1985

US, 2018, 85 minutes, Black and white.
Corey Michael Smith, Virginia Madsen, Michael Chiklis, Jamie Chung, Aidan Langford.
Directed by Yen Tan.

1985 was the year that Rock Hudson died, died from AIDS. With the death of such a movie celebrity and the revelation about his disease, the wider world, at least the English-speaking world who had seen his movies, began to speak about AIDS which had already caused the death of so many men in the United States in the first half of the 1980s.

There will be a variety of responses to this film. Those who remember the times, the feelings, the controversies, the condemnations, the scientific developments for a cure, apprehensiveness about contact with blood… will be taken back to the period, enabling them to remember, see what their attitudes and stances were, whether they have changed or not since. For some there will be nostalgia. For some there will be regrets. A regret about things that might have been different, more understanding, more compassionate.

For audiences for whom this story will be part of history, before their times, it is a good reminder of what those times were like and, again, the possibility of reflecting on attitudes towards AIDS, towards gay men, have changed over the decades.

For many, for those who remember and for those who don’t, this is quite an emotional film. It is small, film in a rather stark black and white, songs of the time, Christmas songs, religious songs. The setting is Christmas in Texas, the son of the family returning home to celebrate with his family. He is played by Corey Michael Smith. He is Adrian and he has a younger, much younger, brother (Aidan Langford), Andrew.

His working father, Michael Chiklis, meet him at the airport, one of those hard men from the past, explaining that his father disciplined him and made him the man he was, not a hugging type, who served in Vietnam and still has resentment towards the Vietnamese, has been traumatised but does not realise it. He is a strict evangelical Christian. And his wife, a housewife of the times, devoted to her husband, to bringing up the children, serving at the church. She is played by Virginia Madsen, caring for her children, revealing quietly that she had been thinking over political matters and had not voted for Reagan in 1984.

Audiences realise that Adrian is gay but has not revealed anything to his parents. And we realise very quickly that he has AIDS and seems terminal, that this is his last visit to his family.

This is very much a film of dialogue, significant conversations. There are surprises in the family’s responses to Adrian, Andrew resentful that he could not visit him in New York and was put off, but reconciling because of their bonds in music and Adrian affirming him. There are gentle conversations with his mother – and the audience suspecting finally that she knows the truth. One of the best sequences is the frank talk with his father, quite surprising. And then there is the past girlfriend, Carly (Jamie Chung) who resents being left behind, is now a successful stand-up comedian, clashes with Adrian because of his treatment and neglect, finally understands.

The writer-director was born in Malaysia but has been making films in the United States since 2002.

The question now is how much society, especially in the English-speaking world, has changed – or not.

1. The title? The significance of the year? In the United States, the re-election of President Reagan? Politics, evangelical Christianity? Attitudes towards sexuality? Homosexuality? The spread of AIDS?

2. The small film, the effect of the black-and-white photography, stark, not romanticising? The musical score, the range of songs in the 1980s, popular, Christmas songs, religious songs and hymns?

3. The 21st-century response to the spread of AIDS and its effect? The closeted men? Not coming out? The isolation of groups? Illness, support, terminal illnesses?

4. The small family in Texas? The father, his talk about his father and tough discipline, not hugging, discipline making him what he was? His service in Vietnam, hostile to the Vietnamese, war action, helping others? Traumatised, going back to Texas, his store, Andrew working in the store with him? His not understanding Andrew, considering him too soft, hand wrestling on the table? Adrian and his leaving home? His relationship with his wife, love, but hard? Welcoming Adrian home, the comment on the Christmas gifts and their expense, criticisms? Confiscating Andrew’s tapes? Going to church, singing the hymns?

5. The mother, her patience, love for her husband, support for him over the years, Vietnam? Religious, volunteering at church? Singing the hymns at the service? Welcoming Adrian, fussing over him? Her love for Andrew? Her husband and his snoring, her going to Adrian’s room? Confiding about her not voting for Reagan? Her talk with her son, expecting him to relate to Carly? Carly and her visit? Talking frankly with Adrian? The farewell at the airport, stoic? Her knowing the truth?

