7 more remarkable MSCs – new book by Jim Littleton

Good news that Jim Littleton has prepared another book on remarkable MSC. Jim has been chronicling the history of the province for the best part of twenty years.

This time the remarkable men are (and some of will remember their remarkableness in many ways!).

George Cody

Dick Docherty

Barney Baldwin

Harry Jordan

Barney Delaney

Harvey Edmiston

Paul Stenhouse

Contact Jim for a copy via our MSC website or Facebook page. The cost is $20 which includes postage.

SECURITY

Italy, 2021, 118 minutes, Colour.

Marco D’ Amore, Maya Sansa, Silvio Muccino, Valeria Bilello, Ludovica Martino, Giulio Pranno, Tommaso Ragno, Beatrice Granno, Fabrizio Bentivoglio.

Directed by Peter Chelsom.

Thriller and a portrait of the city setting in north-eastern Italy, on the coast. It was filmed in the town of Forti de Marme which is the name of the town and the screenplay. It has been directed and cowritten by British Dir, Peter Charlson (Hear My Voice, Funny Bones, The Mighty, Shall We Dance).

The central figure, Roberto, has a security and surveillance company. His rather alienate it from his wife, avoid staying at home, is attracted to a young woman who is mother to a teenage son who is glimpsed suspiciously on the surveillance screen.

There are many strands in the plot, especially concerning an adolescent school student who is seen after being violently treated – and there are several suspects. There is the young man seen in the surveillance. There is a teacher of creative writing – and many complexities since he is having an affair with Roberto’s daughter, and the girl who suffered the violence is also in his class, each of them presenting some kind of autobiographical story to the group. Then there is a wealthy man in the town, elderly, who suffers from an inability to be touched. He is also the sponsor of Roberto’s wife and her beard and campaign to become mayor of the town. There are also police investigators.

The screenplay spends quite some time and exploring each of the characters which means that their interactions are all the more interesting. There are political issues. There are social issues. There are psychosexual issues. There are sexual violence issues.

The film works as a police investigation as well as a socio-political drama.

1. The title? Roberto and his company? In action? The clients and the surveillance? The town, safety of the citizens? Each of the characters and their own personal securities and insecurities?
2. The town, the actual locations of Forti de Marmi? The vistas, overviews, the sea, the beach, the mountains? Streets, homes, school, interiors? The musical score?
3. The structure of the film, the violent episode, Maria in the street, wanting help, the surveillance cameras? The gradual reconstruction of the event, the flashbacks, the memories, the lies?
4. The mesh of the characters? Personal relationships, exploitative relationships, the creative writing class and the students, telling their stories, the younger generation, the parents? The politics, right wing, election campaigns, financial support? Personal corruption?
5. Roberto’s story, his company, his associate, the surveillance cameras, called in for emergencies? His personality, working class, appearance, his beanie? His relationship with Claudia, his infidelity, accompanying Claudia to the campaigns, socials, his being uncomfortable? Insomnia, sleeping in the homes of absent clients? His seeing Dario in the car, driving him home? The relationship with his mother? The cooling relationship with Claudia? Angela and her behaviour, defying her parents? His wanting to piece everything together, his sympathy for Walter, interrogating Maria, Angela and his telling of the truth, the discussion with Stefan oh and his explanation? His attitude towards Gulati?
6. Claudia, the marriage, cooling, the episode with her daughter and water, her thinking the worst, protecting her daughter? The possibility for becoming mayor, her ambitions, the support of Gulati, the socialist and investment in the town? Campaigns, speeches, cutting the ribbon? Her reaction to Angela’s behaviour? Watching the compilation of surveillance with her daughter, shock? Her relationship with Gulati, sympathy for him?
7. Gulati, his presence in the town, his wealth, supporting Claudia? His not wanting to be touched? Discussions with Claudia, with Roberto? The cutting of the ribbon? The gradual revelation of his behaviour, his confessions to Claudia and wanting to change, hiring Dario, observing the sexual behaviour, with Maria, the drug, the coffee, the violence? His being exposed?
8. Dario, young, employed by Gulati, the sexual behaviour, consensual, prurient observing? The episode, is trying to help Maria, her jumping from the car? His defiance towards his mother, the cover up, called in, his confession?
9. Maria, the injuries, wanting help? The revelation of her story, her relationship with her father, his trying to protect her, his drinking, the memories of the episode at the fair, the sexual misinterpretation, his reputation? Wanting to take responsibility for Maria? In the class, with Stefan oh, going to Gulati’s house, the drinking, sexual behaviour, the drug, the violence, on the street, pleading to the surveillance cameras? At the end, the class, interaction with Angela, reconciliation?
10. Stefan oh, a successful book, teaching creative writing, the young women, the students, his aims, the telling their stories? Jen Everett taping Maria’s story? His relationship with Angela? His going to Gulati’s house, leaving, his telling the truth? The break with Angela, her wanting to go off with him, the revelation that he is the ghost writer for Gulati? Resuming his classes?
11. The police, the interrogations, Roberto and his investigations, looking at the surveillance tapes, finding the truth, editing together? Circulating them around the town? Everybody’s reaction? Self-protection?
12. Roberto, a new life with Elena, the family?
13. The dramatic complexities, within the town and its confines?

