SHAFT

US, 2019, 111 minutes, Colour.
Samuel L.Jackson, Jessie T.Usher, Richard Rountree, Regina Hall, Alexandra Shipp, Matt Lauria, Titus Welliver, Method Man, Isaach De Bankole, Avan Jogia, Luna Lauren Velez.
Directed by Tim Story.


Once upon a time, almost 50 years ago, a slick-talking investigator called John Shaft made quite an impact on the American semi-going public, especially the African-Americans?. It was part of the introduction to a number of black heroes of the period, crime dramas, investigations and tough tactics, action films that are looked back on with appreciation after 40 or more years. Richard Rountree was John Shaft – and made another film, Shaft in Africa.

At the beginning of the new millennium, Hollywood thought it was a good time to have another Shaft film. From the screenplay of the 2000 Shaft, it seemed that Richard Rountree was the uncle of the new hero, the new John Shaft, and who better than Samuel L.Jackson? More of the same in glossy style, plenty of action, and directed by John Singleton who had made a number of significant films about African-Americans? in the 1990s.

In the screenplay for the 2019 Shaft, it seems that Richard Rountree is actually Samuel L Jackson’s father. And, here is a next generation, John Shaft Jr. So, there is a bit of explaining to do. Back we go into the 1990s, Shaft senior and his wife (Regina Hall) coming under heavy fire from a gang of drug dealers. And their baby son is in the back seat. It seems too much for his wife, so Shaft goes on his way, leaving his wife to bring up their son (and, in a collage of gifts, sending inappropriate presents for the boy’s birthday).

Which leads us to the present day, John Shaft Jr (Jessie T.Usher) who could not be more unlike his father if he tried (it would seem that his mother did her best that her son be not like his father). And we certainly see the differences between the 1970s, the 1990s and the present. John Jr is a walking millennial – his education, his cultured manner, his style of clothes, music, language, disdain of guns, working for the FBI but at a desk, data being the object of his investigations. What will happen when the two meet?

On the one hand, there is the expected crime investigation, a follow-up from that initial car shootout from the 1990s, warnings about Islamaphobia and suspicious money dealings at a mosque in New York, huge drug deals with vehicles repatriated from Afghanistan and bringing in loads of heroin, friendships and betrayals, thugs in the street, drug bosses, money-laundering, hits issued on both father and son. This happens when Jr’s best friend is killed and he begins an investigation while being put down by the FBI boss (TVs Hieronymus Bosch himself, Titus Welliver). So far, what was expected.

But, of course, so much of the film is about the bonding, the contrast between father and son, the dialogue, some even throwing guns out the window (but, of course, turning out to be a perfect shooter). There is the visit to the mosque and the different dealings in how to dialogue. There is exasperation of the father, his Samuel L.Jackson style, language, relationships (though still pining for his wife), Is Learning to live in an IT world while still appreciating that personal contacts, phone at most, are more effective than texting! So, a lot of banter amidst the action.

John Jr is millennial reticent in his dealings with his girlfriend (Alexandra Shipp).

So much happening while we wait for Richard Rountree to turn up – as he does, not just in a mere cameo, but some humorous comment as well as definitely getting into the action, all three in the mayhem shootup.

Iconic being as the three, similarly dressed, stride out into the traffic, ignoring the oncoming cars.


1. The generations of the Shaft family? From the 1970s to the 21st century?

2. The change in style from the 70s to the 21st century, the visualising of action sequences, violence? The role of blacks and whites? The role of the law, Private Investigators? The different clothes, the music styles, manner of speaking?

3. The Millennia’s, their education, attitude towards violence and guns, the Me Too Movement and attitudes towards women, the developments in data gathering and cyber skills?

4. The dialogue between the generations, fathers and sons, old style and modern developments? Clash, complementarity?

5. The opening in the 1970s, Shaft, his relationship with his wife, the drug leader and the attack, the shooting the car, the baby in the backseat? Shaft and his quest, the 25 years? His leaving his wife, her love for Shaft, but the dangers, and bringing up their son?

6. The visualising of the years passing, Jr as a baby, child, growing up, and the gifts from his father – useful or not?

7. The 21st century, John Jr and his working for the FBI, well educated, terrorists, Islamophobia, drug issues? His cyber skills, data gathering? His offering to be an agent, rejection by the boss?

8. John Jr and his age, education, earnestness, the epitome of trends, the touch of mockery towards the Millenniums their clothing style, trendy foods? His relationship with Sasha, her work at the hospital, his reserve towards her? Meeting Frankie, the discussion, the bond between them, memories of the past, his war service, drug addiction? The news of his death? The enquiry, his offering to be the lead agent, his being put down?

9. His going to solve the case, getting the information from the boy in the street, paying, Manuel and the thugs? The confrontation, his being bashed? His decision to go to his father for help, the office, the receptionist, the women, his father amazed to see him? Their talk, styles, opposites? His father making the link with his own case and the drug dealers? Helping his son, yet using him? The visit To Manuel and the thugs, the shooting, the interrogation, Manuel fleeing? Going to the club, his contact, getting the information?