6. Adrian, coming for Christmas, age, experience, stories of his work on Madison Avenue? His father picking him up, the reunion at home, Andrew and his criticism, not being able to go to New York, Adrian making good, the gifts of the tapes? The bonds with Andrew? The audience realising his situation? Going out to phone New York? Meeting the sportsman from school and his apology? His credit card failing? Tension with his father, the father’s criticism? Love of his mother, talking with her, in the room? Her care for him when he was sick, the bath? Going out with Carly, her not realising the truth, angry with him, later coming to apologise, realising the truth, her promise to explain everything to Andrew? His leaving, seeing the family for the last time, the message for Andrew? Seeing him in New York, the club, with his friends, with his lover? The importance of Adrian’s grace before meals?

7. Andrew, his age, in the theatre group, success, his father’s not understanding him, criticising his diction? His being upset with Adrian, the reconciliation, talking about music, rebelling against their father’s Christianity? The audience wondering whether he was gay or not? Adrian’s final message intimating that he was in giving him support, providing people like himself?

8. The importance of the talk with his father, discovering his father had found out the truth and had kept it to himself? The possibility of bonding? That his mother was not to know?

9. Carly, friendship with Adrian since they were ten, her improv performance, the drink and talking, the past and their quarrel, his disappearance, her leaving phone messages? Her approach, Adrian’s resistance? Her upset? Later apologising, visiting the house, Adrian’s explanation, her sadness, telling him that she would explain things to Andrew?

10. The emotions, the memories of those times and the consequences?

D-DAY. 3D. NORMANDY, 1944

France, 2014, 45 minutes, Colour.
Narrated by Tom Brokaw.
Directed by Pascal Vuong.


This 45 minute documentary, filmed in 3-D, was made in 2014 but re-released for the celebration of the 75th anniversary of D-Day?, the Allies landing in Normandy, Jim the sixth, 1944, the invasion of Europe that led to the defeat of Nazi Germany.

This is a must for those interested in war history, World War II history, especially the war in Europe. (Obviously, with the limitations of running-time, not every aspect will be covered and audiences will have to supply their own memories, interests and responses to get the full value of the film.)

The basic structure of the film is asking the questions about the why and the how of the invasion, the where and the when and these chapters are indicated.

Obviously, the film draws on film footage of the time, footage of action especially in the air, the landings on the various beaches of Normandy, the attack and penetration into Normandy itself. And, there are a number of photos of the military leaders involved, of Eisenhower, Montgomery, Bradley, Patton… What makes these especially effective is that they have all been processed for depth presentation, for 3-D viewing.

This is particularly effective for action sequences, not only the landings, but especially the aerial sequences, planes almost flying over the shoulders of the audience!

There is a focuses on various individuals and their military presence, ordinary soldiers, the vigil of the invasion, the experience of the landing and subsequent penetration of the countryside, photos and voice-over.

There are also special effects to dramatise the strategies, maps highlighting the towns in Normandy, the need for the taking of Cherbourg, the approach to Caen and Bayeux.

Throughout the film, a voice-over (from television news presenter, Tom Brokaw) explains the variety of vehicles that were used, their origins and manufacture, the way that they were used – tanks, bulldozers, jeeps…

The film does show the hardship of the fighting, the number of dead and wounded, both Allies and French, but also shows the risks and some of the errors made in underestimation of the terrain and changing weather conditions. On the other hand, the coordinated planning is seen to be extraordinary, high command as well as locals able to remedy changes in weather, underestimation of German force…

The film is an experience, and immersion into that war experience, the realisation of the dangers for the world from the Nazi domination, the relief at the end of the war and the victory of the Allies.

And all on the IMAX screen and in 3-D.

JESUS CHRIST, SUPERSTAR

US, 2016, 99 100 minutes, Colour.
John Legend, Brandon Victor Dixon, Sara Bareilles, Ben Daniels, Alice Cooper, Jin Ha, Norm Lewis, Jason Tam, Eric Groenwall.
Directed by David Laveaux, Alex Rudzinski.

Audiences have been familiar with the LPs of Andrew Lloyd Webber’s and Tim Rice’s rock opera of the late 1960s. It was staged extensively from 1970 – and this has continued throughout the decades with almost continual revivals. The film version, directed by Norman Jewison, with Ted Neely as Jesus, was released in 1973 and has continued as a popular version.

Since then, there have been filmed versions of stage productions including a version with Rick Mayall, another version with Tim Minchin, and now this version with John Legend as Jesus.

The songs and music, the lyrics, are very well-known and audiences will know what to expect and enjoy the different interpretations. John Legend is perhaps a bit quiet as Jesus compared with other versions. Brandon Victor Dixon, on the other hand, is a big and powerful Judas. Sara Bareilles fulfils expectations with her singing as Mary Magdalene.

