AGATHA AND THE TRUTH OF MURDER

UK, 2018, 90 minutes, Colour.
Ruth Bradley, Pippa Hayward, Tim Mc Inerney, Blake Harrison, Luke Pierre, Joshua Silver, Samantha Spiro, Ralph Ineson.
Directed by Terry Loane.

There was a lot of speculation in 1926 when Agatha Christie disappeared for 10 days. She had begun her successful career but her husband wanted to divorce her. Speculation on what happened during her time of amnesia was the subject of the film, Agatha, with Vanessa Redgrave as the author.

Here is a further speculation. She is approached by a woman wanting her to investigate the murder of her friend but is personally upset and refuses. However, she eventually agrees, sets up something of an outlandish situation where she pretends to be a legal advisor and the woman who asked for advice is the maid. They invent a scenario where they are able to invite all the possible suspects of the murder in the train, interrogate them.

However, when one of them is murdered, the situation becomes very much an Agatha Christie novel’s plot, the police coming to investigate, resentful that so many of the police force is out searching for the missing author.

Once again, audiences have to work on the least likely suspect – and will not be too disappointed.

Ruth Bradley has quite a strong presence as Agatha Christie.

1. An imaginative Agatha Christie story? The true story of her disappearance and the search for her? Her claims of amnesia? The background of her husband divorcing her and remarrying? Her career and her novels?

2. Agatha Christie and her career, her style of murder mysteries?

3. The background of Agatha Christie, her consulting Arthur Conan Doyle for advice, on the golf course, her dislike of golf, he suggesting she designed a golf course, her going to the psychologist, her doing the work, her husband’s appreciation?

4. The prologue, Florence on the train, chatting, the attack, the bludgeoning, her death?

5. Mabel, her preoccupation with Florence’s death, the visit to Agatha Christie, Agatha Christie is rejecting her request? Her leaving the folder? Agatha reading it, going to visit Mabel, deciding to pursue the case? The list of possible suspects?

6. The plan, her posing as a lawyer, gathering the relatives together, Mabel as the maid, the plan for interrogation?

7. The suspects and dinner? Audiences and the clues, decisions as to who was the killer? And the murder in the house?

8. The group, at the meal, attitude towards family, attitudes towards inheritance?

9. The range of suspects: the man arrested on suspicion of Florence as murder, his background, wheeling and dealing during the war, I’ve had attitudes? Wade, his attitude, suspect but his presence in America, his awarding conscription, brutality talked his wife, talk to Daphne, his being murdered? Daphne, timid, relationship with her father, the interrogation and her being quiet, the situation of her failing the nursing test and the intervention of Florence? The young Frenchman, translator, work in the war, admiration for Florence, attraction to its Daphne? Randolph, his arrogance, the inheritance? His devotion to Florence, dislike of Mabel? Pamela and Franklin, mother and son, his being a priest, loss of faith, antipathy towards the Germans? His relationship with his mother Mark

10. Agatha, her disguise, her manner, the interrogations, the decision that wage should inherit? The reactions of the others? Wade’s death?

11. The arrival of the inspector, his tough attitudes, direct? His assistant? His complaint about the search for Agatha Christie? The interrogations, keeping the people in their rooms? Interrogating Agatha, the phone call, his discovery of the truth? Mabel, suspicions, in the cupboard with the gun? The arrest?

12. The plan with the inspector, collaboration of Mabel? The meal, checking on Daphne? The blackmail note? Daphne and the truth about her father?

13. Pamela and her son going to Daphne, confronting Agatha, the revelation of the truth, the manner of the killing, the carriages, the motivations? Franklin to tackle Agatha? The intervention of the inspector, the other witnesses?

14. Franklin and his reaction, Pamela and her denials? The arrest?

15. Agatha, the collaboration with the inspector, her going home, talking with Mabel, Mabel and her devotion to Florence, the relationship? Agatha and her future…?

THE HATE U GIVE

US, 2018, 133 minutes, Colour.
Amandla Stenberg, Regina Hall, Russell Hornsby, Anthony Mackie, Issa Rae, Common, Algee Smith, Sabrina Carpenter, K.J.Apa, Lamar Johnson, TJ Wright.
Directed by George Tillman Jr.

This is a stirring film, powerful in many of its sequences. Its impact is principally for American audiences, black audiences, and the challenge for white audiences. However, non-Americans, observing from the outside, will nevertheless find it accessible as well as disturbing.

In recent years, the media has given prominence to stories of police shooting young black men, especially in the cities. This is one of those stories. However, it is based on a novel by a Mississippi author, Angie Thomas, African- American, with the screenplay by a white American woman, Audrey Wells. Which gives the film a particular female sensibility. And this is enhanced by the performance of Amandla Stenberg as Starr Carter, the central character.