10. The visit to the mosque, interrogation, the Imam his hostility, his daughter and her relationship with Frankie? Their being ousted, Frankie and the building, the developments? The documents, the lead about the money, the money laundering? The visit to Benny, her hostility? Her setting hits on them and the attacks, the shootings? Jr leaving the camera on her desk? The evidence?

11. Shaft, his style, relationship with his wife, the years of gifts, his relationship with women? Investigator? Language? Taking Jr to the club, the girls, the drink and the dancing, the aftermath?

12. Going to the organisation, Brothers helping Brothers? Suspicions, Frankie and his role, veterans from Afghanistan, the interrogation, suspicions? Cars coming back from Afghanistan, for repair, hiding the drugs? The links with Benny, the mosque as a cover? Frank and comfortable, his death?

13. John Jr’s mother, his not wanting her to know he was with his father? The date? The gentleman friend? Shaft at the restaurant, the conversations, her trying to avoid him? The shootout? Getting the date’s car? Going to the restaurant, John and his being with Sasha, the meal? The assassins, the shootout, John and his shooting skills, yet not wanting the gun? Previously throwing guns out the window?

14. Going to see Shaft’s father, a cameo by Richard Roundtree, age, experience, wisecracks, action? His armoury? Sasha and the abduction? Going to the building, the technology, the elevator, the tricks and the attack?

15. The mayhem, the criminals, Sasha, her being saved, the shootout? The confrontation with the drug boss, Shaft taking the bullet for his son, the drug leader shot, out the window and falling to the ground?

16. John Jr as the hero, going back to the FBI, some self-satisfaction, his refusing the promotion? Not wanting to work for “the man�?

17. The three generations walking the street – iconic?

ANNABELLE COMES HOME

US, 2019, 106 minutes, Colour.
Vera Farmiga, Patrick Wilson, Mckenna Grace, Madison Iseman, Katie Sarife, Michael Cimino, Samara Lee, Steve Coulter.
Directed by Gary Dauberman.

We are noticing that film franchises which tend to increase and multiply are being characterised as a “Universe�. This third Annabelle film is now part of The Conjuring Universe: two Conjurings with a third for 2020 and the spinoff, The Nun.

Fans will know that Annabelle is a mysterious doll but, as we are reminded now, she is not possessed by evil but she is a channel for evil and malevolence in the world, demonic powers wanting to seize souls through her. As the film opens, she is being brought home for their museum of malevolent objects, by Ed and Lorraine Warren whom we have met in the other films.

In fact, Ed and Lorraine Warren were actual characters (despite the statement at the end of the film that none of the characters bears any resemblance to actual people). From the 1960s then for the best part of 40 years, they were involved in strange experiences, the best-known being the Amityville Horror and its exorcism. They continued working in the US (and also at Enfield in London, a television film being made of the story). In fact, they were media celebrities and, as we consider newspaper headline here, the question is raised “hero or hoax?�. And they have been played in the films by Vera Farmiga and Patrick Wilson.

After a few mild adventures and Lorraine having a clairvoyant vision of characters standing outside a cemetery in the dark, they bring Annabelle home and lock her in her glass case. They then go off to a conference, leaving their young daughter, Judy (Mckenna Grace) in the care of a very nice babysitter, Mary Ellen (Madison Iseman) who is dressed and behaves like a nicely-bred teenager of the 1970s.

While the first part of the film seems very mild, PG kind of entertainment, there is nothing particularly gory or grisly about the horror. It is probably best described as “spooky� rather than “scary� although, of course, there are some scares. (One reviewer, inured to horror films even use the word “cosy�.)

Most of the action takes place overnight, a lot of it in the dark as the evil powers are arbitrary in lights going on and off, television sets turned on and off, stereos… It may have been a quiet night at the Warren’s except that Mary Ellen’s friend, Daniela (Katie Sarife) is much more forward in her manner, very curious (and a kind of moral for the film would be “curiosity killed the cat – or almost�).

Actually, the plot is a little more complex because Daniela has a secret and wants some help in contact with the spirit world to resolve her sense of guilt.

So, many things go bump (and variation sounds on bump) in the night, including a mysterious werewolf presence outside where Bob, the nice young man from the supermarket who serenades Mary Ellen at the window, has an opportunity to save Judy when she has to go outside to the car to get Mary Ellen’s inhaler (it is that kind of domestic spooky drama). Of course, there is a lot more, especially when Daniela unlocks the door of the Museum, ignoring the warning about not touching anything. Plenty of spooky mayhem, threats to Daniela, troubles for Mary Ellen and Judy, a challenge to get Annabelle back in her class case – and lock the door!

Ed and Lorraine get back, give some kindly advice to Daniela, thank Mary Ellen, meet Bob, and Judy, fearful because she felt she was not liked at school, having everyone turn up to celebrate her birthday party – which does mean that so much of the film is rather cosy!