There are also some interesting supporting cast presences, including Alice Cooper with a scene-stealing performance (very consciously on his part) as Herod offering his variation on the lyrics and the different turns. Ben Daniel, on the other hand, is a very serious Pilate.

When this version was first released on television it was punctuated with commercials, too frequently for most viewers and some of the comments were quite adverse. However, in later years, it was released on television without the commercials and so the audience is able to respond as expected.

One difficulty is that many in the audience consider it just another version of a rock concert, voluble at times and their response, in their applause, interrupting the dramatic effect when it was not necessary.

The stage is vast and long, the performance played at the Marcy Armory in Brooklyn, so is the background, very tall, housing the orchestra, enabling the cast to scale scaffolding and perform from the heights. In this version, there are quite a number of dancers for a glamorous and sometimes exotic presentation of the songs in the drama.

However, it is another opportunity to respond to Jesus Christ, Superstar and to appreciate different performances and different interpretations.

THE DOMESTICS

US, 2018, 95 minutes, Colour.
Kate Bosworth, Tyler Hoechlin, Lance Reddick, Mikaela Kamani Armstrong, Kaden Washington Lewis.
Directed by Mike P.Nelson.

The Domestics is one of many post-apocalyptic thrillers, people in flight, menaces – variations of themes of such films as The Book of Eli, The Silence, A Quiet Place.

Kate Bosworth and Tyler Hoechlin portray a couple whose marriage is on the rocks. She is in touch with her parents but then phone calls fail so she decides to travel the dangerous road from their home to Milwaukee. He agrees to go with her – the tension between them gradually arising but their making efforts to complete the journey.

As with this kind of film, there is a mystery about government action, killing off people. The survivors become monsters in their pursuit. Which means this is a road movie with the continuing succession of dangers. The most interesting episode is an encounter with aggressive and threatening men, leering men, the threat to Nina. However, one of them, Nathan, Lance Reddick, with his family befriends the couple. But they are revealed with a sinister underlay when it is revealed that they are cannibals, surviving on food from the human bodies. Tables are turned – although Nathan turns up later.

One of the criticisms of the film is that Kate Bosworth seems absorbed in her anxieties but suddenly turns into a warrior.

Audiences know what to expect from this kind of story – and, if themes are familiar, we want to see the variations on the theme.

1. Apocalyptic world? The government attacking citizens? Reasons for killings, means of killings? The media, the radio announcer and information?

2. A road film, a journey? Nina and Mark, loss of contact with Nina’s parents? Wisconsin, the countryside, wanting to get to Milwaukee? The maps and signposts?

3. The overtones of Mad Max, the couple being pursued, the range of groups, men and women, the violence, the weapons, the vehicles?

4. The relationship between Nina and Mark? Tense, the possibility of the marriage breakup? Nina and her vulnerability? Mark’s attempt to make things right? The motivation for the journey, the details, maps and information?

5. The dangers along the road, the menace, driving, pursuits?

6. The dangers, terror? The meeting with Nathan and his family? Suspicions, stand-off, the vehicles, the other men, and hearing? Nathan and his offer of friendship? The visit to the house, the problem with food and supplies? The meal, enjoying it? The revelation that the meat was human? The cannibal family – and their menacing? The threats to Nina and Mark, the escape?

7. The continued pursuit, getting irritable tensions? The continued threats? Nina, overcoming her grief, becoming a warrior? Mark, the injuries, the rescue?

8. The continuing to the destination, the pleasant suburbs, the gardens, everything seeming normal? The growing menace, the invasion, the massacres?

9. A pessimistic perspective on the world?

BULLET HEAD

US/Bulgaria, 2017, 93 minutes, Colour.
Adrian Brody, Antonio Banderas, John Malkovich, Rory Culkin.
Directed by Paul Solet.


Bullet Head is a rough title for this small unfocused film. Three criminals on the run have an accident, the driver did, and are taking refuge in a warehouse looking for a replacement car. The warehouse is vast, has huge guard dogs, one of which has mauled and killed his guard.

The three criminals are played by Adrian Brody, John Malkovich, Rory Culkin. Each of them has a chance to tell their story, Adrian Brody having a pleasant story with a girlfriend, John Malkovich telling a story about getting a dog for his daughter, while Rory Culkin is a drug addict, finds the drugs in a locker room and overdoses.