Starr is 16 years old, lives with her loving parents, Regina Hall and Russell Hornsby, a half brother, Seven, Lamar Johnson, and a very young brother, Sekani, TJ Wright. The parents have given their children symbolic names: Starr with her shining light, Seven the perfect number, Sekani meaning joy. The father has served a prison sentence for drug dealing in the past but now is a man of fervent principle, determined to do what is right, bringing up his children with both affection and discipline. Their mother is a nurturing devoted mother. And they have sent their children to school out of the local African- American neighbourhood, with its drug problems and violence, to a more respectable high school.

Starr confides to us that she has to be two people, the Starr for the neighbourhood, the other Starr for the prep school. She berates herself for her smiling accommodation to the expectations of the school. She has white friends, two girls in her class, and a boyfriend, Chris (played by A.J. Apa, a New Zealand actor who looks older and more mature but, was in fact 18 or 19 during filming).

While there is pressure in the neighbourhood from the leader of the drug gang, King (Anthony Mackie), life for the family tends to be comfortable enough, the father managing a convenience store with plenty of customers, well-liked and respected.

The crucial event at the centre of the film is one of those dire shootings, a young white policeman holding up the young black man, suspicious of him, questioning him, thinking that he was reaching for a weapon (merely a brush) and shoots him, Starr in the car and then dragged out, pushed to the ground and handcuffed.

So, the film is about Starr’s conscience, her being the sole witness for a grand jury, her mother not wanting her to be exposed to this notoriety, Starr keeping the secret, but facing all kinds of questions about what she should do, especially when urged to be involved by an activist for justice for African- Americans.

In fact, the film becomes very emotional for the characters as well as for the audience, the concern for Starr whom we like, having to remember that she is an inexperienced teenager although a young woman with a conscience and finding ways to follow it – to the grand jury, to others knowing the truth, especially Chris, apprehensive about the demonstrations in the street outside the court, threatened violently by the drug chief, finding her voice and further determination, participating in a protest that becomes a clash with police and a smoke-bomb riot.

Amandla Stenberg is a young actress with quite a number of credits, Everything Everything as well as The Darkest Minds. On this performance, we should be seeing a lot more of her.

Topical and challenging, even outside the United States.

1. The film based on a novel, female author? Screenplay and female writer? The male director? The combined efforts for the perspective on Starr and her behaviour and decisions?

2. The title, expectations, the acrostic for THUG? And Life?

3. The American city, the different neighbourhoods, the black neighbourhood and streets and is? Interiors? The local store? The contrast with the world of the school, class differences? At the school, the prom? The musical score?

4. Starr and her voice-over, confiding in the audience?

5. A film of race issues, the different neighbourhoods, the difficulties, different status, different affluence, different education? The Black neighbourhood on the drugs, the gangs, the violence? Audience and locals’ expectations of life in the Black neighbourhood?

6. The American experience, the police shooting of young Black men? Stories Taken up by the media? In the Courts, Justice? Or the lack of Justice in condemning the police for their behaviour?

7. The family, Maverick and his being genial, a loving father, his past with his own father, working with drugs, under the influence of King? Going to jail, taking the rap for him? The years? Coming out, the change, his Love for his wife? The birth of Starr? His adopting Seven, his liaison with a measure, her erratic behaviour, drugs, giving up her son? His wife forgiving him? The young son and love for him? The children, the rules and Maverick demanding they learn? Honourable behaviour? His work in the store, the customers and friends? Wanting a good education for his children? His love for them?

8. Starr and her style, her age, at home, at school, her girlfriends, the relationship with Chris (and the difficulties the condom, her stance, his reaction close friend? The two Starrs, affable on the surface, interior rage? At school? At home?

9. Going to the party, the shops, her friendship with Kahlil, offering to drive her home, the past and their childhood, the first kiss? Pulled over by the police, the young officer, rough behaviour towards the black young man (and later Starr listening to her uncle’s explanation about interrogations, motivations, weapons, the dark – and whether it was the same for black men pulled over as for white men? Kahlil, being cheeky, his rights, out of the car, reaching for the brush, shot, dying on the road? Starr, out of the car, handcuffed? Reaction? The ambulance, his death?

10. The grief of the community, Kahlil’s mother, the reaction of King and the drug dealers? Starr and her family?

11. The repercussions for Starr, the teenage girl, the chief witness for the grand jury, her wanting to be anonymous, not revealing anything at school, to her friends, Chris and his puzzle, her mother’s concern to protect her?

12. The activist, her speeches, the visit to the house, urging Starr to be open, her mother wanting to be protective, the dilemma, the father and his principle stances?

13. Her uncle, his being on the police, his explanations, at home and his wife? The family later taking refuge with them?

14. King, his character, the drugs and the dealers, his henchmen, the gardens? The threats to Starr, to her family? The role of Alicia?

15. Starr’s friend, watching the news, her compassion for the white policeman and his family? Starr and her clash, her anger, and finally not been reconciled?

16. Starr being persuaded, to go on television, the graduating, her frank interview, talking about the dealers? Chris recognising?

