THE ANGEL

US/Israel, 2018, 115 minutes, Colour.
Marwan Kenzari, Toby Kebbel, Hannah Ware, Sasson Gabai, Waleed Zuaiter, Maisa Abd Elhadi.
Directed by Ariel Vroman.

The angel is something of a must for audiences who are interested in late 20th century politics, especially in Egypt and Israel. It was directed by Ariel Vroman, who directed American crime thrillers, The Iceman and Criminal. This film is a US-Israeli coproduction.

The central character is played by Marwan Kenzari (Dutch actor of Tunisian background). He is the son-in-law of President Nasser of Egypt – and the setting is some decades after the Suez crisis of 1956. Kenzari plays Afrash Marwin, something of a playboy, but becoming involved in smuggling rockets into Italy with his diplomatic protection. He is a gambler, devoted to his wife, but with more than a roving eye.


The film fills in the background of relationships between Israel and Egypt, especially at the time of the Six Day War. Marwan has access to President Nasser and suggests greater diplomacy between Egypt and Israel, the President not being enthusiastic about this diplomacy. When Nasser dies, Anwar Sadat becomes president of Egypt and is more open to Marwan’s suggestions. In the meantime he has made contact with Israeli authorities and they set him up with a contact, Danny (Toby Kebbell), an up-and-down relationship over the years, especially with Mossad keeping an eye on the information and the source.

Eventually, Marwan becomes more involved, giving advice to President Sadat, even able to persuade some doubt to postpone aggression with Israel. The diplomacy is ultimately successful with more peaceful relationships between Egypt and Israel.

Ironically, Marwan receives awards from both Egyptian and Israeli governments. However, he died in mysterious circumstances in 2007.

An opportunity for revision in understanding the political complications of the time – or an opportunity for being introduced to this focus of Middle Eastern history and politics.

1. The title and expectations? An espionage story? The codename for the agent?

2. The film based on actual events? The background of President Nasser in Egypt? The clashes with Israel? The effect of the Six- Day War? Consequent hostilities? The death of Nasser? The accession of Anwar Sadat? His aims for peace, yet his involvement in hostilities with Israel? The war, ultimate success and peace?

3. Ashraf Marwan? Egyptian, his marriage to Nasser’s daughter, his place in the Egyptian government? His marriage, love for his wife, his son? His study in England? His hopes? His giving his opinions at meetings – and Nasser not liking him being so straightforward?

4. The London settings, homes, studies, the Israeli Embassy, the familiar landmarks, the atmosphere of London? The musical score?

5. The Egyptian settings? Political background? Military background?

6. The footage from the Six- Day War and the visual impact? The consequences, the Arab nations, their expectations, Egypt, Syria, Jordan? The defeat, the Israeli taking of
territory? Israeli domination? Planning hostilities? Rebellion in Palestine?

7. Ashraf, the touch of the playboy, enjoying London life, gambling? His wife and her patience?

8. His motivation for contacting the Israelis, loyalty, money? The Israelis not following up immediately?

9. Being summoned from class, the death of Nasser, his return to Egypt? The accession of Sadat? Members of the government and their suspicions of Ashraf? Following him, photographing him, the photographs to his wife? His one-upping them, the search of the office, finding the documents, money and corruption, their arrests and imprisonment, the continued resentment especially by Sharaf, in prison, his connections, their searching Ashraf’s house, the threat of abducting his wife and son? Not finding evidence?

10. He is being contacted by Mossad, the various interrogators and their suspicions? Danny, junior, believing Ashraf, the contact and meetings, the codes for chemicals and potassium? Israelis listening in? Ashraf and his advice, Sadat and his holding back, the attacks not happening, the cost financially and reputation for Israel? Growing mistrust of Ashraf and suspicions by the authorities of Danny? Later contact with Danny?

11. Ashraf and his advice to Sadat? Being sent on a mission to Libya, meeting Colonel Gaddafi, the discussions, manipulating him? The later manipulation with the attempt on the plane at Rome airport, – and the effect of the opening of the film with Ashraf arriving, going through customs, diplomatic cases, the weapons, their being opened, aiming at the plane? Bringing this episode up again, Ashraf interfering with the mechanism, the failure, Italian security killing the Libyans? The fact that he saved Jewish lives and the gratitude of Israel? Beginning to believe him?

12. His wife, her suspicions, his absences with no explanations, her suspecting a mistress? The effect of the masked men in the search for the safe, treatment of her son? Still married but ultimately living apart?

13. The role of Diana in London, in the espionage world, the attraction to Ashraf, his using her as a cover for a visit, that he was meeting a lover rather than involved in espionage?

14. His finally persuading Sadat to go into action, the role of the Egyptians, the role of the Israelis, the death toll, neither winning – leading to peace discussions and the image with Jimmy Carter and Sadat and Begin?

15. The final tribute to Ashraf, your average of, hero for Israel – and his mysterious death in London in 2007?

16. Audience interest in this kind of contemporary and recent history espionage, going behind the headlines?

THE FUNDAMENTALS OF CARING

US, 2015, 97 minutes, Colour.
Paul Rudd, Craig Roberts, Selena Gomez, Jennifer Ehle, Megan Ferguson, Frederick Weller, Bobby Cannavale.
Directed by Rob Burnett.

This film might be called a humanitarian wry comedy drama involving a teenager with a variation of muscular dystrophy, visiting from England with his mother who is most protective for him. His father had disappeared long since.