The criminals have trouble with the dog, Brody hiding in a piano which the dog charges and knocks down but finds himself in present, set free by Brody. In the meantime, Blue, the owner of the dog (flashbacks to brutal dogfights) pursues the criminals, especially Brody with whom he fights, and wants the dog to kill him. However, the dog’s memory is hostile to Blue because of the dogfights and sympathetic torch Brody because of his kindness.

An American film. However, it was filmed in Bulgaria.

While there is action, there might be some audience interest in the stories of the three criminals.


1. The title? The reference to the dogs? (And the motivation of the director at the end about dogs in care for dogs?)

2. The American city, streets, warehouses and interiors? These are Bulgarian locations? The musical score?

3. The basic situation, the robbery, the plans for the rendezvous, the three criminals, working together, difficulties and clashes, the accident, going into the warehouse, waiting for the car, being trapped with the dogs?

4. The tensions between the three, each telling their background story?

5. Stacey, the leader, going to the warehouse, searching for a car to escape? His background story, more gentle, his girlfriend?

6. Walker, older, calmer? His story getting his dog for his daughter?

7. Gauge, younger, the drugs, finding the dog and the dead handler? Taking the drugs, his death?

8. Blue, his background, the flashbacks seeing him maltreated the dogs and the fights?

9. The men, confronted by the dogs? The size of the dogs? The pursuit? Stacey, letting the dogs off, the episode with the piano, his hiding, dog collapsing the piano, trapped? Stacey and his decision to help the dog? The dogs appreciation?

10. Walker, the confrontation with the blue, Walker’s death?

11. Blue, his confrontation with Stacey, the fights? His wanting to use the dog, the dog’s approach? The dog remembering Stacey’s kindness,
backing down, remembering Blues aggression, attacking him?

12. The tone of the story, the tone of the title, brief character studies?

ACTS OF VENGEANCE

US, 2017, 87 minutes, Colour.
Antonio Banderas, Karl Urban, Paz Vega, Cristina Serafini, Lillian Blankenship, Clint Dyer, Isaac Florintine, Robert Forster.
Directed by Isaac Florintine.

There is no subtlety about this title. It is a film in the vein of vigilantes vengeance for crimes and avenged, especially reminiscent of Death Wish of the 1970s with Charles Bronson. The trend has continued in rather more upmarket action adventures with such stars as Liam Neeson and Denzel Washington, Taken, The Equaliser… Now it is the turn of Antonio Banderas.

What gives this screenplay some distinction as that a lot of the motivation for the action is drawn from the Meditations of the Roman Emperor, Marcus Aurelius, and his Stoic philosophy. The screenplay is divided into chapters with headings about evil, punishment, revenge, human dignity to introduce the chapters.

However, the film opens with chapter 4, Antonio Banderas as a slick lawyer who can get criminals off with technicalities, sitting in a diner, his voice-over explaining the situation, his seeming madness, and his pursuit through the restaurant and attack on one of the African- American cooks. At this stage, the screenplay goes to Chapter 1, later resume a chapter 4, not quite what we were thinking as the film opened.

Banderas is Frank, and over the busy lawyer who misses his daughter’s concert only to find that his wife and daughter have been murdered. He is given leave of absence, blames himself, isolates himself, wants to be punished, goes to clubs with secret no-Holt-barred battles, get himself bashed, but then trains in martial arts himself. He finds a book by Marcus Aurelius, spattered with blood, starts to read, makes a vow of silence and begins to try to solve the mystery of the murders, getting very little help from the police, played by Jonathan Shaikh. At his wife’s funeral, has been severely rebuked and cut off by her father who disapproves of him, played by Robert Forster.

There are many suspects, possibly Russian Mafia types. However, when he is bashed, his looked after by a nurse, played by Pat has Vega. She knows the area well, helps him on his search, discovers a witness (the African-American? chef) who has not only witnessed the murders and taken the wife’s purse because of his financial needs but identifies the killer as a policeman.

Audiences fish and is may be there from the beginning because Karl Urban has second billing, as discussed the killings with Frank, is also a fighter in the illegal bouts.

The to finally meet, the explanation for the killings is given – the abduction of the policeman’s daughter and her death leading to the criminal being released on a technicality through Frank’s work.

There is the temptation to violence – but, according to Marcus Aurelius, a man with a just cause should not be like his enemy and opponent.

1. Drama in the traditional Death Wish, Charles Bronson? 21st-century tradition of action films with Liam Neeson, Denzel Washington…?