17. Family going for the meal, enjoying it, the threats, Maverick going outside, King and the confrontation? The police arriving, rough treatment again, recognising Starr as the witness and backing off?

18. Prom, the dress, with Chris, the truth, his wanting to go to meet her family, Maverick’s negative reaction, the sympathetic mother, Seven and his being sympathetic? The challenge for staff?

19. The guns, her leaving, taking refuge with the uncle?

20. Seven and his being bashed, their going to the house, to rescue him, Aisha helping them out the back door?

21. The protests, the marches, the plea for peaceful demonstration, the police and their batons, shields? The slope bonds? Starr and the energy and her speech? It turning into a riot, their escaping?

22. Starr and Chris at the shop, King arriving and his locking the doors? Setting the story, Maverick arriving, the rescue?

23. The police, King arrested because of the arson?

24. A film about change in consciousness, conscience, race issues?

25. The impact for an American audience, black audience, white audience? Non- American audience? 21st-century?

ALITA: BATTLE ANGEL

US, 2019, 122 minutes, Colour.
Rosa Salazar, Christoph Waltz, Jennifer Connelly, Mahershala Ali, Ed Skrein, Jackie Earle Haley, Keean Johnson, Jorge Lindeborg Jr, Jeff Fahey, Rick Yune, Casper Van Dien, Edward Norton, Jai Courtney, Michelle Rodriguez.
Directed by Robert Rodriguez.

Not too many of us contemplate what life on this planet might be like in the 26 century? The 24th? Or the 27th? Probably not interest or wondering!. However, if you do want to speculate in the science-fiction, science-fantasy mode, then here is an entree. It is not based on speculative science; rather, it is a dramatisation of Manga comics.

You can foresee the approach if you are familiar with the names behind the film – including writer, James Cameron, meanwhile making several sequels to Avatar, and director, Robert Rodriguez, a lover of action shows (from Spy Kids stories for younger audiences to From Dawn to Dusk, Machete and Sin City). It means that this is quite an elaborate show. In fact, there are some statistics to indicate that it cost $170 million to produce! However, scanning the bloggers’ opinions in the IMDb, they are all in favour, more than in favour, so it may do well at the world box-office.

So, who is Alita, this Battle Angel? She is a cyborg with origins several hundred years prior to this action where her face and some remains are found in a rubbish tip. Fortunately, the man who finds her is an expert in reconstruction, quite a whizz in fact. He is played by Christoph Walz (two-time Best Supporting Actor Oscars with Quentin Tarantino). He seems quite benign here – although, for a moment, he looks to be villainous as a Bounty Hunter. But, spoiler alert, he remains nice throughout the story, earnest and helping Alita.

However, there are some authorities who are not so nice. They are played by Jennifer Connelly, former wife to the scientist, and Mahershala Ali who dominates on earth, especially managing a deadly sport popular with the inhabitants, Motorball, a kind of no-holds-barred rollerball derby. He also represents a higher power who lives in Zalem, a mysterious floating planet above earth. Nice one is Hugo, Keaan, as with a group of scavengers, tangling with the bounty hunters, but he and Alita, of course, falling in love.

So, while there is an emphasis on cyborgs in reconstruction, their personalities, and Alita trying to remember something of her past, she is more than a feisty character, eager to step into combat, no hesitations in confronting opponents or rivals. Which does mean that quite a lot of the film is taken up with battles and the derby, the effects personnel having more than a field day. Many of the sequences are quite elaborate, with fans panting for more. Which they get.

There is a whole range of bounty hunters, some of them human, some of them cyborgs, especially Grewishka, Jackie Earle Haley, and the sinisterly aggressive Zapan, Ed Skrein, many of them quite sinister and monstrous – more work for the special effects experts. (Some cameos from Michelle Rodriguez, Jai Courtney and, at the end, a glimpse of Edward Norton in Zalem.)

There are emotional complications – just what is the status of a cyborg in terms of love and relationships? Fortunately, Alita seems to have something like a human heart.

Some romance, some tragedy, some betrayals, some power struggles – and sad finale – except that, given box office success, it is not final. Alita stands ready, more than ready, to do battle in a sequel.

1. Hollywood interpretation of the Japanese Manga story? Cyborgs, superheroes, the future?

2. The recreation of the 25th century, the film’s production values, production design, special effects? The world, the aftermath of a disaster, Iron City, the results for the humans, robotics, the creation of cyborgs and their roles? The planet hovering above, Zalem, a place for humans wanting to ascend to?

3. The visuals of Iron City, the streets, markets, crowds? Laboratories, homes, arenas for Motorball? Restaurants and dives? The musical score?

4. Zalem as a goal, the visuals, people wanting to ascend? Not succeeding? The glimpse of Nova at the end, watching earth and Iron City?