This is a story of Ben, Paul Rudd, a writer, morose, his wife wanting a divorce – and the later revelation that their son was dead. Ben does a six weeks caring course and applies for the job of looking after Trevor, Craig Roberts, able to deal with Trevor’s criticisms, cynicism. Ben decides that it would be good for him to go outside the house, to travel, experience the world. Trevor’s aim is to find a pit leading to the centre of the world.

When his mother, Jennifer Ehle, does allow him to travel, the film becomes a road film, Ben taking his responsibilities seriously, Trevor always wanting to defy him. They encounter a young girl of independent mind, Dot, Selena Gomez, they give a lift to a pregnant woman whose husband is overseas in the military, Megan Ferguson. Trevor, one night, goes across the street to a diner, something of a date with Dot, something that he has never experienced.

After interesting and enjoyable ups and downs, they arrive at their destination. Ben notices that a car has been following, presuming that it is the mother keeping a check on him. However, it turns out to be Dot’s father (Bobby Carnevale) who wants to ensure the safety of his daughter.

The film is an entertaining mixture of the serious, concern about health, rite of passage, eccentric characters – and the story of the middle-age writer in emotional crisis.

1. The title? Carers and those cared for? Insights on both from this story?

2. A road trip with a difference? Purpose, achievement?

3. The introduction to Ben, Paul Rudd’s presence, his being morose, going to the six week’s training course on caring, getting a certificate? The gradual revelation of his son, the son and the shopping, the bag breaking, on the road, his death? Three years and the effect on Ben? The relationship with his wife? The divorce papers under the door, meeting, his not signing them, the court order, visitors to the door? His past writing, giving it up?

4. His assignment with Trevor, the meeting with Elsa, her jaunty behaviour, working in the bank, coping with her son, coming from England, the flight? His always being within a short distance at home? Ben and his hopes?

5. Trevor, 18, and the wheelchair, muscular dystrophy, unable to himself, the need for a full-time carer, the practical issues, the medication, breathing apparatus? Intelligent, his mischievous attitude, the touch of the cynical? The interview with Ben, the toilet issues, his accepting Ben? His background, his American father, leaving when he was three, receiving the letters but not opening them, keeping them?

6. The initial interactions, Trevor and his pulling stunts, deceptions? Ben and his reactions? The collage of activities, toilet, dressing, waffles at breakfast, watching television, Trevor and his eyes on the women? The effect on Ben?

7. Trevor and his map, the focus on the deepest pit? Other American sites? Ben, the challenges, for Trevor to go out, a trip, his mother’s deep hesitations and refusal? Her having to be away for a week? Ben, the plan, covering all the necessities?

8. The initial hesitations, travelling the road, Trevor starting to look at the scenery? The interactions with Ben, his life, Trevor knowing all about it but pretending not to? The stops, seeing. Dot, hitchhiking? The issue of the meat stick, Trevor and his performance pretending to choke (balanced later by Ben and his desperation about losing the medication)? The diner, seeing Dot again, Trevor going out, not able to talk? Ben, talking, her fear that he was a pervert, his explanations, the cup of coffee, giving her a lift? Later seeing Peaches, the car broken down, her pregnancy, her husband in Afghanistan in action, wanting to get to her mother in Nebraska, agreeing to the lift?

9. Ben encouraging Trevor to invite Dot for a meal, the date, watching them and their interactions?

10. The talk in the car, the bonding?

11. Ben, suspicious that a car was following, thinking that it was from his wife, then Trevor’s mother checking? Later the encounter with Dot’s father, the discussions, his explanation?

12. Trevor and his decision to visit his father, not having seen him for so many years, arriving in Salt Lake City? His being a car salesman? The group going in, the demands on the assistant? His awkwardness, small talk, Trevor showing in the letter, his father explaining the Trevor’s mother had written all the letters, offering money, leaving, weeping? The reaction of the others Dot giving the finger? Trevor wanting to go home?

13. The visit to Rufus, the cow? No access for the disabled, the argument, the threat to get the media, awkward getting upstairs with the wheelchair, looking at the cow?

14. The group wanting to go to the deep pit, arrival, looking over, going down? Ben talking with Dot’s father? The emergency phone call, hurrying down, audience expectations? Peaches giving birth, desperate, Ben helping, remembering his son and his death? The birth of the child? The gratitude? The ambulance taking her away?

15. Ben borrowing the ambulance board, Trevor’s ambition of urinating standing up, the various attempts, the achievement at the pit?

16. The return home, the effect on Trevor opening up of the world for him, Ben being a father-figure, Elsa welcoming them home?

17. The entertaining epilogue, Ben writing, Anna being the carer, finding Trevor on the floor, not breathing – but a hoax!

VELVET BUZZSAW

US, 2019, 113 minutes, Colour.
Jake Gyllenhaal, René Russo, Zawe Ashton, Tom Sturridge, Toni Collette, Natalia Dyer, Daveed Diggs, John Malkovich, Billy Magnusson.
Directed by Dan Gilroy.

For audiences wanting something exotic, Velvet Buzzsaw might be just the film.

The setting is the American art world, Jake Gyllenhaal portraying a critic with an abrasive touch, René Russo as a ruthless art gallery director (with Velvet Buzzsaw is her nickname), Toni Collette as a rival gallery consultant. In the supporting cast is a range of painters, agents, art exploiters played by such actors as Tom Sturridge and John Malkovich.

The film spends quite a deal of time portraying its art culture, the eccentric and self-centred range of characters, their dealings and double dealings.

However, there is a change of pace when, by accident, one of the ambitious agents discovers a vast range of paintings in the apartment of a deceased artist. She exploits the art, beating others to do deals with the various gallery owners.