There is a final photo of the actual Ed and Lorraine and Judy with the information that Lorraine died in 2019.

1. The cinema world of the Conjuring films, characters, stories, presence of evil, exorcisms?

2. The role of Ed and Lorraine Warren? In real life, the facts, the fiction about them, their being celebrities, exorcisms, Amityville? Working in England at Enfield? The media? The cases involved, the museum and closing evil in one room? Lorraine Warren dying as the film was released?

3. Annabelle, the introduction of the doll, the spinoff films, her mediating evil but not possessed?

4. The Warrens and their cases in the 1960s and 70s? This film from the 70s? Their work, in the car, going home, the scenes of the highways, the suburbs, the homes, the streets, school, shops? The musical score?

5. The main part of the film in the interiors, the range of rooms, the museum? The henhouse? The lawns outside?

6. The screenplay presupposing The Conjuring stories and the Annabelle stories? Her malevolence, but not possessed, Channel for evil entering into the world, wanting to draw souls? The Warrens keeping Annabelle safe, locked in the museum?

7. The drive home, the car, and fixing it, the eerie atmosphere, Lorraine as clairvoyant, the people at the cemetery gate? The truck almost running over Ed? Their being lost?

8. Annabelle, safely home, locked in her case in the museum?

9. The Warrens having to go to a conference, Mary Ellen coming to be the babysitter, her age, appearance, style, attractive? The contrast with her friend, Daniela? The encounter with Bob at the store? Minding Judy, Judy self-conscious, Anthony bullying her at school?

10. Coming home, Judy, her age, personality, response to Mary Ellen? Daniela coming into the house, curious, her motivations about the accident, intruding?

11. The night, Mary Ellen making the birthday cake, the anticipated birthday? Bob arriving, the pizza man and the delivery, his gross comments? Bob not coming in? The 70s and the touch of propriety amongst young people? Bob and his serenading?

12. Daniela, her snooping, the effect of her touching everything? Her motivation, the photo of her father, putting it in the container, imagining his presence, the horror touches?

13. Mary Ellen, nice, her work, Judy going to bed? The image of the mysterious bride and her knife? Annabelle at the case, in the bed with Judy, dragging Judy down?

14. Bob, serenading, the comic touch, the experience of the werewolf, saving Judy, hiding in the chicken shed?

15. Daniela, deciding to go, finding she had the keys, the return, unlocking the museum door, the mementos, their coming alive, evil? The touching everything?

16. The range of experiences because of the museum, the house, the lights on and off, television, stereo? Phones ringing? The fierce warrior and his eyes, the characters with
coins on their eyes? Bumps and movements and sounds in the night? Mary Ellen and her needing the inhaler, Judy going out to get it? Daniela, the experiences, her being stabbed
yet not dying, her becoming possessed?

17. The range of mayhem, recovering Annabelle, putting her in the case?

18. The parents coming home, the party for Judy, people not turning up, then everybody coming?

19. The photo of the Warrens and their daughter – and the tribute to them?

20. A somewhat PG kind of horror film, minimal body count, not gory, some shocks – spooky rather than scary?

FUN, MOM, DINNER

US, 2017, 81 minutes, Colour.
Katie Astleton, Toni Collette, Bridget Everett, Molly Shannon, Adam Scott, Ron Huebel.
Directed by Alethea Jones.

It is initially surprising to find that this film has an MA rating. As it proceeds, with very frequent coarse language, some quite explicit, as well as sexual gossip and references, the rating seems more relevant.

But, without so much coarse language and sexual references, the story is basically PG, and, despite the night out on the town by the four mothers, it finishes up, like so many American raucous comedies, opting for traditional values, especially for fidelity in marriage, for the family.

The film is in the tradition of the Bad Moms films but, in short running time (and written and directed by women and supported by the central cast) it is a story that harassed and sometimes frustrated mothers will identify with.

There are comparatively few men in the cast, two husbands, two men at the bar in the club, and a rather nerdish bespectacled, non-alcohol-drinking man who could well appear in a sequel marrying the divorcee in the group. There are two husbands, one, Tom (Adam Scott) caught up in his work, apprehensive about parenting his children, not showing affection to his wife. The other, Andrew (Ron Huebel), while still a touch macho, has worked out how to be supportive of his wife and co-raise their four children. The main action for the two men in the film is firstly, at the dinner, where Tom is obtuse; the second where he takes the children to Andrew’s house while his wife has her night out. They have quite some discussion about how they function as husbands and fathers, recognising the needs of their wives.

While the film shows some action around the school, introducing the four mothers and their families as well as interactions of friendship at the school and also some clashes with the traffic supervisor, the main part of the film is the night on the town.

Katie Aselton is Emily, the younger mother, marriage to her high school sweetheart, he becoming more insensitive and job occupied over the years. She has been befriended by Katie, Toni Collette being raucous, who has four children, has the loving husband, clashes with Melanie (Bridget Everett) a strong-minded big and buxom traffic supervisor who, of course, we will see has something of a heart of gold. The fourth mother is divorced, played by Molly Shannon. Emily persuades Katie to come with her to the night out even though she is quite reluctant – but, after a clash with Melanie and a meeting of minds, she joins in with gusto.

