THE SPECIALIST

US, 1994, 110 minutes, Colour.
Sylvester Stallone, Sharon Stone, James Woods, Rod Steiger, Eric Roberts.
Directed by Luis Loosa.

There is action in The Specialist and some explosive special effects. However, it is obviously designed as a star vehicle for Stallone and Stone (who, in fact, don't meet until almost the end of the film). To that extent it is a somewhat cynically commercial exercise, especially capitalising on the body-flexing of both stars. It makes no major demands on their acting talents. In that department, James Woods steals the show. He has often been a smart-talking, sinister villain – and he is again here. It is he who makes the plot of ex-CIA explosives specialists employed for assassinations more interesting than it might have been.

The film is an example of Hollywood pulp fiction – and the description by Michael Atkinson in Sight and Sound (1995) is to the point: Pulp is by definition yesterday’s trash, garnished with nostalgic kitsch. Contemporary B movies and fiction won't be real pulp until decades hence … True pulp is most often badly conceived, crudely executed and has little to recommend it beyond the allure of juvenile lust and the smell of ripe cheese. It brings us down a peg or two, it throws raw porterhouse into our own inner psychopath’s rusty cage, and best of all, it never minds if we don’t think very highly of it. Like a cheap whore, it prefers that we simply do our dirty business and be on our way.

The Specialist seems to fit this kind of description.

1. The popularity of this kind of pulp fiction action? The popularity of Sylvester Stallone, Sharon Stone – at this time?

2. The Florida settings, the rich mansions, the Keys, the boats, the sunshine state?

3. The title, the background of the CIA specialists, explosives experts, assassinations, the amoral stances of the CIA and its work?

4. The film as a revenge story, the relationship between Ned and Quick, May and her reaction against her husband? Trent and his wanting revenge on Quick?

5. The prologue, the action, the explosives experts, the situation, the children on the bus, Quick’s decision, Trent’s decision, deaths? The falling out of the two men?

6. The character of Ray, Sylvester Stallone, the honourable hero even in this CIA situation? The contrast with Ned, his moral decisions, lack of scruples? The confrontation between the two and their falling out?

7. May, Sharon Stone, her screen presence? Her relationship with Joel Leon? With Leon’s son? Her story, the phone call to Ray, Ned using her?

8. Leon, his family, his drug interests, wealth? The Cuban background? His relationship with his son? May and her place?

9. The administration of justice, the murders?

10. Ned, his place with Leon, security, his way of life, wealth, personality, his ranting and raving style?

11. Ned and Ray, the phone call, the set-up, the clash between the two?

12. Thomas, his personality, relationship with May? His death, the funeral, his father’s grief? May and her precarious situation?

13. May and the contact with Ray, his not wanting to follow through, his not realising how she was a set-up? The trap? The sexual relationship, the sensuality, the consequences? The hotel? The explosions, the apartment going into the water? May and her disappearing, the fact that she was not dead?

14. Ray, the final set-up, the wiring of the building? The death of Leon? Trent and his attempts to destroy Ray? The explosions? Deaths?

15. The happy ending for this kind of pulp fiction? Happily ever after or not?

SPIDERMAN 2

US, 2004, 118 minutes, Colour.
Toby Maguire, Kirsten Dunst, Alfred Molina, James Franco, Rosemary Harris, Donna Murphy, Bill Nunn, J.K. Simmons, Willem Dafoe, Cliff Robertson.
Directed by Sam Raimi.

Sam Raimi deserves our congratulations for having directed a blockbuster movie, Spiderman, that blended the comic-book fantasy derring-do with a blend of humane sensibility and humour. He deserves our congratulations for having made a sequel that capitalises on all the qualities of the original movie and makes them even better.

This is an assured film, the makers confident in their abilities to provide exciting and entertaining action, along with some spectacular stunt work (crashing and rolling cars, chases up the sides of walls, a fight on top of a speeding train), with computergraphics to create a New York which is really a US Metropolis, and a tour-de-force villain, complete with vicious mechanical octopus-like appendages. But, Raimi has no hesitation in quietening the action to spend a lot of time exploring the intense and complex personality of Peter Parker. Tobey Maguire is completely at home in the role and has made it his own. Peter is the shy, even clumsy introvert, unable to hold down a job, failing in his studies, inarticulate in his inability to express his love for Mary Jane (Kirsten Dunst making her more than a two-dimensional screaming heroine under threat – which she also does), awkward in relating to his Aunt May (Rosemary Harris), unwilling to tell his friend, Harry (James Franco) the real identity of Spiderman who was responsible for the death of his father.

His work in keeping law and order and rescuing those in danger means that Peter has difficulty with his true identity. His inner potential, a more extraverted hero, emerges when he is Spiderman. He has a highly developed sense of responsibility and duty which he sees as requiring self-sacrifice in renouncing his love for Mary Jane, especially since Spiderman’s enemies would put her life at risk (which they do). Aunt May gives him a strong pep talk about the need for heroes, pointing to their young neighbour who wants Spiderman to return.

Alfred Molina is fine as Dr Otto Octavius, a sincere if ambitious scientist whose experiments go disastrously wrong and mutate him into Dr Ock, an eight-limbed monster. He is not an innate villain. He makes tragic choices but is finally confronted by Peter and follows his conscience. Rosemary Harris may never have dreamed that she would appear in a film, held aloft over the city by Dr Ock, hanging on to a gargoyle by her umbrella and falling to be rescued by Spiderman. Very welcome is the return of J.K. Simmons as the politically incorrect editor of The Daily Bugle with a penchant for throwaway one-liners that give bite to the dialogue. (Even Cliff Robertson and Willem Dafoe, who must have been disappointed that they died in the original, have an opportunity to appear in vision sequences.)