Then, there is a rather strange supernatural twist. There is something mysterious about the artist, his life, time in jail, his secrecy – and some powers in the paintings that are beyond the human. As a consequence, the various deaths, punishment for the exploiters, presenting a kind of moral maze.

The film is been directed by Dan Gilroy, writer a number of Hollywood screenplays, who came to greater prominence with writing and directing The Nightcrawler, stirring Jake Gylenhaal and René Rosso (to whom he is married and who has collaborated in several of his films).

1. The title? The tone? The nickname for Rhodora?

2. The art world? The contrast with the real world? The world of artists, critics, financing deals? The world of egos and artistic temperament?

3. The locations, California and Los Angeles, offices of the dealers, art and exhibitions, the offices of agents? The homes of artists? The world critics? Media? The musical score?

4. Jake Gyllenhaas as Morf, his work as a critic, his personality, fey, intimations of gay, his relationship with Rhodora, with Josephina? With the artist? His aims, interactions, critiques and exhibitions?

5. Rhodora, strong personality, haughty, her range of clients, shrewdness, taking them on, losing them? Interactions with Morf? With Josephina?

6. Piers, his role as an artist, veteran, artistic block, going to the shows, conversations and links with critics and dealers? And seeing him at work at the end?

7. Those on the fringe of the art world, workers in offices, Coco and her ambitions, coming from Michigan, work, giving information, betrayals? Bryson, art, frustrations?

8. Gretchen, her work with galleries, her colleagues, waspish in manner, discussions and interactions, ingratiating herself? Leaving the gallery, planning a new career?

9. Josephina, fish, self-willed, ambitious, late, Rhodora lessening her work and image? The dead artist, looking at his work, transferring it, seeing the value, her scheming and contacts? The affair with Morf? Her discovery of the black artist, the relationship with him, his criticisms, the club and his peers, walking out?

10. The dead artist, his work, the range of visuals, paintings, sketches, subjects? Family? His will and the material to be destroyed?

11. Morf, researching his life, his personality, as a guard, prison, talking with his associates? Morf intending to write a book?

12. The response, the acquiring of the artworks, exhibitions, sales, hiding them from the public, gradual revelations, building up of clients?

13. The effects of the artworks, touches of violence, suspicions? Bryson and his taking work, driving away, the breakdown, in the desert? Gretchen, her being overcome? Josephina, confidence, attack? Morf, his being overwhelmed? Rhodora and her trying to deal with the crisis?

14. The credibility of this kind of supernatural effect? The impact of the deaths?

15. The mysterious artworks and their also being a buzzsaw?

THE MOST HATED WOMAN IN AMERICA

US, 2017, 110 minutes, Colour.
Melissa Leo, Josh Lucas, Rory Cochrane, Michael Chernus, Juno Temple, Vincent Kartheiser, Adam Scott
Directed by Tommy O’ Haver.

Any performance by Melissa Leo is certainly worth a watch. She is an extraordinarily versatile actor, with roles ranging from Lady Bird Johnson to futuristic thrillers, winning an Oscar for The Fighter.

This film is a portrait of famed atheist campaigner in the United States from the 1960s the 1990s, Madalyn Murray O’ Hair. While the film starts with a dangerous situation, O’ Hair and her children being abducted and held for ransom, the basic flow is a series of flashbacks tracing the life of Madalyn O’ Hair at home, rebellious, devoted to her young son and challenging school authorities about the teaching of religion, going to the courts and becoming a political influence.

The film also shows the intellectual emotional journey of her son, her forbidding him to marry, his denouncing her and avoiding her, going into business. However, he is contacted by a journalist who has been spurred on to investigate the disappearance, whether it is a hoax or not for publicity, by young African- American man whom she has supported.

It finally emerges that it is one of her associates that she brought in to control her financial interests, which have been built up under suspicious circumstances. The abductors are led by Josh Lucas with Rory Cochrane as one of the mentally unbalanced criminals.

The plot leads to pressure on her second son, Michael Chernus, and her daughter, Juno Temple – the abduction fiasco leading to murder.

In some ways, something of a potboiler, but an opportunity to learn something about Madalyn Murray O’ Hair and her campaign for atheism.

1. The title, expectations?

2. Audience knowledge of Madalyn Murray O’ Hair and her career, her causes, influence?

3. The 1990s, her age, with her son, granddaughter? Her life, campaigns and success, after 30 years? Her causes, reactions, legislation changes? Support, organisation, hostilities?

4. The issue of money, donations, the banking, overseas banking, cover?

5. The use of flashbacks, building up her life and career? The portrait? The screen presence of Melissa Leo and her performance?

6. In the 1960s, her age, living with her parents, their being proper, living at home, her son, illegitimate, attitudes? Her fierceness of personality, saying what she thought?

7. Billy, his relationship with his mother, his age, at school? The issue of prayer before class? Billy and support of his mother? Confronting the teacher, the authorities, suing?

8. Her stances as an atheist, within the atmosphere of the United States and religion? Separation of church and state?

9. Her range of causes, going to the courts, her arguments, victories, over the years?

10. Her campaigning, the role of the media, donations coming in, her mother helping her with the donations? Building up, the association, its structure?

11. Billy, growing up, the attraction to the girl, his mother’s dominance, his change of attitudes, marrying, his daughter, the influence of his mother, the separation, his mother having the custody of his daughter? His work in an office, blaming his mother, his religious change, going to meetings, talking about prayer? The appeal in the 1990s, his not being interested? Change of heart?