This gives the four of them opportunity to indulge in some women behaving badly, initially fighting amongst themselves, then the drinks, then the smoking and the drugs, driving around the town, stopping for drinks at a bar, Emily attracted by the man behind the bar and going off with him, alarming the others who get caught up in the karaoke enthusiasm and then have to go to try to find Emily (with the nerdish man driving the car and helping with the search).

Meanwhile at home, the kids are watching television, a crying baby is put on a swing outside and immediately goes to sleep, the door slams and the men are locked out. However, Katie’s husband is tracking her on his phone and is aware of what is going on.

By the end, the girls have confided in each other, have enjoyed their night on the town, experienced some freedom – which is visualised the next morning as they are all friendly school.

On the one hand, a pity about the language for many ordinary mothers watching the film – and on the other hand, it may be reflective of how some of the mothers think and feel.

TOY STORY 4

US, 2019, 100 minutes, Colour.
Voices of: Tom Hanks, Tim Allen, Annie Potts, Tony Hale, Keegan- Michael Key, Jordan Peele, Madalyn Mc Graw, Christina Hendricks, Keanu Reeves, Jay Hernandez, Joan Cusack, Bonnie Hunt, Kristin Schaal, Wallace Shawn, John Ratzenburger, June Squibb, Carl Weathers, nonrecourse, Jeffrey Garlin, Timothy Dalton, Laurie Metcalf, Mel Brooks, Carol Burnett, Betty White, Carl Reiner, Patricia Arquette, Bill Hader, Flea.
Directed by Josh Cooley.

To infinity – and beyond! And, of course, “you’ve got a friend in me�. Part of our consciousness, part of our positive attitude towards life!

And, since 1995 with the first Toy Story. Pixar animation made a great impact and began a series of highly successful entertainments, Oscar winners, and further Toy Story adventures. Now, after almost a quarter of a century, here is Toy Story 4. And, all our toy friends are back, led by Woody and Buzz. And, for our delight, there are some new characters including For key, a twisted but genial fork, and, a variation on a Ken-doll, a stunt motorbike rider, dashing but a bit slow on the uptake (and voiced with a touch of parody by Keanu Reeves.)

The story takes us back nine years when Andy was passing on his toys to his younger sister. Some of the toys were going to other owners, especially Bow Peep and her sheep. While this is sad, she has a philosophy of toynness that toys must move on to new and loving owners. On the question is, should Woody go with her. One of the messages of the film is that the whole reason for being a toy is to be the object of love from the child owner. Later, the film will become rather misty eyed for the audience as Woody has to go through this whole process for himself.

The plot complications this time include the youngest child, Bonnie, going to school, Woody hiding in her schoolbag, and her being bullied by some of the children. Then, she goes on a road trip with her parents, the toys going along as well.

There are various adventures, with four key getting lost and being taken by a problem-doll, Gabby Gaby, who feels unloved and unwanted and would like to have Woody’s voicebox to attract a child. She holds onto four key and, Woody, ever compassionate, is willing to give his voicebox to save Porky. There is a visit to an antique shop as well is the discovery of Beau Peep. Then various complications with toys getting lost, the family driving home, Woody and the plan for rescues, with bows helping out (listening to his “inner voice� by pressing buttons on his chest), Gabby Gaby finding a lost little girl and Woody organising for the little girl to find Gabby Gaby.

Not quite yet happy ending, while all the toys finally land up together after various separations, the question arises again about Woody going on to find other owners who will love and appreciate him. The last words of the film itself, Woody starting and Buzz finishing, “to infinity – and beyond�.

The invitation is to stay for the early parts of the credits because, in fact, there are a lot more words, comics situations as the toys go to the local fair and help the children to win all the prizes at the shooting gallery.

As always, there are a lot of style voices which enhance the comedy and the entertainment value. Couple of more years, we suppose, before Toy Story 5.


1. The popularity of the series? The 25 years? The characters and situations?

2. The popularity of the plot, toys alive, loyalty to the children? The toys reason for being – for the children?

3. The animation style, familiar, humorous?

4. The range of voices, the familiar voices, the new? The jaunty score and the songs?

5. The situation, Andy and his being finished with toys, passed on to Molly, being passed on to Bonnie?

6. The initial rescue sequence, RC? Woody and his heroism? Bo Peep and her leaving? Life to go on in the family? The role of toys to move on to other owners? Woody and the temptation to go with her?

7. Bonnie going to school, the bullies and the arts and crafts and her loss? Woody in her bag?

8. The character of the Sporky, Forky? Origins, seeing himself as a tool, downplaying himself? Discussions with Woody? His becoming Bonnie’s favourite?