2. The city settings, legal offices, homes, schools and concerts, apartments, hospitals, the seedy areas of the city? The musical score?

3. The background of the meditations of Marcus Aurelius, his Stoic philosophy? The quotations from his meditations, the chapters? Issues of violence, punishment, revenge and enmity, not being the same as the enemy?

4. The opening with Chapter IV? Franco and his voice-over, sitting in the cafe, his not speaking, the waitress, his reactions, going into the kitchen, threaten the cook, the bashing? The later resumption and a different interpretation?

5. Going back to the beginning? Franco and his explanations of himself? Successful lawyer, smug, his partners, getting criminals off because of technicalities? His love for his wife and daughter? Is in the office, the phone calls about her performance, his being delayed, caught in the traffic, missing the performance? The audience seeing his daughter singing, her mother taking the pictures, the absent father?

6. His being called, the news of their deaths? His grief, response, blaming himself? His coming across the book by Marcus Aurelius, reading, blood splattered, the quotations?

7. The encounter with Strode, his offer of sympathy, collaboration? His performance in the martial arts fights?

8. Frank, punishing himself, going to the club, getting in, confronting people, getting bashed, in the ring, the brutality? His later training himself in martial arts?

9. His investigations, interviews with the police, telling the officer to stop texting? His getting nowhere, no clues? His keeping the newspaper items?

10. The further chapters, his pursuit of the case, going to the area? The confrontation with the Russians and his suspicion of them? His being bashed and knifed?

11. His being rescued by Alma? Her work in the hospital? Is listening, his not talking? The information about the case? Her knowing the area well? The man who was a witness, tracking him down to the restaurant, the confrontation?

12. Shivers, his explanation, witnessing the killing, Frank finding the purse? Shivers explaining that it was a police attack? His finding the person taking the money because of his needs? The identification of Strode?

13. Frank contacting Strode? The rendezvous? The place where the killings took place? Strode and his motivations? His explanation about his daughter, the abduction, her death? Her abductor being guilty but getting off on a technicality, Frank’s technicality? Strode wanting revenge, depriving Frank of his wife and daughter, his callous comments about the wife’s resistance, the fear of the daughter?

14. The fight between the two? Frank being wounded? His remembering the words of Marcus Aurelius about not being the same as one’s opponent, letting Frank live, go to the court?

15. Alma, her consideration and support? Frank and his appreciation? The future?

THE VAULT

US, 2017, 91 minutes, Colour.
James Franco, Scott Haze, Taryn Manning, Francesca Eastwood, Q'orianka Kilcher, Clifton Collins Jr.
Directed by Dan Bush.

The Vault provides an intriguing mystery. On the one hand, much of the action is a bank heist. On the other, with intimations from the credits sequences, it is a story of ghosts and hauntings and revenge. While the idea is rather ingenious, the execution some might find rather laboured, the attention on the bank robbery and its familiar styles taking up a lot of time before the revelation of the ghosts and their vengeance.

The credits sequences are eerie, the robbery, mask criminal, staff and customers shot, bodies collected and stacked in a report, burnt. It is later revealed that this took place in 1983.

The detective surveys the bank, Clifton Collins Junior, passes fireman in action gear on the street, sits in his car with his partner – later receiving a call about the robbery and starting a siege.

Meanwhile, in the bank, the young woman is discussing alone with one of the managers one another woman is at the teller, making yourself very difficult. At a signal, the firefighters enter and the robbery is on, threats, touches of violence, persuading one of the tellers to turn off climbs and open the vaults – and the robbers finding only $70,000.

The audience has glimpsed one of the assistant managers, played by James Franco, who then intervenes, hoping to avoid any bloodshed, giving information to the robbers, advising them to go down into the port where there are millions of dollars. He seems to be having premonitions of ghostly action.

In fact, in the basement of the vault at the ghosts, rather ghoulish, of the victims of the 1982 robbery who then reap their revenge.

The two women robbing the bank clash but are doing this for their brother who is dependent on them. They get away with the money, their brother being killed – and, out of the desert, with vehicle difficulties, they are confronted by the ghosts as well.

While the pace is slow for action fans, the idea is yet intriguing.

1. The title, the different meanings, the bank vault, the vault of the living dead? The combination of bank heist with wanting conventions?

2. The American city, the bank, the interiors, the service area, the basement and the vault? The musical score?

3. The tone of the credits sequence? The robbery? The thieves and the masks? The staff? Victims? The killings? The burning of the victims? The building on fire? The revelation that this was 1982?