Spiderman 2 has us looking forward to the next instalment.

1. The impact of this film, after the original? Its broad appeal, the comic-book action, the conspiracy theories, Spiderman as saviour, restorer of law and order? The human interest, love, self-sacrifice and responsibility?

2. The expectations from the first film and this sequel building on them? The connection between the two films?

3. The blending of comic strip and fantasy with law and order, media issues and satire, with love, friendship, family? With identity? With the horror of scientific experiments gone wrong, the potential for destruction?

4. The importance of editing and pace, action and computer graphics, the musical score and the songs, the theme from the television series?

5. The New York setting, real, composite, the use of Chicago? The modern metropolis? The apartments, the world of wealth? The Daily Bugle and the press offices? The laboratories and their extravagance, the college and education? The streets, the spectacular car crashes, the flying stunts? The multi-ethnic New York and the variety of people in supporting roles from different cultures?

6. The introduction to Spiderman, seeing him in action, familiar, the lessening of Spiderman heroics until the confrontation with Dr Octavius? The emphasis on Peter Parker, his action as Peter, especially the rescuing the child from the fire?

7. Peter Parker, his age, his pizza job and failure, delivering as Spiderman? His being sacked? His living alone, going to see Aunt May, the surprise birthday party, his friendship with Harry, with Mary Jane? The discussions with Mary Jane and his inability to declare his love for her? Mary Jane’s play, Peter trying to get there, the crash, his being Spiderman, the cantankerous usher? The discussions about the play, her disappointment, his seeing himself as an empty chair? The phone call, her hanging up, his speaking the truth after she hung up? His studies, their not going well, the comments of the lecturer? His helping Aunt May, the bank, the difficulties and her wanting to be independent? The build-up to his sense of failure, taking photos for the editor, the editor continually firing him, his going to the social, Mary Jane and her engagement, his hanging up his costume, the editor putting it on the wall? His friendship with Harry, his refusal to identify Spiderman to Harry?

8. Meeting Octavius, the discussions, his theories? Harry and his supplying the money? Octavius’s wife and her collaboration? His being affirmed by Octavius? Present at the demonstration, the spectacle, its failure, the hideous transformation of Octavius into Dr Ock? His wife’s death?

9. Octavius as a good man, his theories, hopes, friendship with Peter, giving him good advice? The failure of the experiment, his decisions, hubris, admitting his errors, wanting to be a success? His becoming a monster? His brutality in the hospital? The fusion and his becoming an octopus? His decision about the future, the robbing of the bank, the fighting of Spiderman, taking Aunt May as hostage? His ability to climb buildings, the heavy thud of his presence? The fight with Spiderman, throwing the money, the coins over the floor? His continuing his work, building the laboratory? Harry and his bargain, that Ock get Spiderman, his taking Mary Jane, the fight in the train, on the roof of the train, Spiderman stopping it just in time? His discovering the truth, Peter confronting him, urging him to exercise his conscience, his not wanting to die a monster? Ock as a good man and a tragic flaw, an adversary with depth of humanity? As well as being comic book?

10. Peter and his studies, his improvement, his not taking any more photos of Spiderman, his discussions with Mary Jane, the engagement? His visiting Aunt May, his decision to tell her the truth about his uncle’s death and his blaming himself, her being hurt, his going back, her moving, the young boy and his admiration of heroes and wanting Spiderman back?

11. The character of the editor, his smart cracks, his staff, his son engaged to Mary Jane, the photos of Spiderman, his campaign against him, having his costume on the wall – and its being taken with a note left? The challenge to the city? The cleaning up of the lawless city?

12. Peter, his seeing the dangers, seeing people mugged, the fights, the imagination of his conversation with his Uncle Ben, Aunt May and her speech about the necessity of heroes? His response, the fight on the train, people recognising him? His going to Mary Jane but telling her that he had to be Spiderman?

13. Mary Jane, her friendship with Peter, her love for him, his inability to express himself? Going out with John, the engagement? The discussions, the experiment with her kissing John, her wanting to kiss Peter? The marriage, the bridal gown, her running away, Peter not being an empty chair, the discovery of the truth and its effect on her?

14. Harry, his character, the vision of his father and his father’s calling him weak, wanting him to avenge? His disappointment with the failure of the experiments? His decision and his being a friend for Peter?

15. Spiderman and law and order, the city, the future? The possibilities of his relationship with Mary Jane and his commitment?

16. The hero for 2004, the kind of hero, human, vulnerable, the inner strength emerging, self-sacrifice and responsibility? People’s need for a hero?

17. Spiderman as his mask, the real Peter Parker, the real Spiderman, the introvert becoming the extrovert? The inner potential being realised?

SPARTAN

US, 2003, 107 minutes, Colour.
Val Kilmer, Derek Luke, William H. Macy, Ed O’ Neill, Kristen Bell, Tia Texada, Clark Gregg, Said Taghmaoui.
Directed by David Mamet.

This is a dark and frequently dark-looking film. It has to be. We are being taken inside the American Secret Service, that group of highly-trained men and women who guard the president and other VIPS. Some years ago, Clint Eastwood made an entertaining version of David Baldacci’s Absolute Power where the Secret Service had to protect the President in his off-hours and in his off-behaviour, especially when they had to follow political advisor’s orders to clean up messes and keep the lid tight on the truth, no matter what.

Things have not changed, in fiction-land at least. This time the focus is completely on the Secret Service, the rigid fidelity to their protective commissions, no matter what the moral or immoral context.