9. The road trip, Forky going out the window?

10. Bo Peep, her reappearing, in the search? The encounter with Gabby Gabby? Her goal, to have a child owner, her loss of voice, her attacking Woody, Gabby Gabby and Forky?

11. Bo Peep, with Gabby, seeing the little lost girl, going to her help, her delight in having the doll? Reunited with her parents?

12. Buzz Lightyear always popular, his involvement in the search, listening to his “inner voice� and pressing the buttons?

13. The carnival, Buzz becoming a prize, escaping? The encounter with the new toys? The cop, Duke Kaboom and his exploits? The Ken-doll kind of character (and the touch of satire with Keanu Reeves’ voice and tone?

14. Woody, willing to give his box voicebox to Gabby, in exchange for Forky?

15. The hiding the backpack, in the antique shop, the owner of the shop and her help? The other toys going back to the family?

16. The comedy with the car and its controls, the malfunctions? Finding the bag in the shop?

17. Everything restored, the farewell, Woody torn as to whether to go or not, the decision to go, with Bo Peep? The last words of the story with Buzz and Woody complementing each other with “to eternity… And beyond�?

18. And the added comedy of the fair and the prizes during the credits?

TOLKIEN

US, 2019, 112 minutes, Colour
Nicholas Hoult, Lily Collins, Patrick Gibson, Anthony Boyle, Tom Glynn- Carney, Pam Ferris, Craig Roberts, Harry Gilby, Colm Meany, Laura Donnelly, Derek Jacobi.
Directed by Dome Karukoski.

To say that over the last 20 years, with the film versions of The Lord of the Rings and The Hobbit, courtesy of Peter Jackson and his cinema imagination, there is a potential audience of millions for this portrait of J.R.R.Tolkien. The question is, of course, who is the author and what was he like, where did he come from, his family, his education, war experiences, and how did they combine for his classic writings?

For audiences wanting some kind of biographical information, there is enough for them to go on with, his early years, education and war, marriage, the beginnings of the family and this film ending with the publication of The Hobbit in 1937. There was a lot more to come, the creation of The Lord of the Rings, the friendship with C.S.Lewis.

For audiences wanting some kind of insight into Tolkien’s imagination, there are many clues and indications. His mother was a great storyteller for the children. He created stories while he was young, moving from South Africa after the death of his father, to the British countryside and then, after the death of his mother, living in a boarding house and then going to an upper-class school. He had created a mythical language, vocabulary, grammar. He was inventing stories – with this film giving indications now and then of the mythical dimension, warriors riding through the countryside, fellowships. But, he loved linguistics and excelled at University (under the tutorship of the professor played by Derek Jacobi).

And then, there was his intense experience of World War I, the immediate enlistment, the horrors of life in the trenches, going over the top, young men being literally blasted by fire, thousands of deaths, visuals of ponds of blood surrounded by mounds of corpses.

The other strong impact of the film is Tolkien and his friendships at school, the bonds between the club, a true fellowship which continued at University. In fact, fellowship is almost the most significant theme of the film. There is also his falling in love, his marriage, beginning a family.

Nicholas Hoult has made a variety of films since he was a child actor. Here, he is the embodiment of Tolkien (and, at 5‘ 3 “, he towers over his friends). Lily Collins plays Edith whom he met when they were young and whom he marries.

A number have commented on the meagre indications of his Catholicism (later he was to be one of the translators for the Jerusalem Bible). Colm Meany players Father Francis, a friend of the family who helped the orphans find accommodation and schooling.

Perhaps there will be a further film on Tolkien and the writing of The Lord of the Rings and his friendship with C.S.Lewis. That would enhance this present portrait of Tolkien.

1. Audience interest in Tolkien, his life, his books, the background? The influences?

2. The prewar setting? British countryside? Birmingham, homes, schools? Oxford and the University?

3. The re-creation of World War I, the atmosphere and enthusiasm, posters? The contrast with France, the battlefields, the trenches, going over the top, the hospitals? The aftermath?

4. The war sequences, the special effects, the men going over the top, the bombardment, men on fire? The horrors of war? The pond of blood, the mound of corpses?

5. The family background, South Africa, the death of the father, the mother and children coming to Britain, the work, mother and her stories, her death? The help of Father Francis? The children as orphans? Tolkien and his brother? The meeting with Mrs Faulkner, boarding, meeting Edith? Life in the Faulkner household? Mrs Faulkner, kind, but disciplined?

6. Tolkien going to school, the interviews, the boys and their snobbery? Playing rugby, the fight, going to the principal, the principal being his rival’s father, discipline, their having to work together?

7. The bonding between the young men, their meetings, school, discussions in the library, the particular talents of each one? Going to the University, Tolkien and his interest in language, creating mythical languages and Abel to speak them, the impact on the teacher during the class?

8. At University, studies, one friend the pianist, the other a painter, the other a poet? The characters, friendship, the meetings and the good fellowship, the emphasis on fellowship? The disapproval of parents? Tolkien and his encouragement?