5. Professor I do, in himself, his life, skills, his daughter’s death and the need to remake a body, the relationship with his wife, the separation, her skills in robotics as well? His work, his assistant and her help? Going to the tip, finding the remains, the face? Taking it home, the work, the details of reconstruction? The achievement?

6. Alita, a cyborg, her brain, her heart and power? Not having any memories? Her personality? Her voice? The relationship with the professor?

7. Vector, his role in Iron City, representing Nova, his dapper style, his command, control of the games, his relationship with the professor’s wife? Working together? Robotics?

8. The professor’s wife, the past, her decisions, her power, her regrets – and her final decision for Hugo, connecting him to Alita’s heart, his survival?

9. The work of the bounty hunters, the killing of the prostitutes? The professor becoming a Bounty Hunter, Alita suspicions, his going out at night, discovering the truth?

10. The range of the hunters, cyborgs, visuals, mutants? The look, the power, their missions, personalities, the controls and attacks? The gathering at the bar?

11. Hugo, young, part of the young group, their attacks, dismantling the cyborgs, selling the parts, the deals? His attraction to Alita, their time together, the dangers, the revelation of the truth, their love?

12. Alita discovering her powers, fighting, wanting a warrior body but the professor stopping her? The confrontation with the bounty hunters, with Grewishka, his return, her wanting to fight, her being cut by him?

13. The escape, joining Motorball, Hugo and the motivations? The various confrontations? The performance, her hopes, the rivals being bounty hunters, the decimation?

14. Alita, the relationship with Hugo, his wanting her to save him? Her being connected to him from her heart?

15. Her being saved, the professor healing her? Her final stands – and the preparation for the sequel?

16. The image of Nova, looking down from Zalem to the earth?

BURNING/ BEEONING

Korea, 2018, 148 minutes, Colour.
Ah-in Yoo, Steven Yeuen, Jong-seo Jun.
Directed by Chang-dong Lee.

One audience’s classic might be another audience’s non-classic. This has been the case with Burning.

Burning has won extensive critical acclaim and awards. It is a Korean version of the Japanese short story, The Burning Barn, by Haruki Murakami. In fact, the story has been immersed in contemporary Korean society, including the proximity to North Korea, the cultural and social developments of the last decades.

At the centre of the story is a young man, Jong-su, who has studied in college, his ambitions to write, takes on odd jobs, but lives and works out on a farm managed by his father (who is something of a rogue, appears in court trials which his son attends, alienates his son). By chance, at a busy market, he encounters a young woman from his younger years growing up, Hae-mi, who arranges for him to win a prize in a marketing raffle, dates him before she goes off to travels in Africa.

The audience is not sure where this introduction to the young man is going to lead.

However, with Hai-mi’s return from Africa and the introduction to her friend, Ben, Jong-su is tantalised. Attracted to Hae-mi, yet scandalised by her moments of exhibitionism, puzzled by Ben who confides in him that his hobby is setting fire to greenhouses around the countryside, threatening to burn one near Jong su’s house, Jong-su is confused, ready to be obsessed.

When Hai-mi seems to disappear, Jong-su is suspicious of Ben and starts to follow him, driving out the countryside, following his car, visiting greenhouses, even momentarily setting alight to one before extinguishing the fire.

Audiences might guess that this is all going to lead to unravelling of a mystery, some kind of confrontation, possibly violence, especially as Jong-su begins to show more rigid judgmentalism in his approach to people.

Words used to describe the impact of Burning include riveting and mesmerising, a 2 ½ hour feature film absorbing attention and analysis of the central character. For those who have not been riveted or mesmerised, the experience, which can be appreciated intellectually, can be laborious, even alienating at times.

This divided audience response has happened to many classics.

1. A claim for the film? Critical praise?

2. The title, the Japanese novel, the Burning Barn? Transfer to Korea and Korean society?

3. Audiences divided, some finding the film mesmerising and riveting, others and engaged? Pace of the film, character delineation, situations?

4. The locations, the city, the market, shops, the farm of the cows, the countryside? The roads? The views? The musical score?

5. Jong-su, his smoking and the introduction, a portrait of him? Walking, the encounter with the glamorous girls at the store, the raffle, engineered, his winning the watch, giving it to Hae-mi? Their dates, talking, remembering the past? Her pursuit of him? The encounters, the sexual encounter? Her going on the trip, the return, his meeting her, the introduction to Ben? The visit to the country house, smoking the pot, naked? Jong-su and his questioning her about this freedom? The story of going down the well, the hours, his rescuing her? The mother not verifying the story, the local later talking about the dry well?

6. Jong-su, his mother, her leaving, his father and anger issues, in court, Jong-su watching in court? The work at home? His studies? His planning a novel? The relationship with Hae-mi, sexual, falling in love, the return from the trip, the discussions, her exhibitionism, the effect? His reaction to Ben, Ben and his visits? Their talk, Ben and his story of setting greenhouses alight? That he would burn a greenhouse near Jong-su? Jong-su and his travelling the countryside, looking at the greenhouses, the momentary attempt to light one? His following the car, out into the countryside, stalking Ben? Ben confronting him, invitiing him into the party, the guests and their talk, Jong-su discovering Hae-mi’s watch? Leaving?

