience of jail, Vernon and his coming to meet her, his clearing up all the debts, his explaining her financial situation, his not wanting to see her again? Maggie and her hostility? Her coming out of prison, the future?

5. The world of music and musicians, especially in the 80s and early 90s, songs, records, money, celebrity life, drugs and addiction? Vernon and his role, Trickey and his role? Ruth and her blaming Emily for all that had happened to her son and for his death?

6. Emily coming out of prison, her meeting with Albrecht? His selling the London flat, paying her debts? The issue of Jay’s custody? Albrecht and his plan, his not wanting Emily to see Jay in the coming years to help him have some kind of stability and peace? Her decision to go to Paris, meeting up with Elena, Elena’s help? Drugs, pills, going on the methadone? Her scenes of desperation, looking in bathroom cupboards for pills? Her deciding to give up drugs in order to have Jay? The approach to Irene and trying to get a job, encountering Irene’s girlfriend and her acid comments, Irene standing her up, the meal together, the memories of the past, their sexual relationship, her work on television – and so many people recognising her from that time? Her friendship with Jean-Pierre? and her asking his help to see Jay? Her wanting her son, working as a waitress, Irene and the possible job promoting clothes? Her becoming more settled?

7. Albrecht and Rosemary, their life together, Vancouver, bringing up Jay? Rosemary blaming Emily for everything? Albrecht and his not being good with children, his own son, his wariness about Jay, yet the scenes with Jay and his working well with his grandson? The phone calls to Emily and the proposition?

8. London, the hotel, the hospital and tests for Rosemary, her illness, leading to her death? Jay and his relating to his grandparents? The plan, travelling on Eurostar, not telling Rosemary? Albrecht and his worry about Rosemary’s death and his ability to look after Jay? Albrecht talking to Jay, explaining the situation, Jay and his reactions, mouthing Rosemary’s condemnations of his mother?

9. The arrival in Paris, the meeting with Emily and Jay’s initial resistance, hostility? The embrace, talking, going to the zoo, his making the comparisons, the animals? Hearing Emily talk with her friend about San Francisco? His agreeing to go, returning to get the passport, meeting Albrecht and pretending he was getting his hat, the comics? Albrecht’s deal with Emily because of Rosemary’s illness, wanting Jay to experience this – but her getting Jay in the future?

10. Emily in San Francisco, her singing, the recording? What would happen to her? How clean was she from drugs, or not? How able to be a mother? Her self-image, self-contempt, changes?

11. A contemporary drama of family life, fame and celebrity, the high life, the reality of drugs, their consequences, the price to pay in human terms?

 

THE CHRONICLES OF RIDDICK

US, 2004, 120 minutes, Colour.
Vin Diesel, Judi Dench, Thandie Newton, Karl Urban, Colm Feore, Linus Roache, Keith David, Alexa Davelos.
Directed by David Toohey.

Riddick is Vin Diesel, playing the character introduced in David Twohey’s Mars actioner, Pitch Black. It is said that there are Vin Diesel fan clubs. The appeal eludes me. He is one of the most po-faced, unsmiling, uncharismatic screen presences – no touches of humour, no irony, no lightness.

The plot is akin to a Star Trek adventure but the audience needs to be practiced in remembering the names of distant planets and galaxies, especially when some of their names include numbers and they miss some of the action wondering which planet is being attacked and which one saved.

And Judi Dench is in it! She, Colm Feore as the arch villain who demands conversion to his somewhat obscure religious stances or brain-washed slavery or extinction, and Linus Roache all pronounce their dialogue as if this really was an important chronicle. Vin Diesel and the mercenaries use dialogue that sounds like blunt, crass and cussing leftovers from The Fast and The Furious (and the director is to blame because he has written the screenplay).

The sets and action are impressive as are most of the effects, although just hiding behind a rock or in a cliff crevice on a planet surface called Crematoria (with temperatures in the hundreds) seems sufficient to stop being crisped.

It is more a descendant of episodic cliff-hanging old serials than the more recent space adventures – and this review has avoided the obvious ‘riddickulous’!

1. The popularity of Pitch Black? The need for a sequel? Vin Diesel and his starring role as Riddick? A follow-up and background to Pitch Black? The impact of the sequel?