9. The outbreak of the war, the enthusiasm, all enlisting? In France, the trench sequences, news of deaths? Tolkien and his experience of the war, illness, searching for his friend, his adjutant and his continued help? On the battlefield, fire all round, Tolkien’s collapse, in hospital?

10. The growing bond with Edith, falling in love, her response, her character, Tolkien missing his opportunity, her love for someone else? Yet, the farewell at the wharf as he went to war? The waiting for him, going to find him in his recovery? Their marriage?

11. The poet’s mother, Tolkien going to see her, the past encounters and her not wanting her son to be a poet? His interview, persuading her to have the poems published, his offering to write the introduction? Her grief at so many deaths in her family?

12. The intercutting of the war sequences with the action? Tolkien in war and the imagination of battles? Mythological?

13. Tolkien, his studies, his drinking, unreliability? The dealings with Father Francis and support?

14. The urging to meet the linguistics professor, the encounter, his being late for the academic year, his use of language, enthusiasm, the response of the professor? His writing the essay in short time, his being accepted? This contribution to his creative imagination and creating Middle Earth?

15. The immediate postwar period, his work at Oxford, respected by the students, Edith and the marriage, the children, his writing his books, the creation of the Hobbit, the scene
in the countryside with his brother and the two families?

16. The film ending just as Tolkien’s literary career was opening up? Oxford, The Lord of the Rings, C.S.Lewis all in the future?

THE WRONG BABYSITTER

Canada, 2017, 89 minutes, Colour.
Daphne Zuniga, Britt Irvin, Matt Bellefleur, Lisa Marie Caruk, Lochlyn Munro.
Directed by George Mendeluk.

This is a kidnap thriller made for television, a film from Canada with an American setting.

The focus is on an artist played by Daphne Zuniga whose husband, detective, was murdered several years earlier while working on the case. Their daughter intends to work for the police. The occasion for the murder was investigation of a kidnapping.

Now, the daughter is kidnapped but shows her resolve leaving clues for her mother and the police to follow. She has been kidnapped while the next door neighbour, a sympathetic friend who runs the administration in the school, has been babysitting.

The kidnappers are fairly incompetent but are eager to get ransom money. Twist is that one of the kidnappers is the younger brother of the next-door neighbour who has masterminded the whole situation and, in fact, has killed the detective husband.

The mother and her friend are suspicious of the local policeman, her husband’s partner, and pursue the clues themselves, information from a local garage, a message from the daughter written on the wall of the toilet, calculating the melting of ice cream…

The policeman also picks up a number of the clues and works out who the villain is and, with a siege, all resolved.

RECALL

Canada, 2018, 73 minutes, Colour.
Michael James Regan, Tommy James Murphy, Louis di Bianco, Stefano Di Matteo.
Directed by Michael James Regan.

This is a small-budget better. It was made by friends, Michael James Regan directing, taking the chief role, cowriting the script with Tommy James Murphy who also stars, their producing and Regan editing.

The action has an American setting, a Mafia family has a cover of a restaurant planning a drug deal with African- Americans, an deal for $2 million. In the meantime, to stepbrothers have a conversation about robbing the money, one an addict who has been unreliable in the past, the other trying to build his life after death of his girlfriend. While he eventually agrees to participate in the robbery, the simple in plan with the addict being discovered by the dealers and distracting them while his stepbrother drives away with the cash.

Suspicions lead to a shootout. The Mafia boss is angry and determined to get his money back. The driver experiences a number of flashbacks, wants to know whether he should save his friend – but a recollection makes you realise that his friend shot his girlfriend.

1. Small budget thriller? Canadian film? Perspective on the US, Mafia families, drug dealers?

2. The American city, the streets, restaurants, the city ambience? The musical score?

3. The title, Mikey and Dale, the memories, resentments, the final moments and Mikey’s recall about his wife’s death?

4. The criminal family, gathering for the meal, the 2 million drug deal, working outside the family? The patriarch, his control, members of the family? His conversation with his grandson, mistrust? The scenes of the deal, the African-Americans?, being considered Jamaican, mutual suspicions? Dale’s presence, the overt suspicions, the shootings? Mikey stealing the money, the patriarch and his anger, interrogating Dale, taking him to the house, the phone calls from Mikey, Mikey not keeping his appointment?

5. Dale, wandering the city? His girlfriend at the bar? Summoning Mikey, stepbrothers, the past deals, Dale on the drugs, Mikey and his disappointment, resentments? Not wanting to go on the robbery? Dale and his pressure? Mikey and his agreement?

6. Mikey, talking with his father, the pregnancy, his disappointment? Alone,his memories, buying the engagement ring, the photo of his girlfriend, the memories, her being shot? The end and his recognising the mask?

7. The conversations of the planning, a seemingly futile plan, yet Dale entering, distracting the family, Mikey taking the money? The phone calls? Mikey under threat? The dilemma about leaving Dale on not? The mask, is memories, Dale killing?

8. The members of the Mob, their personalities, the cover of the garage, the restaurant, mutual taunts, aptitudes and ineptness?