The film opens with a tough training and testing session supervised by Val Kilmer. It stays very tough, especially for Kilmer who is not an agent in command. Rather, he is like a Spartan of old, sent as a loner to work for the king, a loner who lives what we now call a spartan existence. He supervises but obeys orders. He can read people. He can interrogate physically and psychologically. He is tough and loyal, even when he has to find the daughter of the president who may have been inadvertently abducted by a white slave trade ring operating between the US and Dubai and the Middle East.

If this seems fascinating, you will want to see the whole film. Val Kilmer is at his best in this kind of role, especially when surface cracks appear and he has to question orders, feel moments of compassion for the victim, use his own initiative, especially against the sinister, all-knowing and controlling political minders and advisers.

What makes Spartan even more interesting is that it was written and directed by celebrated playwright, David Mamet. Mamet has written many dark screenplays (The Untouchables, The Verdict, The Postman Always Rings Twice). He is also at home in a men’s world, an official macho world that sees itself righteously as the custodian of good in the world when, in fact, there is corruption under the surface. More US conspiracies.

1. The background of Greek mythology, the Spartan warrior, his mission, alone? Scott as the modern warrior?

2. The title, the tone of Spartan, ascetic, single-handed, harsh, hard?

3. The work of David Mamet, tough dramas, the focus on male activity? A man’s world? His strength of dialogue, language? His critique of American society?

4. The training centre, the squalid world of the Secret Service, headquarters, interrogation rooms? The squalid world of politics, deceit, the Secret Service covering up? The beach houses and the atmosphere of reality and tranquility contrasting with the world of the Secret Service? Dubai? The action sequences and pace? The musical score?

5. How plausible the plot, as a thriller, as political? How plausible the action, the abduction of the president’s daughter, the white slave trade, Dubai and the Middle East? The final confrontation?

6. America in the 21st century, its place, relationship with the Middle East, the tradition of the presidents, leadership, personal behaviour and deceit, the echoes of Bill Clinton’s behaviour? America and the world? Its manifest destiny of leading the world? Its Secret Service, wealth and resources to draw on? Cover-ups?

7. The role of the Secret Service, the people recruited, men and women, tough-minded, physically tough, psychologically tough? The training? The nature of decisions, the protection of the president, the political implications?

8. The opening, Scott and his testing of Curtis, Curtis and his failing, decision not to fail? The subsequent debriefing? Scott and Curtis and the assignments?

9. Scott in himself, a Spartan, alone, tough, demanding, interrogation work, physical? His not to reason, his obeying orders, going home, his cover, his name and identity? The lack of personal life? The lack of relationships – but the glimmers of a compassion underneath?

10. His work, relentless, wanting to find the truth, his commitment to the Secret Service? His being the bad cop in the bad cop-good cop scenario? Threats? His ability to read people? The nature of his interrogations, the physical violence? The president’s daughter and her disappearance, concern, the interrogation of the boyfriend? The information about the club? The harsh interrogation of the madam – and with her Serbian and migrant background?

11. The world of the students, relationships, fights, the president’s daughter and her changing her hair? Sexual activity, going to the club, escorts? Her being abducted? Her lack of relationship with her father, mother? Her being in Dubai, in the channel for the white slave trade? Her potential disappearance? Her being rescued?

12. Curtis, his training, the other members of the Secret Service, loyalties? Curtis and his work with Scott, the information about the daughter and her being at the beach house, his mistake in standing near the window, his death?

13. The politics and the implications, the president’s daughter, his lack of relationship with her, everything seeming good in public, the Secret Service guarding him, his sexual trysts and their covering for him? His lack of communication, not understanding his daughter’s needs, need to love him? The election mode, his protectors, their personalities, ruthlessness, their decisions, the cover-up, the assassinations, even of the Secret Service? Their power, tracking Scott with the device in his knife? The final confrontation and shoot-out? Scott and his visit, discovering the woman, her being the mother instead of the president’s wife? Her wanting the girl back, her collaboration with Scott?

14. The tracking, the sign on the letter, on the window, Curtis seeing it? The irony of the boating accident, the promiscuous professor, the girl? The headlines and the proclamation of the president’s daughter’s death?

15. Scott and his being out of the loop, Curtis and his coming back to him? Scott and the investigation, the threats? The shoot-out at the house?

16. Scott and the moral decision, using his cover, getting to Dubai?

17. The contacts, in Dubai, finding the girl, the protection and the escape, the pursuit by the slave traders? The end and his being persuasive, the Swedish television crew, the waiting plane, his being shot?

18. The personalities of the political minders, Stoddard and his being in the background, watching, his tracking Scott, his role in Dubai, wanting to destroy evidence? The justification and the rationale for the Secret Service behaviour?

19. Scott, his emergence in Piccadilly Circus, in England, another day? His future?

20. The background of conspiracy stories, American politics, the slave trade, the emergence of the Middle East on the world stage?

BASIC

US, 2003, 98 minutes, Colour.
John Travolta, Connie Neilson, Samuel L. Jackson, Timothy Daly, Giovanni Ribisi, Brian van Hoult, Taye Diggs, Dash Mihok, Cristian de la Fuente, Roselyn Sanchez, Harry Connick Jnr.
Directed by John Mc Tiernan.

Basic is a military thriller.