FEAR STREET PART 2, 1978

US, 2021, 109 minutes, Colour.

Sadie Sink, Emily Rudd, Ryan Simpkins, McCabe Slye, Gillian Jacobs, Kiana Madeira, Benjamin Flores Jr, Olivia Scott Welch, Chiara Aurealia, Ted Sutherland.

Directed by Leigh Janiak.

The second part continues immediately from the events at the end of the first part, in 1994. Deena and Josh are investigating the history of Sarah fear, concerned about Sam and her being possessed. They contact C. Berman, the survivor of the massacre at the Nightwing Camp in 1978. She tells them then the story and most of the film is in flashback. By the end of the film, C.Berman is urging Deena and Josh to escape from the town, but Deena sees visions from the past.

The main part of the film is about the summer camp, younger students at the camp rather than those in such films as the Friday the 13^th series. However, there are friendships, relationships, sexual behaviour… The focus is on the two sisters, Ziggy and Cindy. There is tension between the two but ultimately each trying to help the other. Very little attention is given to most of the subsidiary characters. However, one of the characters given attention is the rebellious Alice, who teams up with Cindy, finding the site of the 17^th century village, of Sarah Fier, as well of the as the books about spells.

The other character is the young Nick Goode (Ted Sutherland), son of the mayor, who will grow up to be one of the police in Shadyside where most of the characters at the camp come from, rather than the rival Sunnyvale. There is also Tom Slater, friendly, involved in sexual activity, taken possession of an becoming the mass slayer (ultimately the bag over his head, reminiscent of Jason and Michael Myers, beating down and talk with an axe by Jack Nicholson in The Shining – and references to 1fierStephen King – and with a soundtrack resembling Carmina Burana).

There are some gory moments with the deaths, the death of Alice, the two sisters surrounded by possessed killers, both being hacked but one surviving. And telling the story in 1994.

LEGACY OF LIES

UK/US, 2020, 101 minutes, Colour.

Scott Adkins, Anna Butkevich, Yuliia Sobol, Honor Kneafsey, Martin Mc Dougall.

Directed by Adrian Bol.

Legacy of Lies is one of those action thrillers, reminiscent of the later films of Jean Claude van Damme or Steven Segal. They are for the undiscriminating action audience. And, like this film, they often receive terrible reviews.

Leading man, Scott Adkins, has something of a following with his action films. In this one, he fails in  a mission in Ukraine, leading to the death of his wife, losing important documents. He has retired from government work, serves as a bouncer in a club, does cage fighting. He also has a daughter – and lots of scenes between father and daughter. She is played by Honor Kneafsey, aged about 12.

His past comes back to haunt him. The daughter of a friend in the Ukraine comes to engage his help. The CIA is interested. Russian intelligence is also involved. This leads to a lot of action, chases, fights, danger to the little girl (who seems remarkably resilient, even to the end and her dive into the water) apparitions of his wife,. As said, this is for the undemanding action audience.

LETHAL LOVE

Canada, 2021, 87 minutes, Colour.

Joelle Farrow, David Pinard, Torri Higginson, Tommie- Amber Pirie

Directed by Avi Federgreen.

There is nothing particularly subtle about the direct title. And, at the opening, we see the central character, Blaine (David Pinard) putting the body of a woman in the boot of a car and regretting that she could never love him for the rest of his life.