12. 1990s, the police not interested in the disappearance, her supporter and his managing the office, noting that the dogs were not taken, his appeal to the journalist, his reasons for supporting her, her sympathy for him as a gay black? The public thinking this was just another stunt? The journalist, his personality, his career, with his boss, learning, the investigation?

13. The abduction, David and his past, prison, prostitution, his lies, engaging personality, being employed by Madalyn, in charge of the accounts? His criticisms, his being dismissed? The associates, the young abductor and his being more sympathetic? The rough accomplice, sexual preoccupation, especially with the granddaughter?

14. The handling of the abduction, David, the demands for money, his knowledge and background, the issue of the banks, the son, dominated by his mother, her courses, handing
the issues of the money transfer? The delays?

15. Madalyn, confronting David? The withdrawals? The investigators noticing?

16. The granddaughter, the sexual assault, the violence? David and his handling the situation, losing it, the shootings, killing the family? The is with David later in prison?

17. The audience effect responding to this story of the campaign, her career, the issues of money, the brutality of her death?

THE DISCOVERY

US, 2017, 102 minutes, Colour.
Jason Segel, Rooney Mara, Jesse Plemons, Robert Redford, Ron Canada, Riley Keogh, Mary Steenburgen.
Directed by Charlie Mc Dowell.

A futuristic scenario with a focus on the existence or not of an afterlife.

Robert Redford plays a scientist who has explored the afterlife, the experience of death, brain activity at the moment of death, and has published his findings declaring that there is an afterlife. A stranger comes to his house but turns out to be his alienated son, Jason Segel, who had helped him with initial experiments. On the way, Segel encounters a young woman who is inquiring about the afterlife, seems suicidal, becomes part of the entourage at the scientist centre, experimental candidates (Rooney Mara).

There is a very good supporting cast including Ron Canada, Jesse Plemons as Segel’s younger brother, strongly involved in working for his father, yet somewhat disillusioned in the nature of the experiments and tests, found footage of experiments from the past, finding also that his father is involved in experiments. Mary Steenburgen appears as a media interview.

The film is a blend of the mystical, the urbane yet probably mad scientist, and thriller elements.

1. The title? The discovery of a dimension in the afterlife? Scientific, philosophical, religious or not? The effect on the human race? Suicides to go to this hereafter?

2. The interview with Thomas, a celebrity, his discovery, his explanations? The role of the interviewer, the questions, her challenging him? The sound recordist, coming to the front, killing himself? Audience expectations?

3. The transition to Will and his story? Travelling to the island? The encounter with Isla? The discussion, his not wanting to listen to his father on television? The audience discovering that Thomas was his father?

4. Going to the island, meeting with Toby, the relationship? Discussions about their father? The mansion and the explanation of the inmates, despair, the jumpsuits, the routines and regulations? Will and his disagreement with his father, seeing his father undergoing the tests and revival? Meeting with him, the discussions? His father praising him, helping him with his science? The issue of the mother, her suicide, Will leaving? The reason for his return? His reaction to the suicides?

5. Toby, his personality, brother, with the father, working in the laboratory, doing the ordinary work, searching for corpses and taking them to the laboratory? His life?

6. Will, walking along the beach, seeing Isla, her going into the water, his rescuing her? Not wanting to be rescued? Taking her to his father, her discovery of the truth about him? Her agreeing to the questionnaire? Her being allowed to stay, the return, the jumpsuit?

7. The role of those working there, Cooper, his age, experience, the experiments? Loyalties? Lacey, present for a year, her work, beginning to resent Isla, participation in experiments, the comments, Thomas denouncing her in public and expelling her, her later turning up, the shooting, winding Isla?

8. The experiment to discover the images of the afterlife, the machine, the decision to get a corpse, the visits to the mortuary, Toby and his cover, the rescue of the bodies, later delivering them to the mortuary and leaving them outside?

9. The man with the experiment, no images? Thomas’s disappointment? Will returning, adjusting machine, seeing the images of the hospital? Will going to the hospital, retracing the steps, getting the information about changes in the corridor, the events 10 years earlier? The files and information about the dead man? The visit to his wife?

10. Revealing the truth? Thomas wanting to be the subject of the experiment? His images, the night of his wife’s death, his work, her going upstairs, yet her returning, joining him for the meal? So different from what happened in reality?

11. The probing of what was being revealed, alternate scenarios?

12. Thomas, his reaction, wanting to destroy the machines, his sense of failure in his discovery? The destruction, the effect? The confrontation with Lacey in public, her return, the shootings?

13. Will left with his dilemmas, his work in the past, his father’s work, his mother’s death, the experiments of the revelations, the destruction of the machines?

MUTE

UK/Germany, 2018, 126 minutes, Colour.
Alexander Skarsgaard, Paul Rudd, Justin Theroux, Robert Sheehan, Seyneb Saleh, Noel Clarke, Dominic Monaghan, Sam Rockwell.
Directed by Duncan Jones.

Mute is a futuristic drama set in a rather seedy underworld in Berlin in 2035. It is something of a film noir of the future, with sets reminiscent of Blade Runner urban design.

Alexander Skarsgaard plays a mute bartender, suffering an injury in childhood and his Amish mother refusing to get medical help. He is in love with one of the waitresses in the bar.