The film seems straightforward when John Travolta as a shamed DEA official is called in by the military to investigate what seems to be an army exercise gone wrong. Travolta easily ambles his way through the film – but with some twists at the end. The officer asking him to head the investigation is played by Timothy Daly. He is clashing with the investigative officer because she is a woman. She is played by Connie Neilson. This interplay between men and women continues during the interrogation of the surviving soldiers. The two surviving soldiers are played by Giovanni Ribisi and Brian van Holt. However, a number of the team appear strongly in flashbacks. Samuel L. Jackson is the leader of the army exercise, a strict and hated officer, who may have been murdered during the exercise. Harry Connick Jnr is the doctor at the local hospital – who has become involved with Connie Nielson’s character.

The film is set in Panama, opening with some descriptions of the building of the canal and the effect on the health of those who built it. The film focuses on the present, the prevalence of drug-running and the collaboration of American military and officials in the drug trade.

The film spends a lot of time on interrogation of the two surviving soldiers whose stories are contradictory. They are dramatised visually in a variety of flashbacks – which also contradict each other.

Eventually, an opening is made in the investigation involving the doctor - and ultimately the officer in charge. There is a postscript which contains further twists and an explanation of the reality of what underlay the whole film. To that extent, it is interesting to keep watching.

The film was directed by John Mc Tiernan who made such films as Nomads and Predator and moved on then to Die Hard which had international success. He followed this up with The Hunt for Red October. Other films include Medicine Man, The Last Action Hero, the third Die Hard film as well as the remake of The Thomas Crown Affair.

1. The title? The reference in the film to murder and its being basic?

2. The Panama settings, the opening with the explanation of the Panama Canal and its building, the health hazards? The transition to the present? The climate, the tropics, the rain and the storms? The jungle and military exercises? Panama and the drug trade? American bases in Panama? The visualising of the base – and the weather, the night and the rain? The flashbacks and the storms? The musical score?

3. The focus on Hardy, John Travolta’s screen presence? The information about his being under suspicion, taking bribes, his resentment of this, his drinking and living in exile? The phone call from Stiles? His decision to go down to Panama? His arrival, his meeting Osborne, the tension between the two, her resentment of him as an outside, the male-female clash?

4. Stiles, command of the outpost? Past friendship with Hardy? Calling him in? His attitude towards Osborne? His wanting her to be the investigator with Hardy? His presence on the base, information supplied – the final revelation of the truth, his resentment against not getting promotion, his overseeing the drug trade? His underlings, the investigation, the murders? His wanting to bribe Hardy? His pulling his gun, Osborne shooting him? The cynical attitude towards this kind of American authority figure who became corrupt?

5. The visualising of the exercise, Kendall and Dunbar and their survival, Dunbar carrying Kendall? Dunbar and the investigation, his wanting Hardy? His answering questions? His resistance? Hardy and his bet with Osborne that he could get Dunbar to speak within a few minutes? The discussions about sport? The continued toing and froing, Dunbar as a character, his explanation of his behaviour, attitude towards West, towards Kendall, towards Pike? The visualising of the flashbacks?

6. The contrast with Kendall, his father being in the Chiefs of Staff? His attitude towards the mission, towards West? His speaking about his homosexuality and the repercussions on his career? His being wounded, surviving, Dunbar carrying him out? His version of what happened? His role in the mission? With the other members of the team, with West? His being wounded? The contradictions with Dunbar’s story?

7. The other members of the group, Mueller and his leadership, under suspicion, the issue of grenades? Guns? Pike and his being humiliated by West? The black man? The Hispanic members of the team, Castro, Nunez as a woman within this group? Their characters, as perceived by those telling the stories? The differences in narrating their activities in the mission? The shootings, those guilty, those involved with drugs? The gradual revelations?

8. West, as a martinet, his training, personality, abuse of the members of the tea, his humiliation of Pike? The fact that Hardy had trained under him, talked about hating him? The plausibility of the team killing him? The scenes where he was killed? The scenes where he was set up to die?

9. The gradual process of the interrogation, the interplay between Hardy and Osborne? Her going by the book? Hardy and his differing styles? His explaining the interrogation techniques to her? The build-up to the officials coming in, the weather, the need to get some kind of confession? Dunbar’s confession? Kendall and his injuries, death?

10. The arrival of the authorities, the taking of Dunbar’s confession? Going out to the plane – and Hardy and holding up the plane? The gradually unravelling of the truth – Dunbar and his lies, his really being Pike? He and Kendall and their role in the drug deals, the antagonism of West? Their being arrested?

11. Osborne, her going to New Orleans, following the track of Hardy, suspicious of him? Having shot Stiles, thinking that Hardy was corrupt? Her going through the streets of New Orleans during the carnival, going into the room – and the discovery of the crack team, West, Pike, Dunbar, Castro and Nunez – with West in charge?

12. A satisfying ending, the unravelling of all the twists?

BREAKING NEWS

Hong Kong, 2004, 91 minutes, Colour.
Richie Jen, Kelly Chen, Nick Cheung.
Directed by Johnnie To.

Nothing particularly new here: a bungled police raid, a shootout, a chase, criminals hiding in a block of flats and taking a father and children hostage. What is somewhat new is the role of the media and the police using the media. In order to restore its tarnished reputation, the Hong Kong Police authorities decide to put on a show of their tracking down of the criminals. Everyone is there, the police force en masse, the authorities in their trailer supervising strategy along with their media staff ready to edit footage when necessary and feed it to the avidly waiting journalists.

The film's audience has the inside edge as we know what is going on in the building. We are first hand witnesses to the cat and mouse chases. We enter the apartment and see what happens to father and children (including a hearty good meal had by all). We know how the authorities are trying to manage the media.

It generally goes as one might expect, hails of bullets, defiant stances, some final heroics. Johnnie To has made a number of martial arts movies as well as police action, so he knows what he is doing – and does it effectively.