2. The technical aspects: the galaxies, the planets? The special effects? Space travel? The make-up for the various characters and races? Features, armour? The surface of the planets? The caves, the heated surface? The cathedral-like halls for the Necromongers? The musical score?

3. The dialogue, the mixture of the rhetorical and the trite and crass?

4. The plot, comprehensible? The explanations of the Necromongers? The people from other planets, their being captured, forced conversion? The brainwashing and torture? The different planets and their needs? Riddick and his being hunted, coming to save the oppressed people? The different backgrounds of the characters?

5. Vin Diesel’s screen presence, unsmiling? The lenses in his eyes? His goggles? His being pursued through the ice and snow, evading capture, destroying the helicopter team? His coming back to the planet? Imprisonment? The background history, five years on the run? The relationship with the young girl and wanting to save her? His being imprisoned, with the group of rebels? The confrontations with the mercenaries? The confrontation with the lord marshal, with the priest? His stances, the action adventure, the confrontations and duels, leaving the group and escape? The final confrontation with the marshal, his seeming defeat, his being saved by Vaako? His future? The lack of personality for such a leader?

6. The Necromongers, the lord marshal, his conversion experience, tyranny? The priest and his status, his converting the newly-captured? The irony that he was a Furian, from the same planet as Riddick?

7. Riddick, the confrontation with the Imam, his sense of betrayal?

8. The young woman, her past relationship with Riddick? The escape, the action adventures, her being captured, brainwashed? Her death?

9. Dame Vaako, her assistance to the lord marshal, advice, her reliance on Vaako, his heroics, the priest trying to sound him out for rebellion? The fights, her presence at the end? Her relationship with Vaako, her hopes for the future?

10. The mercenaries, paid to hunt Riddick, used by the Necromongers? Their crass approach to life?

11. The credibility of the plot, the interest in futuristic life in other planets, the action adventure? How well did they fit together?

COLLATERAL

US, 2004, 120 minutes, Colour.
Tom Cruise, Jamie Foxx, Jada Pinkett Smith, Mark Ruffalo, Javier Bardem, Bruce Mc Gill, Peter Berg.
Directed by Michael Mann.

When Tom Cruise’s name appeared alongside that of Jamie Foxx on the posters for Collateral, there were some cynical remarks that Cruise’s career was on a downward path. No longer sole billing above the title. Be the billing as it may, Collateral gives us a very strong Cruise performance – as is that of Jamie Foxx.

Collateral is a very satisfying thriller. The action sequences are well executed, though stretching credibility more than a little at times (the shootout in the club, the pursuit to and through the LA Subway). The dialogue is much more interesting than in most thrillers. Cruise, as the cold stone-killer, has a lot to say about life, about death, about executions and about the place of men and women in the grand scheme of things. Foxx, as the taxi driver with dreams of running his own perfect limousine service with a top clientele, has a lot to say about life and passengers, about ambitions and frustrations and about morality. Collateral, therefore, is an intelligent thriller.

Direction is by Michael Mann who these days is put on a pedestal by many critics. After all, he directed the first Hannibal Lecter film, Manhunter, back in the 1980s when he was producing Miami Vice. He has also directed The Last of the Mohicans, Hear, The Insider and Ali, not a bad record.

Shooting digitally, he brings Los Angeles to life, especially since the action time is from evening to dawn, a Los Angeles nightlife. The musical score is continually changing in style, from piano solos to jazz, to orchestrated accompaniment. Collateral is satisfying visually and aurally.

There are some memorable sequences: the visit to the Jazz Club and the reminiscences of the trumpeter who played once with Miles Davis, the interview with the gangster chief (Javier Bardem) where Foxx pretends to be Cruise and gradually rises to the occasion, outsmarting the gangsters, the finale in the train which fulfils a story Cruise tells about a dead man riding the subway for hours before anyone noticed he was dead.

Cruise, with his silvered hair, his dress suit and his guns, gives an effective performance, playing well off Foxx’s warmly human interpretation of an LA taxi driver. The main focus is well supported by collateral benefits of screenplay and technique.

1. The impact of the drama? The action? The conversations? The importance of discussion and intelligent talk? The combination of action and talk?