When she disappears, he goes into the underbelly of Berlin searching for her, coming across a pair of sinister doctors, American quacks, Paul Rudd and Justin Theroux. The film offers a range of sleazy characters, prostitutes, Robert Sheehan as a cross-gender escort, and cameos from British actors, Noel Clarke, Dominic Monaghan, as well as an uncredited cameo from Sam Rockwell (who was the star of the director’s Moon).

The director is Duncan Jones (son of David Bowie) who also made Source Code and Warcraft: the Beginning.

1. The prologue, Leo and the injury, in the water, rescued – but the background of the Amish, forbidding surgery, his losing his capacity to speak, his neck injuries? Setting up expectations?

2. Moving on several decades? The opening up of the science-fiction world? Fantasy? The influence of the Blade Runner visuals of a future city? Futuristic – but, outside the city, countryside, more familiar? The international setting, the city of Berlin, the variety of languages spoken?

3. Leo’s story, at home, his love for Naadirah, the photo (and the culmination on the bridge on the site of the photo)? Her being late, going to meet her, happiness? The work at the bar, Leo as the bartender, Naadirah as a waitress, the men imposing on her, Leo and his temper and the fights? The threat of being fired? Naadirah wanting to tell him something confidentially, his saying it didn’t matter, her disappearance and the effect on him? The search for her, her gift of the camera on the phone, testing phones? Going on a quest?

4. The introduction to Cactus Bill, look, manner, at the club, contacts? The issue of the Americans, military, disappearance in Afghanistan? His contact? And with Duck? Their work as surgeons, the bullet from the gangster? Their contacts? Yet Duck having a proper laboratory, restoring limbs, his skill, the little girl and her artificial leg and walking on the machine? His later working on Leo, his throat, restoring his voice?

5. The gangsters running the clubs, the personnel, waitresses, the bar, the cyborg pole dancers? The personalities, the interactions, accosting Nadirah, wanting to apologise, Leo and his anger? Maxim, running the clubs, his contact with Nicki, finding out the truth about Nicki and his side business, wanting Bill and Duck to torture him and get information? They’re doing it?

6. Leo, his quest, his interrogations, getting leads, finding addresses, the takeaway food and phone numbers, getting an address, finding Naadirah’s mother, her grief? Rubbing the page with the address, finding Oswald, his address, manner, prostitution, his fears, giving Leo the money?

7. Luba, his work at the restaurant, gay, clothing, look? Interactions with Leo? At Oswald’s, his work there?

8. Duck and his behaviour with Josie, Josie as Bill’s daughter, his being protective, no sugar, care for her – and his warning off Duck? Duck, Bill’s attack, scenes of the bowling club, at the surgery? Duck promising?

9. Leo, the encounters with Josie, drawing the bears? Building up to the confrontation with Bill, that Bill was in a relationship with Naadirah, his killing her, preserving the body, his wanting documentation to get out of Berlin and go back to the States? Leo, Bill drawing the knife, Leo killing him, Duck finding him, listening to him, turning the mirror so that Bill would see him taking Josie?

10. Duck and the encounter with Leo, the surgery? In the car, the countryside, the bridge of the photo, Josie in the car, Duck intending to kill Leo, Leo and his strength, their both
going over the bridge, underwater, Duck’s death, Leo’s survival, saving Josie? To take her to her grandmother?

11. The unusual blend of science-fiction, quest for a missing woman, detection, science and medicine in the future, and a world of brutality and violence?

LONG SHOT

US, 2019, 125 minutes, Colour.
Charlize Theron, Seth Rogen, O' Shea Jackson Jr, June Diane Raphael, Ravi Patel, Bob Odenkirk, Andy Serkis, Alexander Skarsgaard.
Directed by Jonathan Levine.

The screenplay and humour in Long Shot look and sound as if they had been written by Seth Rogen. In fact, they weren’t – though, obviously his character and dialogue are obviously shaped by his on-screen personality. If you enjoy his films, you will definitely enjoy him in this.

In some ways he is much the same, genial, incongruous clothes and hat, fuzzy face and hair, the cuddly style! And, surprisingly, he is well matched in terms of companionship, sparring, falling in love, with Charlize Theron in her glamorous and stately style. She plays the comedy well.

This is American politics in the Trump era, with memories of George W.Bush and his floundering, the contrast with Barack Obama, and measuring what goes on here with the behaviour of Donald Trump, his campaign, his years of presidency.

Seth Rogen plays Fred Flasky, a successful writer, but wanting to be independent and rather uncompromising his views – first seen at a white supremacy meeting, full blast in his support, having a swastika is tattooed on his arm, then exposed and his leaping from a window to escape the supremacists. Then going to his boss, finding that a millionaire is taking over the newspaper and, to avoid being sacked, he resigns!

He has a good friend, Lance, played by O’ Shea Jackson Jr (reminding audiences always of his resemblance to his father, Ice Cube). Lance takes the gloomy Fred who a reception where a popular group is playing and Fred sees his babysitter from the past, Charlotte Field (Charlize Theron) who is now Secretary of State. They meet, reminisce, Fred clashing with the takeover tycoon, Parker Wembley (Andy Serkis almost unrecognisable). In the interchange, he falls headfirst down the stairs, and its all being videoed.

However, Charlotte remembers Fred well, offers him a job as her speechwriter. He writes in jokes, incorporates personal memories, her speeches are a success, especially as this she is pursuing an international agreement on the environment – which will help her in her campaign to become president, the present incumbent (Bob Odenkirk in a rather Bush-like spoof, also with an eye on Donald Trump on television) leaving the White House but eager to support her in her nomination.