1. The tradition of Hong Kong action films? Police thrillers? Dramas? The media? All combining for a film of 2004?

2. The streets of Hong Kong, the police and their action, the trailer, the apartments, the corridors? The facades of the building, and what was happening within? The authentic street scenes of Hong Kong?

3. The stunts, the chases, the violence? Impact? Musical score and mood?

4. The long sequence of the opening crime, the triads, the ruthlessness, the shootout in the street, the traffic police pulling the driver up, the possibility of things going off smoothly, the beginning of shooting, the policeman and his surrendering? The photographers and their capturing all this for the media?

5. The reaction of the police, the defeat, public opinion? The decision to go to the media? To safeguard the reputation? The public relations meeting, Rebecca Fong and her wanting a show? The issue of truth and lies, editing, feeding material to the media? The response of the public?

6. The media, the reporters, photographers, television cameras? The criminals and their using of the Internet, Rebecca and her access? Communication? The police and the feeding of information, editing?

7. The impact of the opening action, Inspector Cheung, his assistant, the activities of the police, chase, surrender? The reaction of the police to the man surrendering and its being interpreted for the media as sensible and heroic?

8. Rebecca Fong, at the meeting, her friendship with Eric, the ideas about the media, the memories of her father? Her saying she was black and white, tough, the plan, monitoring everything from the trailer, the strategies, allowing the lunch break, editing the material, her personal assistant doing the interviews, especially with the information coming via Internet from the criminals? The Internet confrontation with the criminals? Her leaving the trailer, her becoming a hostage, the shootout?

9. The police officials, their reactions, the dangers, the shooting?

10. The criminals, the irony of the two gangs in the same building, their joining forces, talking? The police pursuits floor by floor, room by room, the evacuation of the residents? The irony of the assassination appointment at four o’clock and the criminal getting the information?

11. Inspector Cheung, his assistant, their discussions about retirement, a big case, Cheung’s determination, continued pursuit despite being wounded?

12. The man and his children in his apartment, the children and their speaking bluntly to the criminals, the Internet connection, the decision to make dinner, the criminals and their liking to cook? The reaction of the man, hanging him out the window and the threat of his dying? The strategy for the escape, the blanket covering, the grenades? The criminals escaping?

13. The chase, the beginning of the showdown, Cheung and his pursuit on the bike, the mini-bus, Rebecca? The assassination target coming out of the building? The criminal being shot?

14. The final honours, the restoration of order in Hong Kong and its being declared a safe city? For Hong Kong audiences, for international audiences – and the excitement of police thrillers? The presentation of the media – and the critique of the media, its effect on public opinion?

BAD SANTA

US, 2003, 93 minutes, Colour.
Billy Bob Thornton, John Ritter, Bernie Mac, Tony Cox, Lauren Graham, Brett Kelly.
Directed by Terry Zwigoff.

Terry Zwigoff directed the very interesting documentary about artist and cartoonist, Robert Crumb, Crumb. He also directed Thora Birch, Scarlett Johansson and Steve Buscemi in Ghost World. It is easy to see why he might be attracted towards the somewhat anarchic Bad Santa.

The humorous screenplay – one could hardly say witty as the whole film is splattered with language that Santa is not expected to use and some unsanitary habits that one does not want to see from Santa, especially his sexual behaviour – is in the realm of what inventive reviewer described as 'yukkage'. This is the kind of film where you warn, 'If you like South Park, then this is your kind of film. If not, try a rerun of Miracle on 34th Street'.

Billy Bob Thornton enjoys himself immensely as a perpetually sodden alcoholic safecracker who teams up annually with his 'short people' friend, Marcus (Tony Cox) to do a stint as Santa with the children he loathes – and then clean out the safe on Christmas Eve. In fact, they are both pretty good at this.

This year, however, things change a bit as Santa gets entangled with a lonely fat boy (a perfect performance of ingenuous niceness from Brett Kelly), taking refuge in his house with a girlfriend from a bar and finding that he becomes a little bit involved. While there is sentiment in this friendship, the edge and language are always there and the final image is of the fat boy giving his teasers the finger. Which is what the film is doing to us, whether we like it or not. But, despite the crassness, it is a bit hard not to laugh and to like it.

1. A black comedy, ironic and in-your-face behaviour, language and attitudes? Yet an entertaining comedy?

2. The overall impact, funny, extremes, checking the experience of Santa Claus and family against accepted standards? The bad and the good, the amoral tone – yet Santa having an inner touch of humanity, sentiment? Yet the sentiment presented in a caustic context – with the final image of the young boy giving the finger to those who teased him? The film giving the finger to the audience?

3. Billy Bob Thornton’s voice-over, explaining the character of Willie, his attitudes, seeing him in the bar, tough, criminal background, the explanation of his Jewish father, the Christmas gifts and his father belting him – yet teaching him how to open safes? His character and lack of character, sexual obsessions? Crass language? His antipathy towards kids (and preferring suicide)? His skills in safe-cracking, robberies, the easy life for most of the year, drinking, getting into trouble, repeating the patterns of the past?

4. Marcus and the reference to little people? His character, the jokes about his size, the politically correct and incorrect remarks about his size and what to call him? Bob in the store and his putting his foot in it, Marcus and his keeping Willie in line, his girlfriend (and her list of things to rob at Christmas time)? His work with Santa, with the children, Christmas Eve and his putting off the alarm in thirty seconds, going through the various aspects of the store? Robbery, money, goods – and coming back next year?

5. Willie as Santa, his clothes, the beard, his breath, alcohol? With the kids, his brief treatment, moving them along? Their coughing and spluttering all over him? In a mess, his crudity, urinating in his suit…?