9. A small variation on Mafia themes?

iBoy

UK, 2017, 90 minutes, Colour.
Bill Milner, Maisie Williams, Miranda Richardson, Rory Kinnear, Jordan Bolger, Charlie Palmer Rothwell.
Directed by Adam Randall.

Audiences beginning to watch Iboy will think of the film as a small-budget local drama, friends, school, gangs and bullying, drug deals. However, when the hero is affected after a shooting and pieces of his iPhone are embedded in his brain, he is transformed with superpowers, an ability to see and hear, to do calculations in his mind, visions of what other people are doing and a transformation into a kind of vigilante during the night, people will be thinking of Peter Parker and Spiderman.

Bill Milner is the young man, Miranda Richardson his grandmother, Rory Kinnear the sneering boss of the drug dealers.

1. A small-budget British thriller? The touches of technological science-fiction? The touches of the superhero films? Echoes of Spiderman?

2. The London settings, the streets, crime? Drugs? Homes and flats? Hospitals? School? The musical score?

3. The title, the tone? 21st-century technology?

4. Tom, his character, family, with his Nan? The relationship? His being something of a loner? At school, classes? His friendship with Lucy? The boys at school, the relationship
with him, the touch of bullying?

5. Lucy, her character, at school, studies, friendship with Tom, life at home? The disabilities?

6. Eugene and the members of the gang, tough? Bullying Lucy? Keeping her as hostage? The rescue?

7. Tom, supportive of Lucy, the gangs, the shooting, the injuries to his head? Hospital? Part of the phone embedded in his head? Transformation, revelation of the superpowers?

8. The effect on Tom, his character, what he could see, what he could know? The friends, their behaviour, his power over them? The threats to Lucy, his friendship with Lucy, her support, puzzle?

9. The injuries? The effect on the gang? Ganging up on Tom?

10. Tom and his relationship with his grandmother, her concerns for him?

11. Tom becoming a night vigilante?

12. His friend, the betrayal, Elllman and his leadership of the gang, drugs, money?

13. The confrontation with Tom, the threats, ruthless? Tom and his visions, power, the interactions with Ellman with the other members of the gang?

14. A small story of gangs and drugs in London, friendships and love, family?

15. Tom’s future, his powers, the touch of the vigilante and righting wrongs?

MURDER MYSTERY

US, 2019, 97 minute, Colour.
Adam Sandler, Jennifer Anniston, Luke Evans, Gemma Arterton, Terence Stamp, David Walliams, Dany Boon, John Kanni.
Directed by Kyle Newcheck.

This is a direct to Netflix release. And, Netflix released information that on its first weekend available, it was seen by 30 million audiences worldwide, a record.

In a way, this is rather surprising because it is an Adam Sandler film and he is not to everyone’s taste, to say the least. However, he must be feeling vindicated after news of this statistic. (It is not that he is any different in this film than he is in others, a mixture of irritant and entertainment.)

This is one of those enjoyably concocted plots, very much in the vein of Cluedo, a gathering of all kinds of diverse characters, an exposition which gives many reasons for a murder, then the murder itself, and then the investigation. As always, we have to look for the least likely suspect – and, even if someone worksout/guesses whodunnit, there is still the complexity of how the murder was done and the why.

In fact, Adam Sandler plays a detective – though not quite, he has failed his exams three times but is too embarrassed to tell his devoted (sometimes one wonders why) wife, played enthusiastically by Jennifer Aniston. He rashly promises to take her on the trip to Europe, making himself comically obnoxious on the plane, questioning the service in first-class, wondering about his wife when he finds her talking to one of those handsome types Luke Evans) who looks as if he could be a killer whenever the murder occurs!
But, the connection with him is a good connection and off they go with him to the family villa in the south of France. There they come across his relatives, the mansion owned by his uncle, various financial advisors and international characters – all potentially suspicious, of course, the lord of the manor is played by Terence Stamp in a rather arrogant style. So, it is not surprising when the lights go out, he is found stabbed, a suspicious knife with blood and everyone potentially compromised.

It is time for Adam and Jennifer, 21st-century kind of Nick and Nora, to go into action – except that they come under main suspicion for being there, denouncing his false claim to be a detective. The French police, led by comedian Dany Boone, pursue them unquestioningly and relentlessly.

This leads to quite an amount of travel over the European countryside, impossible situations which they get themselves out of, a succession of deaths (including a couple who were the main suspects).

Of course, lots of complications, the murderer attacking our couple, some literal unmasking, and something of a puzzle about how it happened until, of course, one of those scenes were everybody is gathered together (those who have survived!) And a reasonable explanation given.

And, apologies from the French police, and a happy ever after ending for Adam and Jennifer.

Many comic touches – including some quite crude – making a rather ordinary kind of movie but, at home with Netflix, it fits the bill and lives up to its title.