There is a lot of international travel, speeches to be written, royalty and dignitaries to be met. Fred is the frequent recipient of the hostility and demands of Charlotte’s assistant, Maggie (June Diane Raphael). The film then becomes a romantic comedy, the couple falling in love, in dangers, protected by the Secret Service.

The climax, especially on Fred’s part, involves blackmail, exposing him (literally) to thwart Charlotte’s bid for the White House. So, moral dilemma, his integrity and love, her political ambitions.

Whether it happens in real life and actual politics, the film is on the side of authenticity and truth.

So, while there is moralising, there is a variation on romantic comedy, and quite a number of laughs along the way.

1. The blend of romantic comedy with politics?

2. American politics, the 2010s, the American presidency in the 21st century, Bush, Obama, Trump?

3. The American settings, international locations? Washington DC, offices, the White House? Diplomatic receptions? The streets of Washington, nightclubs? The musical score?

4. The credibility of the scenario, the comic and satirical writing? The role of women in politics, Secretaries of State, the history of Madeline Albright, Hillary Clinton? Ambitions, campaigns, attacks?

5. Seth Rogan and his comic style as Fred? His appearance, clothes, hat, earnest? His comic style and writing, drugs, language? The opening, his speech to the white supremacists, the tattoo of the swastika, unfinished? His being exposed, confrontation, leap? Going to his boss, news of the takeover, his disapproving, his being sacked?

6. Lance, his good friend, relying on him, discussions, the possibilities for a career? Going to the concert, socialising, a glimpse of the past, Charlotte Field in memories? Her calling him over? The confrontation with the takeover boss, his head long fall and its being filmed? Replayed?

7. Charlotte, her role, Secretary of State, the visit to the president, his TV rehearsals, his ambitions beyond the White House? His speech, offering to support Charlotte? Her assistance, Maggie and Tom, their control? The effect of seeing Fred again, remembering her role as babysitter?

8. The flashbacks, Charlotte in the kitchen, Fred and his adoration, his sexual embarrassment?

9. Charlotte summoning Fred, the proposal to work on speech-writing, her expectations, his hesitation, the pressure, his acceptance?

10. His role in writing, testing out the jokes, making her speeches personal? Maggie, her strong character, opposition to Fred? Tom’s part of the entourage? Fred’s appearance, clothes and hat, incongruous?

11. The range of travel, going to the special events, writing Charlotte speeches, her presentation? Her international hopes, the environment? Political contacts, socials and meetings, promises and pledges? 100 countries? Having to compromise to get the support? Parker Wembley and his wanting to talk to her, her putting him off?

12. Fred in love with Charlotte, always? Their sharing, being together, the role of the Secret Service? In Manila, the dangers? Becoming lovers? Maggie and her suspicions, Fred confirming them?

13. The plan, Charlotte and her achievement, the media response?

14. Going out in Washington, experimenting with the drugs, the dancing? The emergency, her condition, going to the office, the phone call, the diplomacy, solving the problems?

15. The effect of their relationship on each of them? Fred and his disappointment in Charlotte being compromising? Her ambitions?

16. The president, Parker Wembley and the video, influence on the president, the compromising tape, explicit, the threats?

17. The dilemma for each of them, the compromise, Fred and his discussions with Lance? The phone call, Fred is conceding? Charlotte and the nomination, the press conference,
her admission of the truth, the risk, public response?

18. The transition to the election, Fred becoming the First Mister? The popular couple, their policies? The amount of support? The scenes in the White House?

19. The moral of the story of being real, honest, some integrity? And the comparison with ethos in the Trump era?

THE SILENCE

Germany/US, 2019, 90 minutes, Colour.
Stanley Tucci, Kiernan Shipka, Miranda Otto, Kate Trotter, John Corbett, Kyle Breitkopf, Billy Mc Clellan.
Directed by John R.Leonetti.

There have been quite a number of films with ‘silence’ in the title. This one is science fiction, science fantasy. And, for those who saw the recent A Quiet Place, there might be some grounds for plagiarism. It combines the basic plot and action of A Quiet Place along with menacing monsters in the vein of The Birds.

There is quite an elaborate credits sequence, cosmic in its anticipations of what is to happen, archaeologists digging through the tunnels and, very unfortunately, letting loose creatures which have been buried for centuries or millennia. These are not friendly creatures, rather mechanical in their appearance, flying everywhere, a cacophony of sound in their aggressive action. They start attacking everyone, wreaking violent torture and deaths, devastating the cities and the countryside.

The film focuses on a family, Stanley Tucci is the father, Miranda Otto is the mother. There is a particular focus on their teenage daughter, Ally (Kiernan Shipka) who is now hearing-impaired, suffering from the consequences of a childhood accident. There is also a young son and a mother-in-law. The friendly neighbour, John Corbett, gets his family and they all decide to escape to the countryside… Yes, very familiar action (as in A Quiet Place, Bird Box).

While they experience all kinds of dangers in the countryside, the family begin to realise that, as instructed by the media, they must be quiet because attacks can come because of noise, the creatures are. in fact, blind. So, tension as they go through the countryside in their car, the mother-in-law having a breathing attack, their finding a property where the owner comes out and threatens them with the gun only to be dispatched very quickly and violently. There is possible refuge in the house – but, as always, they have to go quietly to the shops in the supermarket to get supplies.

A variation in the familiar plot is the introduction of mad, apocalyptic Reverend and his believing entourage. A lot of menace, writing notes to communicate, the father warning them off, some lascivious intentions by the Reverend.

Can the family survive? Over to us the audience to speculate.