6. The scenes in Florida, his ambitions to open a bar, audiences thinking he had succeeded, his taking drinks, being ordered out by the barman, his smashing things, the annual phone call from Marcus?

7. Phoenix, his being employed, the old Santa going out and shouting at him? The meeting and interview with Bob, his swearing – with Bob’s wanting to be proper, not censorious, offended by the language, by the noises of sexual encounter in the department? Bob’s discussions with the security guard? The guard listening, talking about political correctness? His promising to enquire, the car numberplate, going to the prison to see the father of the boy, getting the information that Marcus and Willie were robbers? His confronting them, wanting a cut, the bargaining and his insistence on fifty per cent?

8. Santa and the kids, his taking refuge in the bar, the girl with a fetish for Santa Claus? The sexual encounters? His beginning the affair, her helping him? Her moving into the house with Willie, her fondness for the boy?

9. The boy, his being branded a loser, his size, way of walking, talking, his discussions with Santa Claus, ingenuousness, the continued questions? His helping Santa after the attack? Taking him home? His father’s absence climbing mountains – but really in jail for embezzlement? Grandma, her not saying anything, in front of the TV? Their always offering to make sandwiches? Willie and his reaction, people after him, his moving into the house? His treating the boy as an adult, including the language and attitudes? The boy and his Advent boot, the Christmas questions, the sweets – and the drunken Willie spoiling it, making up to the boy, putting pills and other substitutes in the calendar? Their talking, the issue of gifts, the boy cutting his hand while carving the gift, the blood on the gift? Willie and his thinking about suicide, seeing the attack on the boy, his taking him to boxing, sparring with Marcus? The confrontation with the bashing of the kids and his feeling it was a turning point for the better? His writing the letter to the police, the confession – and giving it to his girlfriend in case anything happened to him?

10. Christmas in the neighbourhood, the neighbours, the lights and decorations? At home, Gran, the sandwiches, in front of the television – and their thinking she was dead and her suddenly waking up and offering sandwiches again?

11. The gifts, the boy and his talking about gifts? His talking about Santa, his work, the North Pole, Mrs Santa – and seeing the girl as Mrs Santa’s sister? His hoping for a gift from Willie, the talk about the pink elephant?

12. The Christmas Eve, the robbery, the difficulty with breaking open the safe, his success? Marcus and his girlfriend killing the head of security? The gun, the police and their taking Marcus, Willie and his getting the pink elephant, the drive, his being shot but wanting to give the gift to the boy?

13. The aftermath, the boy and his confrontation with the kids? The girl and her looking after the boy and Grandma? Willie, the confession, his being healed in hospital after so many wounds? The end with the boy giving the finger?

14. The range of music also commenting on the action and characters, the classical music and the whole range of popular Christmas songs?

BEFORE SUNSET

US, 2004, 81 minutes, Colour.
Ethan Hawke, Julie Delpy, Vernon Dobtcheff, Albert Delpy.
Directed by Richard Linklater.

In 1995, audiences were divided concerning Richard Linklater’s Before Sunrise. Some thought it a tedious talk-fest, a young man and a young woman meet by chance and spend several hours in a train journey and a walk through Vienna, discussing a range of experiences that interested them both (but not, apparently, some of the audiences). Others thought it an absorbing and thoughtful, intelligent and relevant reflection on contemporary life and values by the young. It won the prize for Best Director at the 1995 Berlin Film Festival and a commendation from the Ecumenical Jury.

Nine years later, the director, Richard Linklater, has teamed up with his two stars, Ethan Hawke and Julie Delpy, and brought them together for more talking and sharing. Nine years on, he is a successful novelist on a tour of France, she is a worker for an environmental group who comes to his interview to meet him again. This time the film works with screen time as real time. The conversation goes for about 80 minutes before he is to go to the airport for his plane.

Hawke and Delpy have matured physically and in dramatic stature. He is more laid-back, ironic but earnest in asking questions and talking about his failures. She is even more vivacious, a little hardened by her experiences, more emotional and sometimes volatile, with a great yearning for (and fear of) being loved.

Their conversations are stimulating even if they do run through them at a rapid rate, alighting on all kinds of issues, often making astute observations that can strike a chord in the audience. For those who liked Before Sunrise, Before Sunset is a must. For those who did not, this sequel should be avoided. But, it is still good to see younger film-makers working on an intelligent adult drama.

1. The impact of the original film, the nine-year gap between the film and its sequel? Audience response to the original characters, their lives, issues, age and experience? Their ability to talk, the quality of conversation? Relationship? Intimacy? The original and its taking place during the night? This film during the day? the titles?

2. The nine years difference, audience continued interest in what happened to the two characters, the nine years of age, experience, good and bad, their physical appearances, their lives, maturity? The different between the perspective of the early 20s and the early 30s?

3. Paris, the background, the glimpse of locations and their use during the film, the unobtrusive use of Paris, not a touristic perspective? The shop, the streets along which they walked, the café, the boat, the taxi, the apartment? The musical score – especially Nina Simone’s final song?

4. The film taking place in real time, its effect? The minimal plot? The talk, filling in background, characters and events, relationships? The plan to go to the airport?

5. The quality of the talk and the conversation, the blend of spontaneous screenplay and scripted? The self-revelation of each of the characters? Their caution, gradual revelation, the range of topics, actual events, factual material, world issues? The tensions between the two?

6. The original plan to meet six months later, the consequences, Celine not turning up, the death of her grandmother, no way to communicate with Jesse? Jesse and his saying he didn't turn up, in fact his going?