PARASITE

Korea, 2019, 132 minutes, Colour.
Kang-ho Song, Sun-kyun Lee, Yeo jeong Jo, Woo-sik Choi, Hye jin Jang, So-dam Park.
Directed by Joon Ho Bong.

Nobody likes parasites – except the international jury at the 2019 Cannrs Film Festival where this film, with the uneasy title, claimed the main prize, the Palme D’ Or. A popular winner with a 10 minute standing ovation.

That, of course, is in itself a sound commendation. But, while it made an immediate impact in its own country of Korea, some other audiences might take time to adjust to the atmosphere and the ever-disturbing story and storytelling.

Some years ago, the director, made a film about alien infections in our world, The Host. This time the parasites are human. They are members of what we might call the under-class, impoverished, living in rather squalid surroundings, insect-infested basements, looking (and not looking) for jobs and employment. They could be described as lower-class parasites on society. But the points being made are far stronger than this.

Eventually, mother and father, son and daughter, will find (or manipulate) employment with a wealthy family, rich class if not upper-class. This is certainly a tale of class contrasts.

The upward mobility in employment comes about when the best friend of the son suggests he apply to be the English-language tutor of the young girl of the wealthy family. He is an instant hit. Then by posomg (and there will be a funny reprise of this towards the end); he also likes to draw. Eventually, the father is hired as the chauffeur, the mother becomes the housekeeper – with a particularly cruel plot twist as to how they engineered the dismissal of the previous housekeeper. But, after a moments of our compassion for her, there is quite a twist, more than quite a twist which involves the housekeeper and her husband. Our parasite family are not the only ones who can play parasite games.

The film’s director has made a range of offbeat films including The Host, as mentioned, Snowpiercer about a bizarre train circling the world and creating class distinctions, Okja about animal manipulation and financial exploitation.

In one sense, this film is more realistic – this parasite family with their shrewd manipulation has its parallels in the actual world. As to the flighty and complacent, frequently frivolous, wealthy parents and their spoilt children, the world is full of them. But, there are quite some twists which take us into the world of the imagination, a mixture of violence and exploitation.

The aim of this review is to try to indicate whether, despite or because of the accolades, it sounds like your kind of film, some parody and farce, some drama, and social themes to reflect on.

1. Many awards? The reputation of the director? Style and themes?

2. A portrait of Korean society, realistic, touches of parody? Class, wealth, differences? The 21st-century?

3. The city, the poor area, the streets, the basements, the mansion, interiors, the garden? Atmosphere? The musical score?

4. The narrative, the situations, characters, complexities and twists? Ironies?

5. The family, the living in the basement, dingy, insects, unemployed, issues of food, sanitation? The father and his dominance, the strong-minded mother, the careless sister, the earnest son? Their interactions?

6. The son and his friend, the proposal that he become a tutor, going for the interview, getting the job, the friend and the young girl as his fiancee? Her relationship with the son, getting a crush on him? His ambitions – and ultimately thinking of marrying, his in-laws, inheriting the house? Helping her with her English?

7. Ingratiating himself into the family, the young boy, his trauma, drawings, Jessica and her abilities, his getting her the job? Her becoming part of the household?

8. The house, lavish, the father and his job, business? The mother, the touch of the flighty, wealth, her relationship with the children? The boy and the story of the ghost, treatment? The role of the maid and her support of the household?

9. The father, his becoming a chauffeur, his smell, almost crossing the line, the father relying on him?

10. His wife, bossy, her place in the family? The previous maid, her peach allergy, the plan, accused of having TB, the test, the maid and her anxiety, being ousted, the mother firing her, not telling the husband why?

11. The family in the house, the owners going away camping, living in comfort, feasting and drinking, parasites?

12. The housekeeper, returning to the house, confrontation, the revelation about her husband in the basement for so many years? A different perspective? Alternate parasites?

13. The family camping, the whims of the little boy, his tent, returning, the phone call, demanding the meal, the hurry, clearing the sign of the feasting? Hiding, under the table, escaping home? The boy not eating, the daughter upset, the mother eating all the food?

14. The meaning of the title, the family, the housekeeper and her husband, his story, debts, hiding for years, surviving, his wife supplying the food?

15. The hostilities between the two families, covering up, the vicious attacks, in the basement, the door, the husband being tied up, the threats by the father, the wife knocked out, getting loose, the Morse Code sign? The ultimate violence, the death of the wife and her being buried?

16. The idea of the party, the mother and her society friends, the boy, the rain, seeing the ghost again? His being pampered, the plan, Jessica’s involvement, the cake, the sequence starting, the rescue, turning into a fiasco, the violent attack, the father stabbing the owner, Jessica being killed, the consequent mayhem? The son, shot, his going to
hospital, his recovery?

17. The family going home, the rain, the sewers, gross?

18. The episodes are downstairs, the deaths and burials, the father and his escape, getting into the basement, the final vengeance?

19. The selling of the house, the father downstairs, the Morse code, his letter to his son?

20. The son, searching for his father, the plan to buy the house after working on his accumulating money? The plan in his imagination? The reality?