1. The title? Humans keeping silent to avoid the monsters who attacked because of sound?

2. The link with other similar films, especially A Quiet Place? The Birds and other attack stories?

3. The collage of the world and the attack during the credits? The excavations? The letting loose of the monsters? The attack on the city’s, destroying people, the carnage, the effect, communications, the media?

4. The American city, homes, the decision to flee to the countryside? The countryside, forests, water, the attacks? The roads, people dead, cars crashed? The finding of the fence, the refuge in the house? The musical score?

5. The family, Hugh and Kelly, the backgrounds? Ally, losing her hearing? Jude, the younger brother? At school, Ally being mocked? Yet her skills, lipreading? The family signing?

6. The impact of the monsters, sinister creatures, their sounds? The family realising that they could not see?

7. The escape, the car, getting provisions, petrol? The encounters and the attacks? In the forest? The presence of the mother-in-law, her illness, breathing, the sounds, the attacks? Her later giving her life for the family?

8. The conventions of this kind of film, scares, the attacks, the consequences?

9. Keeping silent, the fears, the fence, the woman with the gun, her being attacked and killed? The family settling in? Going for provisions, the silence in the town?

10. The Reverend, sinister, the apocalyptic beliefs, writing notes? Hugh and his wanting to get away? The later return to the house, the followers, the sexual implications? The confrontation is, the guns, the violence?

11. The family, surviving, the mother-in-law to death? Escaping further into the countryside? Survival?

LITTLE

US, 2019, 111 minutes, Colour.
Regina Hall, Issa Rae, Marsai Martin, Justin Hartley, Tone Bell, Luke James.
Directed by Tina Gordon Chism.

The title does not give all that much away. However, it has quite some meaning when we watch the film.

There have been many films with the vice versa theme, one character inhabiting another, a character moving from one age to another… Audiences over the years have found this a very enjoyable plotline.

For an audience who is not in a demanding mood, Little is quite entertaining. This time it is a 38-year-old businesswoman, Jordan (Regina Hall), reverting to age 13 – and looking like age 13, and sounding like the 38-year-old inside!

The film was written and directed by Tina Gordon Chism (who also wrote What Women Want, not a favourite film for 2019). On the whole, this is rather cheery entertainment – although not for Jordan, competence personified, workplace bully, who has to undergo some conversion experiences. While the film is set in an American business world, most of the characters are African-American?.

Poor little Jordan is something of a precocious student, bespectacled, big growth of frizzy hair, making presentations at school – and sabotaged by a jealous student, bullied, full of resentment but, instead of being resilient, she becomes ultra-resilient, determining that she will never be bullied anymore throughout her life. And, when we make the transition to Jordan at 38, she is not the kind of person you would really want to meet.

Jordan is rich. Jordan is the head of a company. Jordan sails through life thinking that her judgements are supreme. As soon as she nears her building, staff all scatter to be out of her way. The main target is her assistant, April (and engagingly sassy and sometimes self-deprecating performance from Issa Rae).

Jordan is shocked when one of her millionaire customers is threatening to pull out of his contract. And, at this crucial moment, a little girl whom she has pushed aside waves a wand casting a spell over Jordan – and that’s when the transformation happens, the vice versa, and experiences of shock horror. Because she looks like a little girl, everybody treats her like a little girl.

Marsai Martin gives an extraordinarily believable performance as the 13-year-old Jordan and really steals the show, looking 13, speaking, acting and asserting herself as 38.

Of course, there are all kinds of ups and downs, especially when authorities make Jordan go to school, her old school, were she flirts with the teacher, bosses the kids, is shunned in the canteen at meals, is relegated to the three students who are the most awkward in the school.

And, of course, there is a moral in this kind of story telling, to be oneself, one’s better self, to be one’s better generous self. And, this happens, as well as giving April the opportunity to act as a mother figure and assert herself at the business meetings. There is an exuberant talent show climax where the awkward kids are joined by Jordan, great success.

In fact, the film becomes a touch preachy towards the end, but, of course, this sermon-like storytelling is worthwhile.

1. The title? Expectations? Jordan and her change?

2. The city, the school, the science presentation, sabotaged? Jordan’s reactions, the bullies, the family, her determination?

3. The shift to the present, her luxury apartment, fashion? The city, the office buildings, modern and stylish? The meetings? The setting for Jordan of 38?

4. Jordan, head of the company, her affluent situation? Her bullying and terrifying people? Her relationship with Trevor – and not knowing anything about him? His being an artist? Everybody in the room Jordan, scattering, April and her role, bearing the brunt of Jordan’s bullying? The comedy of the bullying bass?

5. The millionaire, his fortune, is threatening to pull out of the contract? Jordan pleading? The presentation, his not being interested? Granted some days? Jordan, the awkward
feeling? April and her role? The staff meetings and her ridiculing the staff, their reactions?

6. The doughnuts, the little girl, Jordan being rude to her, the little girl and the wand, casting the spell, the change in Jordan? Audience expectations?

7. Marsai Martin and her skill of performing the exteriors of the 13-year-old girl, the interior Jordan at 38? Carrying it off?

8. Jordan still acting as imperious, April knowing the truth, the past with the valet and his freeing her as a child, the clashes with the neighbours and the neighbour reporting her, Trevor meeting is little girl in confiding his love for Jordan? The assumptions that she was young, talking to her in that way? The Jordan having only April 2 confiding?

9. At school, the teacher, flirting with him? The authorities? Her dressing up, superior, the ridicule by the bullies? Relegated to the table with the three misfits?