7. Jesse and his novel, This Time? The book launch, the interviews, the questions from the journalists, personal, trivial? The discussion about the novel which took place within the length of a song? Jesse’s skills, writing, art, memory?

8. Celine’s arrival, Jesse seeing her, being disconcerted? His comments, her explanation of seeing the advertisement?

9. Their clearing of the six months issue, the explanation of the grandmother’s illness, death and funeral? The fact that Jesse went? The consequences? The importance to each of them for the resolution of this issue?

10. Each of them explaining their work, Celine and her working for the environment, better world, travel and experience, studies, working for the government, moving to work for causes? Jesse’s admiration, her life, relationships, her being dropped, the photograph, absence of people in her life? Memories, the importance of deep love, the response to Jesse from the past, the romantic idea of not having any contact and its practical consequences?

11. Jesse and his novel, his travel, success, marriage, his thinking that he saw Celine in New York, the fact that she was there at the time? The nature of his marriage, love or not? His love for his son? His expectations for their future, the effect of meeting Celine again?

12. The attitude towards the world, Celine serious but not religious? The discussions about God, about Buddhism, about principles?

13. Jesse’s attitude, a seeker? American perceptions? Wanting meaning in life? His visit to the Trappist monastery, his discovering how extroverted the monks were, how joyful, finding a place for meaning and joy in the world? His own touches of cynicism?

14. The United States, Celine and her friendship, perspective, the strong critique of the United States and its ethos? Her having lived there for a time? Jesse accepting this criticism?

15. The discussions of love, commitment? The discussion about whether there was a sexual relationship or not in the past, remembering it or not?

16. The taxi ride, the time building up, the phone calls, the apartment, the music, the Nina Simone song, Celine miming it?

17. Celine and her own song, the lyrics and the memories? Communicating the depth of their relationship? Jesse’s decision to stay? The question of their future?

BRIDE OF CHUCKY

US, 1998, 89 minutes, Colour.
Jennifer Tilley, Katherine Heigl, Nick Stabile, John Ritter, Alexis Arquette, Brad Dourif (voice of Chucky), Lawrence Dean.
Directed by Ronnie Yu.

Bride of Chucky is the fourth in a series which began with Child’s Play, focusing on a demonic doll, a doll possessed by the spirit of a killer (voiced by Brad Dourif).

The first three films were very successful, although it was said during the 1990s that the young children who murdered another child in the United Kingdom had been influenced by the film. This did not appear to be the judgment of the presiding judge. However, it offered a caution about the impact of horror films and the availability of videos.

Jennifer Tilley stars as the voice of the Tiffany Doll as well as starring as Tiffany the girlfriend of the killer. The complex plot has Tiffany being killed and her spirit going into the Tiffany doll so that the Tiffany and Chuck dolls can produce their own child… The film also suggests that voodoo rituals were to be used so that the two criminals could inhabit the bodies of friends whom they murdered. However, this plan goes awry and only the dolls survive.

Direction is by Ronnie Yu, a Hong Kong director who went to Hollywood and made such films as Shanghai Moon, The 51st State and Around the World in Eighty Days.

1. The popularity of the Chucky series? The first three Child’s Play films? This film as a sequel?

2. The popularity of horror, the menacing doll, the sinister voice? The plots and murders? Rituals? This film being different with having the two dolls and their making love and producing a child?

3. The technical aspects, the special effects for the dolls, the action sequences? Horror? The musical score and the range of songs? The mood of the songs?

4. The film relying on its previous films, its in-references to so many horror films, paying homage to them? A film buff’s film?

5. Tiffany, her stealing the doll, the police evidence depository – and the irony of Jason’s mask and the relics of Michael Myers, The Texas Chainsaw Massacre and Freddie Kruger? The irony of watching The Bride of Frankenstein on the television – and this as a point of reference for The Bride of Chucky?

6. Tiffany’s trailer, her book of reference, Voodoo for Dummies, her trying to rebuild Chucky? Her success? Her memories of Charles Lee Ray? Their relationship? Her giving a bride doll to Chucky?

7. Her death, the electrocution, the television in the bath? Her personality going into the bride doll?

8. Tiffany’s neighbour, Jesse, the dolls going to Charles Lee Ray’s grave? His girlfriend, Jade? Their relationship, their friendship with Tiffany?

9. The grave, Tiffany and Chucky and the voodoo plan, the amulet released from the grave, their moving from the dolls into Jesse and Jade? The plan going awry?

10. The fight of the dolls at the grave? Tiffany killing Chucky? Her giving birth to the child? The promise of a sequel?

11. The popularity of this kind of what if horror? The tradition of dolls representing human personalities in sinister fashion in cinema?

THE BIG HIT

US, 1998, 92 minutes, Colour.
Mark Wahlberg, Lou Diamond Philips, Christina Applegate, Avery Brooks, Bokeem Woodbine, Antonio Sabato Jnr, Lainie Kazain, Elliot Gould, China Chow.
Directed by Che Kirk Wong (Won Che-Keung)

A film that has its cake and eats it too. While it opens with slam-bang action of the violent kind, it proceeds to parody all of this with a professional killer who is really a nice suburban chap at heart who is then double-crossed by his greedy partner and we move into slambang again after some domestic comedy with his fiancée and her very Jewish parents. Mark Wahlberg is the genial killer and Lou Diamond Philips overacts with relish as his shining teeth nemesis. Christina Applegate, Lanie Kazan and Elliot Gould are the fiancée and family. Full of cleverly staged action, it plays on audience approval of and disapproval of screen violence. Slambang.

1. The appeal of this kind of crime thriller, the touch of martial arts, the Hong Kong tradition? American audiences, Asian audiences? Worldwide?