7. Beg,’s Ben, smug, the relationship with Hae-mi, his girlfriends, lavish apartment, his car, his discussion of the greenhouses with Jong-su? Playing verbal games?

8. Jong-su and the search for Hae-mi, in the church, the shops, discovering her debts, the mother and family?

9. The sudden call from his mother, their meeting, 16 years absence, her wanting money?

10. His dreams, the fantasies, sexual, his being a loner?

11. The final confrontation with Ben, killing him, naked, burning the car?

12. The film is a portrait of Jong-su? The picture of Korean society and the references, North Korea, Donald Trump, the courts, tensions? Jong-su as a symbol of Korea?

LITTLE SISTER

US, 2016, 90 minutes, Colour.
Addison Timlin, Ally Sheedy, Peter Hedges, Kevin Poulson, Barbara Crampton.
Directed by Zack Clark.

Little Sister is an unexpected story about a novice nun.

Addison Timlin plays Colleen, who has joined the Sisters of Mercy in Boston and is very much involved in their ministry and outreach. When she receives an email from her mother, whom she had been ignored, stating that her brother had come back wounded from the war, to get permission to take the community car and drive to see the family in North Carolina.

The Hollywood tradition probably indicates that, when she goes home, she will meet someone and not return to the convent. In fact, the end, she does.

Ally Sheedy plays her erratic mother and writer-director, Peter Hedges, plays her father. They have something of a hippie-style attitude towards life. Kevin Poulson plays Jacob, the brother who has returned from the war, his face completely disfigured, keeping to his room but gradually encouraged by his sister to come out, to meet his friends from the past, especially the girl he was in love with.

The action takes place over the five days of Colleen’s visit, Halloween week, and Colleen returns to some of the style of her past, a variety of weeks, going to visit friends, dealing with her parents, encouraging her brother. She over stays her promise there is criticism from the convent.

However, she has done a work of Mercy, returns to the convent, takes her powers – and is able to come home to celebrate Jacob’s marriage to his girlfriend.

An interesting 21st-century consideration of the vocation of a young woman to become a nun as well as a story of post war trauma and dealing with a difficult family.

1. The title? Colleen as Jacob’s little sister? As a novice nun?

2. The Boston settings for the convent, street work? The American countryside, North Carolina, homes, the forests? The musical score?

3. Colleen’s story, her growing up, relationship with each of her parents, with Jacob and the bond between them? Her girlfriends while growing up? Their families? Her decision to leave, to join the convent, to cut contact with her family?

4. The relationship with her mother? Her mother’s eccentricities, love for her daughter, the emails? The concern about Jacob and his injuries and the war? Drugs, erratic behaviour? Colleen’s father and the bond with him?

5. Colleen and her life as a novice, Sisters of Mercy, the novice mistress, the other nuns, their pastoral work, contact with people, Colleen’s activities, consoling people? Life in the convent, the refectory, prayer? Colleen wanting to borrow the car, allowed for five days?

6. Colleen and her motivation in returning home, to see Jacob? Her arrival, her room as she lifted – with the Goth touch? Re-establishing relationship with her parents? With Jacob, bonding with him, gradually drawing him out, out of his room, out of himself?

7. The week, Halloween, wigs and costumes, the neighbours?

8. Jacob, his character, in the war, disfigurement with his face, keeping to his room? Gradually coming out? His girlfriend, the bond with her, her character, her family, not disturbed by Jacob’s face?

9. The other friends in the town, the talk, Colleen visiting, the girl in the shop, her causes, the terrorist touches and bombs?

10. The ups and downs of Colleen’s relationship with her parents, the discussions, difficulties, reconciliations? Their not understanding her going to the convent?

11. The phone call to the superior, her being upset about the car not being returned?

12. Colleen, an achievement of mission with Jacob, his being able to resume life? Her encounter with his friends, the war, their abducting him and Colleen’s being afraid? The jovial outcome?

13. Colleen's return to the convent, preparation for the hours? And her return for Jacob’s wedding – and joyful celebration? Colleen’s contribution of grace to Jacob’s life?

COME SUNDAY

US, 2018, 106 minutes, Colour.
Chiwitel Ejiofor, Jason Segel, Condola Rashad La Keith Stanfield, Martin Sheen, Danny Glover.
Directed by Joshua Marston.

This is a very interesting film about a religious case, based on actual events and characters, in the United States in the late 1990s to the present. The focus of attention is a Pentecostal preacher, a bishop amongst the American Association of Pentecostal Bishops, Carlton Pearson. He has been a very successful preacher for 25 years, a protégé of Oral Roberts and his university in church at Tulsa, Oklahoma. In fact, he has grown up with Roberts as his father figure and religious exemplar. He has been so successful in his ministry that the church has increased in attendance, initially African-Americans?, now white congregation as well, and capitalising on his personality, ability to preach engagingly and make contact with the congregation, moving to television success.