10. Her being bossy at school, the lunch, meeting with the group of three, each with their talent, yet awkward in misfits? The preparation for the show? They’re being accepted in order to be mocked? Jordan, leaving them, yet returning, their performance and success? Outshining the presumptuous bullies?

11. Jordan, in herself, having to learn, April stepping into a role, the fashions, being the mother figure, chairing the meetings, being apprehensive, her own personal pitch and Jordan not being interested? The change of heart, April making the pitch, the millionaire accepting it? The staff and their reactions? Jordan’s change of heart, forming the company, the staff being partners?

12. Trevor, his confiding in Jordan without realising it, his art and success, the bond with Jordan?

13. April, the search for the girl, to reverse the spell, no change? Jordan waking up, her return to herself? Change of heart and character?

14. The moral of this kind of story telling – and the future?

THE AFTERMATH

UK, 2019, 108 minutes, Colour.
Keira Knightley, Alexander Skarsgaard, Jason Clarke, Martin Compston, Flora Thiemann, Kate Phillips.
Directed by James Kent.

The immediate impression of the title is the aftermath of World War II, specifically the victory of the Allies, the role of the British in occupied Germany, the devastation and bombings of cities, especially in this case, of Hamburg. The production design has done an extraordinary job, combined with special effects, to make the audience feel that it is really visiting the city at the end of 1945.

The other impression of the title comes later in the film, after the focus on the three central characters, Lewis, the British commander in Hamburg, the arrival of his wife, Rachel, quite unwilling to come to the city, and Stephen, the owner of the house where they are billeted, his wife dead in the bombardments, a resentful daughter. Their tensions, love and betrayal amongst the three. The climax of this film is how it behaves in the aftermath. The three characters are well played by Jason Clarke as Lewis, Keira Knightley as Rachel, Alexander Skarsgaard as Stephen.

The audience can understand Lewis and his sense of commitment to his work, his relationship with his staff, with protesters outside the British headquarters, with disturbances in the Russian sector. He is a man of duty, devoted to his wife. Rachel, on the other hand, as mentioned, is quite reluctant to come to Germany, often feels neglected by her duty-bound husband, with the revelation about their past life, marriage, the death of their son and its consequences. Stephen seems to be a good man, courteous, accepting the situation with his house in the setting up of zones iin his house as well as trying to control his rebellious daughter.

It is not difficult to see where the dynamic of the plot is going. While Rachel has the possibility of socialising with other military personnel and their wives, she is still essentially lonely, taking some solace in music, playing the piano, offering the opportunity for the daughter to join her in Debussy’s Clair de Lune, listening to operatic recordings, becoming less strict about access zones in the house, Stephen and daughter relegated to the attic initially. And Stephen is interrogated severely by the British to prove that he is not a Nazi sympathiser.

Rachel points out that her relationship with Stephen was not necessarily a loving relationship but, rather, each of them had needs which they thought the other could fulfil.

Which means then that confronted with Lewis’ admission of neglect, blame, after the death of their son, Rachel has to make a choice – what is to be the aftermath?


1. The title? The aftermath of World War II, in Germany, occupation? The Arthur maths of the affair, consequences?

2. The Hamburg sitting, the bombed city and its ruins, Château, homes, British officers, the musical score?

3. 1945-1946, postwar Germany, the Allies and occupation, the British, the Germans subdued?

4. The Russian sector?

5. The setting for the romance and the affair?

6. Audience attitudes towards the central characters, moral judgements of them, blame, learning more about them, motivations, modifying perspectives?

7. Rachel coming in by train at the beginning? At the station at the end, not going?

8. Rachel, sad, going to Germany, and willing, hostile to the Germans, to the family and their place in the mansion? Zones and strict rules? Alone? Unpacking her son’s pullover? The socials and outings, the restaurant, Susan and discussions? The piano, Frieda playing the piano? The hostility, the servants, the working the house, the Garden? Stephen Lubin playing the record, the change of attitude? Her playing the Debussy? The kiss? The meals together, Frieda playing the piano with Rachel? The promise of the hairstylist? The beginning of the affair, going to the country? Lewis, his work at the office, always away? The distance between them? His going to the Russian zone, returning, Christmas, Steven getting his permit to stay? The social, the dancing, the realisation of the truth? Rachel’s decision?

9. Lewis, hard work, authority in Hamburg, his relationship with his staff? The violence of the protests outside the office, going to Russian zone? With Rachel, coldness, the gradual revelation about the death of their son, his not taking leave, is blaming Rachel? His grief? The interviews, listening in to Stephen’s interview? His wanting to help, genial with the family and their stay? The clash with the Scott and his interrogation? His drinking?

10. Rachel and Lewis, the frank talk about the relationship, their son and his death? The dinner, the dance, Lewis’s anger, leaving, the ambush, the death of the driver, the pursuit of the young man, his death on the ice?

11. Stephen, in himself, the memories of his wife, her wealth, his being an architect, love for his daughter, staying in the house, the zones, his respecting them? Playing the music, kissing Rachel, his need, the excursion together, his asking her to leave with him?

12. Freda, the young German boy, doing the hard work in cleaning up, discoveries of the bodies and the bombs? His works and assessment, the ambush, fleeing the ice, his death?

13. The British staff, attitude towards the Germans, hostility, interrogations? The Scott and his drinking, his relationship with his wife?

14. Lewis and the new job in London, talking with Rachel? Rachel and her decision to leave, Lewis sad, her going to the station, Rachel’s realisation, her explaining to Stephen that there was a mutual need, the decision to stay, the return?