We also see a bakery, run by a loving mother and daughter. Lots of sentiment in the relationship between the two. Blaine arrives, gets his guitar and sings outside the bakery, attracting people who then go in to buy or have a coffee. He ensconces himself in the bakery, which has a lounge, his singing. He also ingratiates himself into the good graces of mother and daughter.

However, the audience knows all the time what is going to happen in terms of relationships. First of all, he initiates a relationship with the daughter. Then he moves to the mother who is rather overwhelmed, urged on by friends, agrees to his proposal of marriage.

In the meantime, the daughter has recorded one of his songs, put it online, which leads her to the initial location and the story of how he played with the affections of two sisters and stole their music. His also seen copying recipes from the mother’s notebook.

Confronted by the daughter, he attacks her, throws her into the river but she survives, returning just in time for a confrontation and the stopping of the marriage.

Which is what might have been expected from the title and the development, which makes for a rather undemanding romantic thriller.

PRESSURE

UK, 2015, 91 minutes, Colour.

Danny Huston, Matthew Goode, Joe Cole, Alan Mc Kenna.

Directed by Ron Scalpello.

Over the decades, audiences have become familiar with dramas of men trapped under water, mainly in submarines, Morning Departure in the 1950s, K-19, The Crimson Tide…

This brief feature has men trapped in a submersible vehicle. They are part of a crew in the Indian Ocean, continually threatened by a pirates as well is bad weather, who have to go down to check on lines of communication. As expected, the film spends some time initially highlighting each of the characters, their strength of character, their limitations. Matthew Goode is the rather straight up-and-down person in charge. Danny Houston is the older, rather ambiguous participant who is burdened by memories of accident and guilt. Joe Cole is the young man, rather inexperience, memories of his girlfriend. Alan McKenna plays a gruff member of the team with some expertise.

There is drama in the interactions of the men on the ocean floor. As expected, there are difficulties with dealing with the problems, difficulties with the sudden legible, loss of contact with the surface, the grim discovery that their ship has sunk, heroic attempts to explore the difficulties, injuries, psychological trauma, some contact with a passing ship.

This is a story of men facing the reality of death, the chair in their own way, some self-sacrifice, and one survivor.

1. A trapped-in-a-submersible drama? The fixed location, claustrophobic? In the depths of the ocean? The ocean sequences?
2. The title, the pressure on the submersible, on those within, those in action in the water? Oxygen levels?
3. The basic plot, the ship, the ocean, repairs, the threat of local pirates, the oncoming storm, international communications, Chinese and Russians, the potential for disaster?
4. The four characters, on the boat, their skills and reputations, Mitchell, in charge, solid and reliable, handling the situation? Engel, his memories of the past, the deaths, his not saving the little girl? Jones, young, married, memories? Hurst, veteran, critical, the need for his expertise?
5. The mother ship, the commander, communications, the discovery that the ship had been destroyed, on the ocean bed?
6. The group, the descent, the repairs, discovery of the ship? The cords and links? Hurst, his interactions with the group, sometimes abrasive, supportive of Jones? Going into the water, his death?
7. The critical situation, Mitchell, the discussions, following the rules, communications, giving the information? Going to the surface? His death?
8. Engel, going out, trying to get the connections, his being overcome, put back into the module? Revived? Alone with Jones? The discussions, memories? Fears? His urging Jones to go to the surface? His own memories, wanting to save someone? The water rising, going underwater, his death?
9. Jones, age, inexperience, fears, doing his jobs, interactions with the other men? The confrontations, the lack of oxygen, Engel persuading him to go to the surface, unwilling? The blood from his mouth, going to the surface, the rescue? A glimpse of a happy ending?

GUNPOWDER MILKSHAKE

US, 2021, 114 minutes, Colour.

Karen Gillen, Lena Headey, Carla Gugino, Michelle Yeoh, Joanna Bobbin, Chloe Coleman, Freya Allen, Ed Birch, Paul Giamatti, Ralph Ineson, Angela Bassett, Michael Smiley.

Directed by Navot Papushado.

Now that’s a title! Or, it might have been called Female Assassins like a Diner that Serves Double Scoop Milkshakes!!