There seems to be nothing that can prevent his progress. He has a supportive wife, with children, a devoted manager, a musical accompanist with great loyalty, an organisational team and promotion. His growing congregation response to his charm, to spirituality in down-to-earth terms, to music, to manifestations of the spirit, slaying in the spirit.

But, he experiences a crisis, partly of faith, partly of his experience with God, very much with the response of his congregation to his questioning of the narrow biblical interpretation of God giving heaven and salvation only to those who explicitly acknowledge Jesus as saviour. His experience of watching television and genocides, famines and death in Africa, especially of children, leads to an experience of God speaking to him, that salvation is for all and that no one is condemned to hell.

For those not part of Pentecostal or fundamentalist churches, the treatment by his congregation comes as something of a shock, they’re turning on him, the quoting of the Bible at him, walkouts, even Oral Roberts disowning him theologically. He is accused of heresy, is called to explain himself before the council of bishops. This causes a great deal of personal anguish – but leads to his opening up to his wife from whom he was always somewhat distant.

On the theological and spiritual level, and on the level of the nature of evangelisation, the film raises questions for the Pentecostals but also for members of other Christian denominations, the tradition of heaven and hell, the concept of God – as punishing/or as merciful and forgiving. This also raises the question of missionary work, is necessity or not, evangelisation, human behaviour and sinfulness if Heaven is for everyone.

The film’s appeal seems to be very limited, to church people (or to those prone to critical of churches and cannot understand doctrines and the binding force of doctrines) has the advantage of a strong screenplay and a cast, many of whom are well-known in commercial cinema. In fact, the screenplay is based on an episode of the radio program, This American Life (featured on ABC Radio National).

Audiences become involved with Clark Pearson because of the screen presence, dynamism, sympathetic charm of British actor, she retail and your for. Pentecostal audiences will infuse to his preaching sequences, zest full. And, like his congregation, they will be puzzled by his God experience and his’heresy on the existence of hell. Other Christian audiences will be asking more nuanced questions, about Pearson’s experience of God, questions about the nature of God and the tradition of heaven and hell, of sin and forgiveness.

Pearson is by no means perfect, has his moods, has his ambitions, ambitions which override his intimacy with his wife. But, audiences will feel his confusion and disappointment as his manager and longtime friend, Henry (Jason Segel) finds that he must separate from him and found his own church. The supporting roles a strong, Martin Sheen Venerable as Oral Roberts, Danny Glover as Pearson’s prison-serving uncle, and introducing a theme of contemporary understanding, likely Stanfield as the pianist, a gay man, trying his hardest to be saved, with Pearson allowing him sexually homosexuality but not to do homosexuality. This theme has been introduced by Roberts pushing away his son who committed suicide, a gay man, and Pearson has to examine his conscience, and his understanding of a merciful and unconditionally loving God.

The film was directed by Joshua Marston, who has directed quite a number of episodes of television but it was tackled unusual themes in his feature films, Latin Americans used as drug mules in Maria cup full of Grace and Albanian feuds and violence in the Forgiveness of Blood.

Audiences interested in the themes and characters will find a great deal to interest, to entertain, to challenge.

1. The title? Target interest? Expectations? The attraction of the central character?

2. A true story, an interpretation? The radio program, This American Life as the source for the film?

3. The Oklahoma settings, the city of Tulsa, the neighbourhoods, the church and the congregation, homes, travelling the countryside, the Ministry, Oral Roberts University, the Bishops conference, and the ordinary sequences in hotels, restaurants, family life? Supermarkets?

4. The musical score, the range of hymns, the verve and enthusiastic singing?

5. Carlton Parker, the background of his family, his mother, his uncle in jail, the visits to him, the protection of Oral Roberts, an equivalent son? His ability to preach, connect with the congregation? The Pentecostal theology, 25 years ministry, the congregation is getting larger, black and white, the music, the verve, slaying in the spirit? The television coverage? His personal ambitions, developing a following, and assured future?

6. The Pentecostal theology, Evangelical, the focus on the text of the Bible, the infallibility of the Bible? To be saved, to confess, to repent? Image of God, severe/merciful? Punishment and reward in Heaven and Health? Firm belief, the nature of the ministry, the nature of mission and evangelisation?

7. The performance by chili teller and you fall, embodying Carlton Parker, as a person, personable, in action, the background of his marriage and its being arranged, the lack of personal contact with her, his children, her role, in the church, her special hats, the staff and the tension with her?

8. Henry as his friend, manager, white? The years together, the ambitions, Higher Dimensions, surveying the posters, his head dominating the words…?