2. Los Angeles as a character of the film, the different cameras used, the different colour styles, angles? The streets, the buildings, interiors and exteriors? The taxi perspective on the city? The train?

3. The musical score, the range of styles, quiet piano, jazz, songs? For the different moods?

4. The title – each collateral for the other? The collateral for each of them in their own lives?

5. The structure of the film: the director saying that all we saw was the third act in a three-act drama, the characters filling out the background and the back-stories? The action taking place between six pm and five am? A night journey, a dark journey? Finishing with the dawn? Death and life?

6. The initial introduction to Vincent, Tom Cruise and his appearance, his hair, the stubble, the smart suit, the case, the exchange at the airport? His business in Los Angeles? Needing a taxi?

7. The introduction to Max, with the men at the taxi centre, the discussions with his boss, his own taxi, neat and clean, his dream of the island and the postcard in a prominent place, his getting Annie as a passenger, the bet about times and distances, the irony of this for the end of the film? The pleasant discussions, the revelation of each character, the rapport between them in a few brief minutes? His dreams, her confessing her nervousness about the case – and the preparation for the rest of the film involving her case? Her giving him the card?

8. Max, taking Vincent, their initial discussions, the case, the computer? The first trip, Vincent and the conversation, offering the deal with the six hundred dollars? Max and his being difficult to persuade? His waiting, the crash of the body on the taxi, his reaction, Vincent and his pulling the gun, forcing Max to move the body, put it in the trunk of the taxi? Max and his reaction, in denial, unwilling and unable to help? Vincent taking charge? The going to the apartment, the second killing? The irony of the police stopping the taxi, and the irony that it was because of the initial murder that they didn’t look in the trunk?

9. The strong attention given to the discussions between Vincent and Max? Vincent and his background, the made-up story about his father and killing him? Laughing? Six years as a professional killer? His sense of the bond with Max? Talking about coincidence, cosmic coincidences? The police giving information about Vincent’s previous drivers and their being killed and made to look as if they were the killers? Vincent and his being literate, his talking to Max’s boss on the phone, using the legal arguments? His taunting of Max about his life, about not ringing Annie? The dream of the limousine service? Max, his response, his own life, the twelve years of taxi-driving, the dream about the limousine service, the brochure, his wanting everything to be perfect? His boss ringing, Vincent putting him off? Getting Max to swear at him? His mother’s phone calls? Max and his reaction to Vincent going to visit his mother, in the hospital, the irony of Fanning in the elevator with them? Vincent and his buying the flowers, the pressure on Max? Max’s mother, her being all talk, her neglecting her son, her being charmed by Vincent and talking with him? The build-up to Max and his running away, Vincent’s pursuit?

10. The role of the police, Fanning as undercover, discovering that his client had been killed, the other officers coming in? The reconstructing of the scene, speculation, the background of the drug case? The steps of investigation? Going to the hospital, Fanning at the morgue, the bodies, the information of the patterns for the deaths? His phone call, the other officer coming, their meeting the police at the hotel? Their stakeout? The closed-circuit television, hearing Max say that he was Vincent? Their discussions, conclusions? The police going into the nightclub to protect the Chinese witness? Fanning believing that Max was innocent, his following in the car? The police and the mix-up at the crowded club, the shoot-out, Fanning trying to protect Max, his being killed by Vincent?

11. Max and his waiting, flicking the lights of the car, hoping to get help, the muggers coming and taking his wallet, the computer – and Vincent accosting them, shooting them?

12. The serious discussions between Max and Vincent, each challenging the other about their lives? Max and his running, throwing the computer, destroying it? The decision to go to Felix? Vincent and his putting the pressure on Max, making him assume his identity, use his ingenuity to get past security, his succeeding? His going to Felix, the long discussion about the lost computer, the gradual transition, Max taking charge and becoming more confident, getting the disc with the information, offering the discount?

13. Going to the Fever Club, the police helicopters, the police? Vincent forcing Max to go in? the crowded scene, people not being able to see the others, the Chinese people, the shooting? Max being saved by Vincent? The assassination complete, the return to the taxi? Max feeling he had nothing to lose, his decision to crash the taxi, the speeding, overturned? Their each getting out?