In fact, we visit the diner several times, first of all with Samantha, Sam (a tough leading lady, Karen Gillen) and, as she sits, we see her 15 years earlier, with her mother, Starlet, similarly employed (Game of Throne’s Lena Headey) – and her mother going off, absent for 15 years, entrusting her daughter to a company boss, Nathan (Paul Giamatti). As it turns out, Nathan is not particularly happy with Sam, she exceeded her task and, instead of eliminating one, she eliminated the whole group, including the rival boss, McAlester’s (Ralph Inesen) only son.

Clearly, vengeance is going to be to the fore. And eluding vengeance will be more than a task ahead.

With its cleverly flip dialogue, with its stylised sets (gold-tinted), the diner, an immense library, a bowling alley and mall, this is not a story to be taken absolutely literally. Part of the enjoyment is exactly that it is all highly stylised, tongue-in-cheek. The word that often accompanies a review of this kind of film is, and here it is here, Tarantino-esque! I think Quentin would enjoy this one.

Nathan has an issue. An employee has stolen a lot of money and Sam has to get it back. But, it turns out that the man stole the money because some very comic book thugs (four of them wearing masks from popular past horror films including Dracula and Frankenstein) have abducted the man’s daughter and are holding her to ransom. It looks as though Sam is not reliable, shoot first and ask questions afterwards. However, she has a heart, gets the wounded man to hospital, takes care of his daughter, Emily (Chloe Coleman) who endears herself to Sam and to the audience.

Nathan is not happy and Sam has some comic battles in the hospital with three nincompoops that he sends and who get high on laughing gas and so go to the final shootout, laughing uncontrollably. Nathan seems to the head of a large corporation, all-male executives at the meetings, all with the presumption that this world can function only with male control.

But, and here is quite a bonus for older audiences, Sam’s mother had three associates in the past who staff the enormous library – which is, in fact, a cover for a weapons bureau (with many of the guns concealed in the self-help section). And so, it is a pleasure to see Carlo Gugino, Michelle Yeoh, Angela Bassett – and see them in toughest action against the thugs. And, thank goodness, after an hour Lena Headey turns up again and joins her daughter in battle.

Hard to find vocabulary now to comment on the film’s perspective. Feminist used to be the word, perhaps still is (and this despite the fact that the screenplay was written and directed by a male). There is an effectively written misogynistic speech from McAlester (when we go for the final confrontation back to the diner). McAlester solemnly tells Sam that he’d had three daughters, could not understand them in the least, was irritated by their giggling manner, then very happy to have a son whom he could bond with and with whom he could understand!

And, there are some gender equality issues that Nathan learns and has to live with.

There is a happy ending, of course, Emily, despite her assertions that she is 8 ¾, is obviously going to be the next generation of these female assassins. But not before the shootout – and a striking tracking shot along the length of the diner, the assassins in for action, wreaking vengeance and justice on the thugs. It’s that kind of film.