9. The range of staff, the woman in charge, friendship?

10. Reggie, the music, his devotion to Parker, no one else to go, his being affirmed, his performances? The fact that he was gay? Advise not to be gay in action? No relationships? Is striving to be saved, is being hurt by Parker? Going home to his mother, his illness? The condemnation of sin, Carlton and his going to Texas to visit Reggie, and attempted reconciliation?

11. Oral Roberts and his status, influence, his ministry, the University? Carlton visiting him, memories of the past? His reaction to Carlton’s sermon on hell? Coming to the church, walking out? The later visit, Ron and his being gay and suicide in? Rick and the revelation of embezzlement?

12. Carlton watching the television, scenes of famine and devastation in Africa, the children? The effect? Is God experience? God speaking to him? His doubts, God is saving all, the place of hell or not? The complaint that he did not consult members of the board about his experience and his sermon? Their shock, people walking out, friends going away? His being convinced, relying more on his wife?

13. Henry, his character, disappointment, long friendship, management, the meeting, walking out, the new church? People defining Carlton? Roberts and his reference to the letter to the Romans? Carlton and is using John’s letter, God wanting everyone saved?

14. The smaller congregations, the choir, his visit?

15. The theological issues, his standing firm, the contact from the Bishops Council, his decision to go, the interrogation, is asking the head of the Bishops about his own personal attitudes, about his father, and the Bishop loving his father but denouncing him and condemning him to help?

16. The challenge, to the image of God? Issues of faith, Sin, salvation? The issue of homosexuality, sin, condemning the scene, it compassion for Reggie? Visiting, talking, his illness?

17. The continued challenge, the final images and photos, the information about his continued ministry?

18. The impact for Pentecostal and Evangelical congregations? The responsible mainstream churches and more nuanced interpretation of the Bible and deeper theological exploration?

SECOND OPINION

Canada, 2018, 90 minutes, Colour.
Joanne Kelly, Shaun Benson, Genelle Williams.
Directed by Caroline Labreche.

Not a bad thriller, not quite what was expected.

The initial part of the film as audiences identifying with Ivy (Joanne Kelly) a workaholic who is setting up her own business with a friend. It emerges that she suffers from migraines and dizzy spells. Is persuaded to see a doctor, Mark (Shaun Benson) who is very sympathetic, helps with the diagnosis and a second opinion, that she has terminal brain tumour.

Mark also suggests that there are drugs from Europe not yet approved and she pays him substantial fees. She does not reveal to anyone her terminal illness.

The audience is alerted to Mark and his behaviour, suspicious, and so knows the truth before Ivy discovers the truth when a woman who is suing him and has attacked them in a restaurant is found dead. The tone of the film changes considerably with Mark menacing Ivy and her turning the tables on him.

1. A psychological thriller? Romance? Terminal illness? Fraud?

2. The city settings, the company and the office? Apartments? Doctor’s office? The contrast with parks, the open-air? The musical score?

3. The title, the overtones, Ivy and the death of her mother, her migraines and stress, being persuaded to go to the doctor, the diagnosis, the tests, his encouragement, medication, the expert with the second opinion (and the later revelation that he was a fraud)?

4. The film as a romance, the audience seeing everything from Ivy’s perspective? The hints at something wrong? The audience learning the truth before Ivy? The dramatic tension?

5. Ivy, middle-aged, workaholic, the setting up of the company, her friendship with Skyler and dependence on her? Migraines, dizzy spells? Stress? Being persuaded to go to the doctor, Mark and his welcoming, the explanations, encouragement of reality, the tests, the second opinion, the x-rays? The special medication, illegal, the cost, better to spend money rather than be dead with money?

6. Mark, the secretary and her devotion, suspicions? The woman suing? Discussions with his lawyer? His denials?

7. Ivy, recovering with the medication? Her being busy? Skyler, friendship, her husband and child, partnership in the work? The preparation for the presentation, Ivy’s nervousness, postponement, Skyler succeeding? The new office and building it up?

8. The attraction to Mark, pleasant, plausible, always encouraging? The meals, the sexual encounter? Mark and the story of his dead wife and her dying?

9. Ivy, going to the house, the other woman, the restaurant and the suing woman and her attack? Her being found dead? Interrogation by the police, marked persuading Ivy to give him an alibi? Her indebtedness to him?

10. The revelation of Mark as a fraud? His mental condition? Using the ad hoc using the addict to murder the woman? His later meeting him, stabbing him? His denials to the detective?

11. Ivy, the beginnings of suspicions, Mark and his declarations, always plausible? Her having the tablets analysed? The truth?

12. Ivy, the confrontation, Mark paralysing her? The preparation for her suicide? His being delayed by the detective? Ivy, crawling, using her arms to move, at the top of the stairs, Mike and his approach, her pushing him?