14. The irony of Max seeing that Annie was the next target? His card, running, the phone, her still being at work, his getting her, her disbelief? The batteries running out? Vincent and his stalking Annie in the building? Annie and her work, the lights going out, her trying to avoid Vincent? Max and his going into the building, the dead guards? The three stalking each other in the building? The shooting? Vincent being injured? The pursuit down the stairs, along the bridge, into the subway? The trains, Vincent’s dilemma as to which train they went on? His going down, their hiding in the train, Vincent getting in and out? His being on the back of the train, going through the carriages? The eventual confrontation? The shoot-out, Vincent and his being injured, sitting on the seat? Annie and Max coming in, Vincent remembering a story about loneliness and impersonality in Los Angeles and the dead man sitting for hours on the subway before he was discovered?

15. Annie and Max, their escape, their facing the next day? The irony of Annie surviving – but all her witnesses being dead?

16. The importance of the victim in the jazz bar, Vincent saying he liked jazz, his admiration for the player, offering him a drink? Their discussions? The reminiscences and the stories about Miles Davis? Vincent and the revelation that he was the killer, the jazz man trying to bargain, the story of his life, trying to survive? Vincent’s promise and then shooting him?

17. The intricacy of the plot, the irony of the coincidences, Vincent and Max together, Max and Annie together, the police, the witnesses, life and death?

CAR POOL

US, 1996, 89 minutes, Colour.
Tom Arnold, David Paymer, Rhea Perlman, Rod Steiger, Kim Coates, Rachael Leigh Cook.
Directed by Arthur Hiller.

Car Pool is a rather raucous comedy. It focuses on Tom Arnold as a carnival manager in need of money to support his circus acts. It also focuses on David Paymer as an advertising executive, whose wife is sick, and who has to take the car pool of obstreperous children to school. They all get involved in a hold-up at a store and Arnold gets the money, takes Paymer and the children and their van as hostages. Much of the film is the chase by the police (especially Kim Coates and then Rhea Perlman as a meter maid). They crash through everything in sight including footpaths, supermarkets and malls. The children enjoy this kind of hostage activity and crashes. Ultimately, there are plenty of family values as Paymer learns from Arnold about what it is to be a loving parent and present for his children’s growing up. The culmination is a meeting with the manager-owner of a restaurant chain, played by Rod Steiger. There is a happy ending with Paymer as a more humane father, Arnold with his carnival restored and Steiger selling doughnuts in clown’s gear in the carnival. Direction is by Arthur Hiller who made a great range of films including Love Story but who, at the end of his career, made films like this and Burn Hollywood, Burn.

1. Entertaining slapstick comedy? Children? Hold-ups? Chases? Family values?

2. City life, the streets and suburbs, offices? Supermarkets and malls? The action sequences, the chases? Musical score?

3. The title – as a jumping-off point for the people to be involved in the comedy and action?

4. The focus on Daniel Miller, his sick wife? Being busy, his presentation, taking the children in the van, picking up the other children, Travis playing tricks, the young girl and her delay, Kayla as the teenager, and his son being attracted to her? His son Andrew? Their driving, awkwardness, criticisms? Their going to the restaurant against the children’s wishes? His going inside, his being in a hurry, the hold-up?

5. The focus on Franklin, his raucous mother? The carnival, the people in the acts and their dependence on him? His comments about carnivals and political correctness? In the store, wanting doughnuts, the hold-up, losing his wallet?

6. The criminals and the hold-up, the old lady with the gun, the different guns, the attendant and his fastidiousness, giving the money to Franklin? The police arriving, the escape?

7. Franklin and his decision to take the money, driving the van, the interactions with Daniel? His genial side, enjoying taking hostages? The kids and their reaction? Daniel and his desperation to get to the meeting? Their crashes, Andrew wanting to go to the toilet, the hairdressers, Daniel phoning his boss who did not understand, Franklin and his terrible mother ringing? The further chase, the ticket from the meter maid, her pursuit? In the van, arriving at the mall, the chase through the mall? The various slapstick aspects? Franklin being held up, Daniel taking the van, the escape? Their going to Franklin’s place, the carnival gear? The arrival of the hold-up men? The ferris wheel, Daniel rescuing his son, the fight?

8. Erdman, his misinterpreting everything, his desperate chase, taking the cars, the encounter with Martha, the fact that he had jilted her? Their continued pursuit? His desperation?