4. The visit of the detective, his drink, checking out the bank, with the guard at the door, passing the fireman? In his car, the Partner? The later call from the bank about the robbery? Outside, the police, his interventions? The mystery of who made the call?

5. The two sisters and the bank? The sister at the counter, aggressive, the older Asst, getting flustered? The younger sister, with the manager, her story about being a missionary in Mexico? The signal for the robbery? The familiar aspects, the entry of the thieves discretion disguised as fireman? The role of the sisters? The importance for Michael? The behaviour of the staff? Threatening the two women, the alarms, the signals? Opening the safe? The irony of only $70,000?

6. The inventor intervention of the assistant manager, James Franco? Appearance, intervention, timid? The demand that nobody be hurt? The code for the robbers themselves? The injury to the guard?

7. The assistant manager and his collaboration, his advice, going down to the basement, opening the vault? The film suggestions of his memories and the flashbacks?

8. The motivation for the robbery, the two sisters, Michael, his devotion to them? Their concerns? Their clashes with each other?

9. The other members of the gang, going downstairs, the apparitions, their menace, his death? Nothing being seen on the CCTV? The woman lying on the ground, her pitiful comment, turning into a cool, killing?

10. Audiences and understanding what happened in 1982, the visual flashbacks, the marked murderer, the killings, piling the bodies, the fire? The confrontation with the assistant manager and killing him?

11. Michael and his death? The sisters getting away with the money? Driving out into the desert, the mystery? A car breaking down, the appearance of the ghosts?

12. How successful a combination of bank robbery with hauntings?

THE SAINT

US, 2017, 91 minutes, Colour.
Adam Raynor, Eliza Dushku, Ian Ogilvy, James Remar, Roger Moore, Enrique Murciano, Thomas Kretschmer, Beatrice Rosen, Yani Gelman, Kyle Horne, Adam Woodward.
Directed by Ernie Barabash.

There has been a continual popularity of the novels written by Lesley Charteris since the 1930s, featuring Simon Templar with his codename, The Saint (and his characteristic card with the stick sketch of the Saint). Many actors have portrayed him including George Sanders and his brother, Tom Conway. They have also been several television series starring Roger Moore and Ian Ogilvy both of whom appear in this film as villains.

This is an updated version for a 21st-century audience. Adam Raynor portrays Simon Templar as suave in the James Bond style but also muscular and skilled in fighting arts. And his accent is very British. He is involved in all kinds of situations, opening in Moscow, moving to Romania, a special quest to find money swindled from Nigeria, investigating the abduction of the daughter of the financier who handled the swindle, building up to a confrontation with his nemesis, The Fixer who is revealed to be his childhood trainer Xander, who is also revealed as the murderer of Simon’s parents in the name of the brotherhood.

There is quite extensive explanation of Simon Templar’s origins especially as a boy, in a variety of flashbacks. He is assisted by an attractive IT ultra-expert, Eliza Dushku whom he had rescued from captors in the desert. Templar is considered a criminal by the FBI and there are several agents tracking him, one of them involved in the confrontation, finally, with the villain.

With the personality and style of the Saint, this is a rather up-market political action adventure show.


1. The popularity of Leslie Charteris’s books? His character, Simon Templar? The sketch of the Saint, the card? The variety of films over the decades, from the 1930s on? The television series? The tribute to Ian Ogilvy and Roger Moore here? The irony of their being villains?

2. An adaptation for the 21st-century? The filling in of the back story, Simon Templar at school, the stealing and the reaction of the teachers, his wanting to be liked, his relationship with his parents, the tutor, Xander, the training in martial arts? The irony of Xander and his belonging to the brotherhood? His executing Simon’s parents? The effect on Simon, running? Audience response to this background in understanding Simon Templar?

3. The range of settings, Moscow, Bucharest, London, the American cities, Los Angeles, San Diego? The musical score?

4. The opening, the terrorists in Moscow, the confrontation, everyone collapsing – and Simon Templar administering the drink? The FBI on surveillance, Cooper and his brashness, the attack? The confrontation between the two? Templar disappearing?

5. Templar, his contact with Patricia? Her back story, the revelation of her being married to Marius? In the desert, her attack on her captors, Templar’s arrival on the bike, the rescue? Their working together? Her IT skills and knowledge? The continued contact? Romantic and not romantic? Relying on Doyle, young, knowledge, information, on missions, his fears?