1. The title, the tone? Echoes of Quentin Tarantino, characters, situations, studio sets, violence?
2. The style, Graphic Novel, bold and direct characters, stylised dialogue, contrived situations, audiences suspending disbelief, enjoying the conventions rather than expecting realism?
3. The writer and director? Yet the feminist texts and subtexts? Women as elites? Men and power, to be undermined and destroyed?
4. Sam’s story? The summons, the symbol of the milkshake and double scoop, the two straws? Rose and her continued help? 15 years earlier, her mother arriving, the bond between mother and daughter, the mother and her career, hit woman, having to escape, entrusting Sam to Nathan? Her mother disappearing for 15 years? The emotional setup?
5. Sam, in action, employed by The Firm, commissions, her talent as a hit woman, a job, no conscience and emotion? In the corridor, the massacre of the attackers? The irony of the death of the boss’s son? His wanting revenge?
6. Nathan, his relationship with Scarlett, protecting Sam, giving her commissions? Arrival at the diner? His warnings about the consequences of the massacre? His role, The Firm, all men, hits, criminals, power?
7. Sam as a kind of super hero, powers, yet vulnerable? The commission about the man who stole the money from The Firm? Discovering the truth? Shooting him? Taking him to the hospital? His daughter abducted by thugs? Stealing the money to pay the ransom? Sam, going to the rendezvous, the thugs in their horror film masks? The little girl, the supermarket trolleys? The group in the car, the betrayal, their being shot, Sam and the confrontation, rescuing Emily?
8. Going to the library, the three women, the humorous dialogue about borrowing books yet referring to weapons? Madeline, demure, reception? Anna May, the wild look, in charge, severity? Florence, quiet, in the background? Recognising Sam, memories of her mother, helping her, the weapons, the humour of the books in which they were concealed, self-help?
9. Mc Alester, boss, the death of his son, wanting revenge, the range of henchmen?
10. Nathan, his three thugs, their appearance, going to hospital, in league with the doctor, injecting Sam, her inability to move her arms, getting Emily to take the knife and the gun, her confrontation with the thugs, the fights? Their wounds? Their inhaling the laughing gas, the parody of the fights with the giggling? The deaths? Nathan and his reaction?
11. The reappearance of Scarlet, Sam and her reaction, recriminations, Scarlet and her wanting to protect her daughter?
12. The setup for the confrontation, the thugs tracking Sam, going to the library? The preparations for the siege, the women agreeing? Madeline and her packing the boxes in the van? Protecting Emily? The range of fights in the library, the older women and their martial arts, fighting tactics, weapons? Sam and Scarlet working together?
13. The leader and the confrontation with Madeline, the fight, her going, Emily with the headphones and not hearing, Madeline’s death? The leader escaping?
14. The return to the diner, Rose and her help, Sam going alone to take responsibility, the leader abducting Emily? The milkshake? Scarlet and saying she did not have any ideas?
15. The discussions, the waitress appearing, Scarlet has the waitress, her plan, Anna May and Florence as waitresses? Mc Alester, his long speech to Sam, misogynist, not understanding women, his daughters, love, but their giggling and secrecy, bonding with his son, the male bonding, his son’s death? Wanting to torture Sam?
16. The attack, the long tracking shot along the aisle of the diner, each of the women and their weapons, attacking the thugs, their deaths?
17. The final bonding, Emily and Sam’s nightmare that she would kill her, Emily understanding and forgiving Sam for her father’s death? Joining the group? Three generations of female, feminist action heroes?

FEAR STREET PART ONE 1994

US, 2021, 107 minutes, Colour.

Kiana Madeira, Olivia Scott Welch, Benjamin Flores Jr, Julia Rehwald, Fred Hechinger, Elizabeth Scopel, Gillian Jacobs.

Directed by Leigh Janiak.

The Fear Street Trilogy is based on young adult novels by writer R.L.Stine, better known by younger readers and parents for his Goosebumps series. , The three parts form one film, the main setting in 1994, flashbacks to 1978, flashbacks to origins in 1666 and the second part of the third film announcing Fear Street 1994, Part 2.

Behind the stories of 1994 and the sequel, 1978, is the folklore of witches and curses so prominent in communities of that era like Salem and the witch trials and executions. There are flashbacks – and the third film will give the origins story. Meanwhile, there is a book of curses, a car accident which dislodges the grave of the executed which, Sarah fear, and dislodges the skeleton of her hand.

The tone of the film is set by an initial massacre, a book sure a book store assistant and her boyfriend, her being killed, his going on a rampage, shot by the police, but killing people in a shopping mall.

The other setting is a rivalry between two towns, Shadyside and Sunnyvale, light and darkness. There is interactions, hostilities between the young people of the two towns.

Principal focus is on Deena (Kiana Madeira) and her brother, Josh (Benjamin Flores Jr), avid in doing research about the town’s history. There are other friends, Simon and Kate, deal drugs. Sam (Olivia Scott Welch) has moved from Shadyside to Sunnyvale, is hurt, goes to hospital, and her gay relationship with Nina is gradually acknowledged.

There are further possessions, murders, the touch of the gory, Samantha herself becoming possessed and Deena planning to kill her and revive her. However, she is revive but possessed, having to be tied up. The first part in is here on the second part opens immediately at this juncture.