2. The work of the director, his transition from Hong Kong movie-making to the United States?

3. The Californian city, the suburbs? The exteriors of the homes and the streets, ordinariness? The contrast with the world of crime, crime lords, pimps? The musical score? The range of songs?

4. The importance of the action sequences, the special effects, the stunt work? The Hong Kong tradition?

5. The serious tone of the film, the focus on Melvin Smiley and his work as an assassin? The other hit men? Their being given targets? Their following through? The range of killings and body count?

6. The contrast with the farcical treatment, the flippant dialogue, the one-liners? The film’s attitudes of spoof, spoofing the movies? The jokey atmosphere?

7. Melvin, his being presented as a nice, suburban killer? Audience sympathies towards him? The initial work, the hit men, the break-in into the home, the pimp, Paris employing them? The shooting of the pimp? The violence, the aftermath?

8. Melvin and his work out, the showers? The irony of Melvin doing everything, yet some bungling? His relationship with the other hit men?

9. Pam, his relationship with her, on and off? His friendship with Cisco? The girl and the money? Pam, the visit of her parents? The body and the body parts? At home, the blend of domestic comedy with the sense of menace because of the crime? Pam, nightmares, ulcer? The build-up to the confrontation, his being saved at the video store?

10. The mission for kidnapping, the chauffeur, the boyfriend, the difficulties in the garage, the cook? The film director, his daughter?

11. The family, beauty, the drink? The temple?

12. The movie director, his movies, bankruptcy, wanting extra money, the crime connections? Cisco, his getting the commission? The codes? The confrontation with Melvyn, the attack?

13. The table, the guns, the shoot-out, the chase? The cliff? The video store – and the flashbacks?

14. Melvyn surviving? Pam and her family? Cisco’s death? His relationship with Keiko, having looked after her, saving her? Eloping with her to a happy future?

15. The popularity of this slam-bang instantly forgettable kind of action movie?

THE BIG BOUNCE

US, 2004, 87 minutes, Colour.
Owen Wilson, Morgan Freeman, Gary Sinise, Sara Foster, Charlie Sheen, Bebe Neuwirth, Willie Nelson, Harry Dean Stanton.
Directed by George Armitage.

Elmore Leonard is one of my favourite crime-writers. He has a skill in communicating heroism in characters who could be considered deadbeat. He creates kookie supporting characters. And, he writes with great deadpan wit. I can’t speak for him here, but I would be very surprised if he liked or even approved of this version of one of his earliest novels. It was actually filmed in the late 60s with Ryan O’ Neal but did not set the box-office alight. Nor this time. The ingredients are there, the sketch of the characters, Leonard-like situations on the edge of morality and the law. But the hard-boiled wit is missing, except perhaps in the performance of the always reliable Morgan Freeman.

The central character is played by Owen Wilson who as been very amusing in a lot of films. Here he makes you realise that he is giving the same drawly, seemingly lame-brain, good-natured but narcissistic performance that he gave in Shanghai Noon, Shanghai Knights, Starsky and Hutch, Around the World in Eighty Days, I Spy and Meet the Parents, that this is one and only Owen Wilson performance.

The supporting cast looks good on paper, Gary Sinise, Bebe Neuwirth, Charlie Sheen, Willie Nelson, Harry Dean Stanton, Vinnie Jones, but they really haven’t got much to do.

Little bounce and not so big either. Better to look at director George Armitage’s tough Florida thriller, Miami Blues, again.

1. An entertaining confidence trick and heist thriller? Comedy? Light – even trite?

2. The Hawaiian settings, the ocean, the beaches, the resorts, mansions, hotels? Prison? The musical score?

3. The title, its reference to confidence tricks, the resilience of the characters?

4. The film as an adaptation of an Elmore Leonard novel, Leonard’s reputation, capacity for writing skills, characters? This film as a thin outline of his work?

5. Jack, his story? The clashes on the building site? The indigenous protests, Ray Ritchie and his wanting people out? The clash with Harris, hitting him with the baseball bat? His going to jail, the policeman keeping his harmonica? His first meeting with the judge, Walter giving him a chance? Giving him a job, his watering the garden, fixing the showers? His seeing Nancy, infatuated, watching her walk along the beach? The irony that this was all a set-up to entrap him?

6. Jack as a character, breaking and entering, his friendship with Frank, going into the house with the beer, stealing the money? Wanting to give up? The rendezvous with Nancy? Her luring him into another job? The sexual relationship? Bob Junior and his threats? Ray and his criticisms and wanting Jack out? The continued support of Walter and his friends?

7. The plan, the involvement of everyone, the audience not knowing? Jack, Frank wanting him to get money for him and joining in the robbery? The return of Ray with his wife, her bitchiness, her shopping, drinking? The irony of her being in league with Nancy? With Walter? The poisoning of Ray, the shooting of Frank instead of Jack? Walter and his reactions, Alison and her drinking? The continued change of plan?

8. Walter, his place on the island, as a judge , his relationship with Alison, setting up the heist? The antagonism towards Ray? Nancy and her antagonism towards Ray, her having to go out the back door as Alison came in? The irony of Alison’s stance? Bob Junior and his naivety, thinking he had a relationship with Nancy, her going backwards and forwards between him and Jack? His reform and the pressure from his wife?

9. The robbery itself, the safe, Nancy opening it, Jack with the money? Frank and his being wounded? The irony of the happy ending?

10. Jack, picking up Nancy on the road, their discussion, his love for her – but not following through? His going off with the girl from number 9?

11. The Elmore Leonard ingredients – simplified for a brief and easy comic caper film?