6. The inspector, the FBI, Templar considered a criminal and his mission to trap Templar?

7. The story of the Fixer, his interview with the Nigerian president, promise of being a benefactor, swindling all the money, Valecross and the transfer? The treatment by The Fixer, Valecross and his wife, daughter and her tantrum, his decision to go to the authorities, to save the money for Nigeria? His meetings with the FBI? His meetings with Templar? The helicopter attack, Marius and the shooting? His death? The abduction of his daughter, her being held to ransom?

8. The ring, the code, the search, phone calls and tracking? The headquarters, the security? Templar and Doyle entering? Patricia and to interventions, saving Doyle? The contact? The arrival of the FBI? Getting the codes?

9. The visit to Valecross’s wife, her welcoming them, the revelation of her being a criminal?

10. The yacht, on board, the confrontations?

11. The mansion, The Fixer, the phone call from his superior (the irony of Roger Moore)? The revelation that he was Xander? The fight with Templar? The arrival of the authorities? His arrest? And the Saint disappearing?

12. In the tradition of the original, 21st-century update, the suave playboy, alleged criminal, generous with money, helping the poor?

13. This film as a television pilot, not followed through?

KILL RATIO

US, 2016, 87 minutes, Colour.
Tom Hopper, Amy Huberman, Nick Dunning, Lacey Moore.
Directed by Paul Tanter.

Kill Ratio is explained as something of a beyond-CIA license to kill. In fact, the suave hero – in the day-to-day sense – is modelled on James Bond and his action. He is an American, played by Tom Hopper (British) who could pass in casting as a brother for Alexander Skarsgaard. The other central character, Gabrielle, trying to arrange IT deals in the middle European country subject to a coup, is played by Abby Huberman (Irish) also acting as an American.

The action takes place overnight – stretching some credibility of the plot. However, while it is on the screen, it is one of those entertaining action shows of the straight-to-DVD style.

There is a beautiful mountain scenery to take us to central Europe but all the action was filmed in a hotel in Ireland, with a British and Irish cast.

The film has echoes of action in Eastern Europe – thinking of Ukrainian and Russian intervention as well as episodes in Georgia. While the film is macho action, two of the central characters are female, especially the president, which extends the range of audience interest to men and women.

Plenty of action, plenty of fighting, the high body count amongst the masked revolutionary soldiers as well as, course, the leaders of the coup.

1. Popular action show? Straight to DVD style? Central European political action?

2. The title, the meaning – beyond CIA and unlimited kills? The modelling of 007? Yet in T-shirt and jeans?

3. The mountain scenery and setting and atmosphere? The hotel? All the action taking place in the interiors of the hotel? The views of the city under fire? The musical score?

4. The opening, Gabrielle and her deals, James as the fixer? Her anxiety, his calming attitude, the arrival of the guests, the president, out of prison, her speech? The interruption, the attack on the city? The arrival of the military, the general?

5. The occupation of the hotel, the motivations? The planned announcement of the coup in the morning? The irony of Gabrielle sent away, the explosion, encountering the president, wounded, brought to the hotel, James tending her wounds?

6. The picture of the uprising, the masked military and their weapons, Zaghov present at the speeches, his return, his command, the fight with James, the laundry chute, his being tied up, later found by the military and going back into action? The arrival of the general, his arrogance, his plans? This calls, the president hidden in the bath…? The role of the International fixer, deals, the encounter with James, James spinning the story about counter plots? His eventually being shot by the general?

7. Gabrielle, using her wits, cleaning up the room and covering the blood? The attack by the military, the sexual attack, cancer ring the phone, the president, shooting the soldier? Making their way to the penthouse to make the speech?

8. The brutality of the soldiers, James rescuing the maid from the attack? The later shooting the general – and her gratitude?

9. James using his wits, the one-man attack and defence force, the body count? The final confrontation with the general, the swords, the fight?

10. The president, making a speech on the television, her promises?

11. Everything happening overnight, the plausibility of the plot, and a happy ending for James and Gabrielle?

THE REALM/ EL REINO

Spain, 2018, 132 minutes, Colour
Antonio de la Torre, Monica Lopez, Josep Maria Pou, Barbara Lennie, Anna Wagener, Louisa Herrera. .
Directed by Roderigo Sorogoyen.

We usually use the word “realm� in terms of kingdoms or some specialised, even rarefied, area. Realm is the English translation of the Spanish El Reino which might be considered as Kingdom. However, there is practically nothing regal in this story of contemporary Spanish politics.