1. The title, the tone? Young adult stories? R.L.Stine and his imagination, horror stories?
2. The 1994 setting? The trilogy and the stories going back in time and dates? The story as a culmination?
3. The New England tradition of witches, Salem, executions, curses, resurrections, living on and perpetuating the curses?
4. The tone, the opening, However, the bookstore, relationship with Ryan, his killing her, going on a rampage, the police shooting him? His later resuscitation?
5. The town of Shadyside, the contrast with neighbouring Sunnyvale? Light and darkness?
6. The story of Sarah Fier, witch, the 17^th century, execution, the burial, her grave, her curse?
7. The young teens in the town, Deena, her relationship with Sam, gay, closeted? Her brother, Josh, books and research? Giving the information about Sarah Fier? Friends with Simon and Kate, drug dealing? The teen atmosphere?
8. The vigil, the brawl between the group from Shadyside and the wealthy teenagers from Sunnyvale, the football jocks? The vision of Sarah Fier?
9. Peter, under suspicion, the jocks, going to the hospital, Sam, their deaths?
10. The revenge and retaliation, the car, the disturbing of Sarah Fier’s grave? The blood on Sam?
11. The reputation of C.Berman, surviving 1978, her phone call at the end, the warning?
12. The revelation about Sam, the curse, killing? Getting the prescription drugs, the decision to kill and revive Sam? Her throwing up the pills? Deena trying to drown her? The deaths of Simon and Kate, the police attributing to them the responsibility because of their drug dealing? Sam and her being possessed by Sarah? Deena overpowering her and tying her up? What then?

LE MYSTERE HENRI PICK/ THE MYSTERY OF HENRI PICK

France, 2019, 100 minutes, Colour.

Fabrice Luchini, Camille Cottin, Alice Isaaz, Bastien Bouiillon, Josiane Stoleru, Astrid Whetnall, Marc Fraize, Hannah Schygulla, Vincent Winterhalter.

Directed by Remi Bezancon.

As the title suggests, there is mystery about the alleged writer of a novel, Henri Pick. As with mysteries, there is great interest in the investigations, the clues, the developments. However, as with so many mysteries, there is some disappointment, perhaps a feeling let down, when the truth is revealed.

However, the central character is an author, academic, television celebrity, recommending books to his television audience, but self-important and often irascible. Another very interesting performance from Fabrice Lucchini.

On his program, as an editor and her boyfriend, an author, watch, waiting for a review of the book, the program has to come to an end. The film shows the work of the young author. And the expertise of his girlfriend in publishing. On a tip, she goes to a library, a library of rejected manuscripts, and finds one which interests her, the author being Henri Pick. He is dead, managed a pizza restaurant, survived by his wife at an academic daughter, having given no sign that he ever wrote anything in his life. Readers find that the novel is heavily influenced by Chekhov.

The television host has the wife on his show but treats her badly – and he is sacked. He suspects the book is not written by Pick, decides to start his own investigation, visits the library of rejected manuscripts, has encounters with the widow, with the daughter with whom he eventually connects and they investigate together. We are taken into the world of publishing, of readings, of reviews.

Ultimately, the truth is revealed, who was involved, the random choice of Henri Pick. Perhaps the solution is something of a disappointment, but the estimate but the investigation in this literary world is quite entertaining and intriguing.

1. The title and expectations? The novel and its authorship? An investigation?
2. The French settings, homes and apartments, the television station, the country town, French atmosphere? The musical score?
3. The focus on Jean- Michel Rouche, literary critic, past career, television, his guests, the audience, his comment on books, make or break? Age, relationship with his wife?
4. Daphne and Fred, watching the show, hoping for a comment on his book, the show having to end? Daphne and Fred and the relationship? His writing, her publishing? Her relationship with her father? Fred and his going on to write and of the book?
5. The Library of Rejected Manuscripts, the idea, the vast number of texts, some of the ironic titles, inviting rejection? Daphne, her search, finding the Henri Pick manuscript? Reading it, her attraction, taking it to the publisher? Publication, instant success, reviews, the public, Jean- Michel’s wife? The story of a last love?
6. Jean Michel, the interview with Pick’s wife, daughter present? His scepticism? Denunciation? The guests walking out, an attempt to make an apology, their having left? His losing his job? Losing his wife?
7. His quest to find the author? Going to the town, interviewing the wife again, Henri Pick and pizza, never writing, his daughter finding the letter to the camp? The wife upset again?
8. Jean- Michel, the discussions with Josephine, her giving him a lift, travelling, explaining her father, the plausibility of his writing the book secretly, his wife believing he did?
9. The visit to the library, the support of the librarian? The Russian references? Pushkin? The parallels?
10. The socials for the book, the gatherings, the critics, the guests, the publisher?
11. Daphne and Fred, Daphne defending her publishing of the book?
12. Jean Michel, the pursuit of the investigation, finding clues, working out what happened, discussions with Daphne? The possibilities of a relationship with Josephine?
13. Fred, his first book, his second book, Daphne and Fred devising the manuscript appearing in the library?
14. The solving the mystery – but, always something of a letdown when the solution is offered?