9. The presentation, the failure of the deputy, Mr Hammerman and his disgust, leaving? His liking the children, his upset about the hostage-taking, meeting everyone, hearing their ideas about children, the future? His giving his budget to Daniel?

10. The finale, the carnival, Daniel with his children, Franklin and his running the carnival, the children and their enjoyment, Mr Hammerman in the clown’s gear and selling the doughnuts?

CHAIN REACTION

US, 1996, 114 minutes, Colour.
Keanu Reeves, Morgan Freeman, Rachel Weisz, Fred Ward, Joanna Cassidy, Chelcie Ross, Bryan Cox.
Directed by Andrew Davis.

Morgan Freeman, in a dramatic confrontation with Keanu Reeves at the end of Chain Reaction, says in a world-weary tone, `The world is not as simple as you would like it to be'. This sentence seems to be a key to how many audiences respond to action films and conspiracy thrillers. On the one hand, most of us would like our world to be more simple than it is: that good was clear to see and was done by everyone and that evil be eliminated. On the other hand, there is so much evil in the world that it both repels and fascinates us - especially if we acknowledge our own evil.

Set in winter and in the snow, the themes are chill. Chain Reaction is a conventional film. Keanu Reeves (far more animated that usual) is the wrong man at the wrong place when there is a nuclear explosion in Chicago. He is pursued by the FBI and the CIA operatives and has to use his wits to survive and expose the conspiracy.

Director, Andrew Davis, made The Fugitive and this film is in many ways a remake: the scientific background, the betrayal by the experts, the pursuit and evasion in highly dramatic situations. Chain Reaction lacks the thoughtfulness of The Fugitive, but is an entertaining chase thriller. Conspiracies and chases.

1. Andrew Davis as a director of popular thrillers? The scientific background of the film? International intrigue? Disasters? A chase movie?

2. The title, the scientific basis of the film, the production of hydrogen, the experiments, their failure, success? The interest of the CIA? Chinese interests? International corporations and their using violence to get the secrets, ambition for big profits?

3. The focus on Alistair Berkley, his lecture, the explanation about hydrogen, cheap fuel? The explosion in the laboratory? His death? The disappearance of Lu Chen? Paul Shannon and his behaviour, taking control? Eddie and Lily and their working in the laboratory, their being framed, escaping?

4. Morgan Freeman as Paul Shannon, his respectability, his response to the FBI investigators, calm control? His reporting to senate committees? His contact with Eddie, guiding him as to what to do? The phone calls? The link with Lyman Collier? His intrigue, the decisions about framing the two, their deaths? Shannon and his trying to control Collier? The growing investigations of the FBI, discoveries about Shannon and his background? The final confrontation, Shannon and Lyman, Shannon killing him? Coming out of the building, phoning the CIA? His future?

5. Eddie, his background, the accident while a student, his studies, helping in the laboratory? Collaborating with Lily? Her coming from England? The celebration party, going home, his returning to the laboratory, his having to flee the explosion? Contacting Shannon, getting advice? With Lily, in the hotel, the FBI and their questions, the newscast, their getting the taxi, the train, Eddie and his being pursued in the street, the bridge opening, climbing, jamming it, escaping? Their going to Maggie, her support? Phoning Shannon, being discovered? The vehicle on the ice and their escape? Finding out information, the company, contacting the FBI, the assassins pursuing them, their escape? The laboratory, the fleeing the explosion, the new assassins, the lift, their coming to safety? The impact of the chases and pursuit? The film focusing on them as victims rather than as characters?

6. Lyman Collier, sinister, the revelation about his company, the Chinese connections, the working with Shannon, his taking matters into his own hand, the faxes, the information, the planted money? The unmasking, the FBI pursuing him, in the lift with Shannon, Shannon killing him?

7. Inspector Ford and his assistant, the FBI, the boss, the interrogations, the puzzles, suspicions? The pursuits? TV interviews? The information, the final confrontation, their saving Eddie and Lily?

8. Maggie, the scientist, her friendship, believing Eddie, helping him with the phone call?

9. Popular action adventure given seriousness by the impact of the destructive disaster as well as the issues of the environment, nuclear fission and chain reactions, global corporations and their intrigues?