This is a film which has won many awards, especially in its native Spain.

For audiences of political dramas, this is something of a must. It opens with a man standing on the beach, talking into his mobile phone, then rapidly walking into what turns out to be a kitchen and a restaurant, the camera following him as he moves with quick strides, a single take. In fact, throughout the rather lengthy running time, the central character, Manuel (Antonio de la Torre) is continually on the move, again, the camera frequently following him.

The opening is jovial, A leisurely meal, members of a political party gather together chatting, celebrating – but with hints of difficulties ahead. In fact, this is a story of financial and political corruption beginning during the 1990s. Manuel is at the centre of the corruption but the tentacles go out from him to the chief leaders of his political party. All the business has been recorded in some “literal� black books. And all very secret. And, those in the know, are sworn to secrecy.

In the early part of the film, Manuel’s character is established, his relationship with a supportive wife and daughter, his living the high luxury life, the intricacies of his links with other members of the party, the beginnings of exposure and the prospect of legal action.

We are introduced to a gallery of political practitioners rather than politicians. They might have had ideals when they begin their careers but that time has long gone. What happens in the present is a succession of confrontations, challenges, rivalries, jealousies.

This is certainly a tangled web and the audience has to pay close attention as to who is who and who is doing what to whoever…

When it is clear that Manuel will be going to trial, he begins a series of manoeuvres, growing ever more desperate, to save himself, at the expense of others, and retrieving the black books.

This makes for intriguing action and drama – and a sudden car crash filmed inside the car.

The final minutes are unexpected, Manuel making his way to a television station for an interview about what has happened. In fact, the frantic pace slows in some way even if Manuel himself is frantic. The action draws to a close with some harsh statements, challenging questions – not just for Manuel himself but also for us, the audience (and, probably, the audience thinking of the politics in their own country and the role of contemporary politicians…).

1. The title, the tone? Kingdom?’ specific realm?

2. The Spanish story, contemporary? The number of awards?

3. Spain, from the 1990s, politics, business, society, relationships, corruption? The film offering comment, critique, expose?

4. The locations, the opening on the beach, the resort, homes, offices, the open roads, the visit to Andorra? The musical score?

5. The pace of the film, the tracking camera, Manuel on the move, the camera following him? The opening long sequence and tracking Manuel well from the beach to the dinner in the restaurant? The tone?

6. The introduction to Manuel, tracking him, his being on the phone, with the group, their chat, colleagues, political connections? The visit to the toilet, the boss, the discussion of plans, leadership? Deals, secrecy?

7. Manuel and his wife, and daughter, love for them? His wife’s support? The glimpse of them in the high life on the yacht?

8. The film and the range of colleagues, audiences identifying who was who? The interconnections and plots? Promotions? Political implications? Characters, their talk, secrecy, trust or not?

9. Manuel and his being called before the head, her sternness? During the meeting, later in private, her power over Manuel, his power over her? Her collaboration with Roderigo, his being tough, ambitious, rectitude, Manuel trying to tempt him?

10. The meeting with the journalist, his deference to her for the interview, their past clashes? The later encounter on the television interview?

11. The background of the deals, the secrecy, business, international? Personalities, trips and visits? The links? The information, the news getting to the public and the media, the consequences? Manuel and the law, the discussions with his lawyer, strategies? The discussions with the superior, the change of lawyer, using his old friend?

12. The variety of meetings, Manuel and his plans, confrontations, playing people off the other?

13. Admitting the truth to his wife, his daughter, sending them to Canada, restricted contact with them?

14. Manuel, presence in court, the prosecutor, the issue of bail? His dismissing his lawyer, taking up his friend? The friend and the strategies?

15. The background of accidental deaths?

16. The decision to go to Andorra, going to the house, the young people and their party, saying that he had a mission, breaking down the door, the locks, the reaction of the young people, his hold over them because of their behaviour, the drugs, the girl and her father’s not knowing about the party?

17. Searching the room, finding the black books with all the documentation? Manuel and his going to the superior, covering himself, the threat of exposure?

18. The dramatic choice for the finale, the television studios, the interview, the government ownership of the television and the links, the previous relationship with the interviewer, Manuel standing his ground, challenging her, her turning off the producer’s voice? Her questions, her continued challenge?

19. The sudden ending, and the audience supplying the answer that it thought right – and whether this would happen in reality?