HOTEL ARTEMIS

US, 2018, 93 minutes, Colour.

Jodie Foster, Sterling K.Brown, Dave Bautista, Sofia Boutella, Jeff Goldblum, Brian Tyree Henry, Jenny Slate, Zachary Quinto, Charlie Day, Kenneth Choi.

Directed by Drew Pearce.

Hotel Artemis is set in Los Angeles 2028, a time of violence and riots, vividly and darkly portrayed.

The title refers to a high-rise building, some of the upper floors, which serves as a hospital for subscribers only, from criminal organisations in Los Angeles. The Nurse, in charge, is played by a very serious Jodie Foster. She has a past story, connected with the high-flying boss of part of the city, played by Jeff Goldblum. There are flashbacks to The Nurse’s past and the death of her son.

In the hospital, she is assisted by the big Dave Bautista, as Everest, helping with transporting patients but ultimately confronting a corridor full of thugs.

The film opens with a bank robbery, criminals in masks but well-dressed, the leader emerging as Waikiki, played by Sterling K. Brown, taking his wounded brother, Brian Tyree Henry, to the hotel. Others in the hotel include a hit woman, Nice, played by Sophia Boutella, and a very irritating presumptuous criminal played by Charlie Day. There is a lot of stunt work, choreography for elaborate fights, a final confrontation when the son of the boss wants to inherit from his father. His played by Zachary Quinto. Also in the action as a policewoman, wounded, brought into the hotel because she is a friend of The Nurse, played by Jenny Slate.

Mainly for fans of science fiction and futuristic stories – and fans of Jodie Foster and Sterling K.Brown. Written and directed, a first feature, by writer, Drew Pearce (including screenplays for the Fast and Furious franchise).

1. Science-fiction? Futuristic? Los Angeles 2028? Riots and chaos? Police and the law? Criminals?
2. Los Angeles, future, chaos and riots, buildings, aflame, the streets? The hotel, the interiors, corridors, the patient rooms, the gathering room, the elevator? The musical score?
3. The title, the hotel, the skyscraper, the upper stories, the elevator? A hospital for criminals, subscribers, investors? The strict rules for admission?
4. Jodie Foster as The Nurse? Sombre presence, the rules, the clients, the treatment, the skills, the equipment? Admitting Waikiki and, the treatment? The past links? Acapulco, presumptuous, manic, criminal background? Attitudes towards Nice?
5. Everest, his presence, size, support for The Nurse, carrying people, moral support, friendship with The Nurse, loyalty? In action, the rules, The Nurse asking him to rescue Morgan, bringing her in? The final confrontation with the thugs, fighting skills, protecting The Nurse?
6. The opening, the riots, the bank, the customers lined up, the masked men, the stealing of the pen and the warning? The attack, getting back to the Hotel? Waikiki and the past contact, loyal to his brother above all things? His brother holding him down? The brother’s injury, treatment? The truth about the pen, the tycoon and ownership, the valuables within? Waikiki, the past relationship with Nice? The final confrontation with his brother, his brother’s death? A sense of freedom?
7. Acapulco, Manic, with Nice, the approach, the helicopter, its leaving, Waikiki, Acapulco and his head being crushed?
8. The message about the boss, ownership of the city, wounded, his son and the booking? His being brought in? The association with The Nurse? The conversations, the past, power play? His son barred from coming in, the thugs with him, professing his loyalty to his father, wanting the inheritance? The treatment, presumption? Nice, getting into the room, killing the boss?
9. His son, the claims, the thugs, breaking through, the conflicts with Everest? Waikiki offering him the pen and the power?
10. The Nurse, the flashbacks to her son, his death, the clash with the boss, her blaming him for her son’s death? The friendship with Morgan, loyalty in the past, bringing her into the Hotel, the treatment, Everest and smuggling her out to safety?
11. Decisions, The Nurse and Waikiki, leaving the Hotel, the elevator, out into the streets, the dangers, the shooters, the police? The Nurse and her commitment to her work – into a future?