13. Ivy, recovery, mind over matter, the possibility for a holiday, her dependence on Skyler?

14. For going to visit Mark, his being paralysed, her leaving him alone?

GIRLFRIEND’S DAY

US, 2017, 71 minutes, Colour.
Bob Odkenirk, Amber Tamblyn, Stacey Keach, Alex Karpovsky, Kevin O' Grady, Larry Fessenden, Natasha Lyonne.
Directed by Michael Paul Stephenson.

This is a brief drama, starring vehicle for writer and producer, Bob Odenkirk.

The title refers to the proclamation of a special holiday in the city, celebrating the local industry, the production of greeting cards. This seems rather a stretch in terms of realism but the audience has to accept this…

Bob Odenkirk plays a veteran card writer who has fallen on hard times, his wife leaving him, drinking, getting the sack. While the politicians announce Girlfriend’s Day, his previous employer wants him to produce a winning greeting card. This leads to what might be called industrial espionage, powerful business figures, two brothers, both played by Stacey Keach, set private detectives and thugs on him. A young woman (Amber Tamblyn) approaches him – and is later revealed to be part of the plot.

There are a range of supporting characters including those who work in the greeting cards office, one reciting poetry at a nightclub, a range of thugs and detectives, a former writer fallen on hard times, a homeless man in the street.

A very brief running time – a kind of 21st-century film noir.

1. The strange world of gift cards? Implement, popularity, writer’s block, politics, confidence tricks, murder and violence?

2. The American city, the card company and the officers, apartments, stores, bars, the world of violence, private detectives, police? The musical score?

3. The focus on Larry Wentworth, his skill at composing cards, writer’s block, his wife leaving him, drinking, at the office, his being sacked? Retiring home, lewd monstrous imagination? Visiting the bars, his friends, the past successful artist writing his novel, only three words? Chat at the bar? His various friends? The beggar on the street? Visiting his ex-wife, the cat, her new husband? His friend and confidante?

4. The bar, the visit from the boss, his commission to secretly create a card? Trying to use his imagination? The encounter with Jill? The bond, sexual relationship? At her shop? At home, the demand for the rent, the landlord getting him to take out his nephew? The detectives and surveillance?

5. The politicians, creating Girlfriends Day, the purpose, the razzmatazz? The competitiveness? The range of people commenting on cards and the importance in their lives?

6. The brothers, thugs, competitiveness, interviews with Larry, violence?

7. The private detectives, the violence, the thugs and the violence? Larry discovering Jill as part of the plan?

8. The card, Jill and her response, Larry not wanting to communicate it, burning it?

9. The world of the cards, the staff, the poets and recitations in clubs?

10. An offbeat example of 21st-century film noir?

SHIMMER LAKE

US, 2017, 83 minutes, Colour.
Benjamin Walker, Rainn Wilson, Stephanie Sigman, John Michael Higgins, Mark Rendall, Rob Corddrey, Ron Livingston, Wyatt Russell, Adam Pally, Matt Landry.
Directed by Oren Uziel.

This is quite an effective crime story. However, it is told in reverse, quite a different effect for the audience, knowing the ending but learning more and more about the characters, the events, the motivations as the reverse story is told day by day.

The film was written and directed by screenwriter Oren Uziel who has quite a range of writing credits.

The cast works quite well, not big names but significant character actors, especially Benjamin Walker as the upright sheriff of the town (and later Brent revelations), comedian Rainn Wilson as a criminal lawyer, John Michael Higgins as a judge, and Rob Corddrey and Ron Livingston as FBI agents who do not want to get involved in the case. Wyatt Russell is the central villain.

The film has the atmosphere of a small town, ordinary lives, the impact of the robbing of a bank, those involved, the motivations – and these made clear at the very end of the film, revealing the beginning of the plot.

1. The impact of the crime thriller? The narrative unfolding in reverse? Knowing the solution but the gradual buildup in reverse of how and why it happened?

2. The town, homes, the bank, the sheriff’s office, the roads, the lake? The musical score?

3. The narrative in order? The plan to rob the bank, Steph and her being part of the planning, with Ed, using Andy and Charlie? The background of Ed, drugs, the explosion, the death of his son, his lack of care for his son, the court case, buying off Andy, the short sentence? Steph and her resentment? Her continued involvement, playing the part, the shooting of Ed and her motivation? The rendezvous with Charlie, the hotel room, the judge and the machine gun and the death? Getting him to hide the money? Using Andy to get the money back? Her relationship with him? Meeting up, the consequences?

4. Andy, seeing him in the basement, with his daughter, the deception, his leaving, getting the money, shot? His role in the town, the law? His attitude towards his wife, spoiling his daughter? The participation in the robbery, bossing Charlie, ridiculing him for his stupidity? The robbery, being outside, hearing the shots, their driving away, held up by the police – but let go?

5. Charlie, friends with the group in the past, the brain limitations, slow? Participating, in the robbery, driving, the getaway, the rendezvous with Andy, the message from Steph, the hotel, the judge, Charlie being shot?

6. The judge, his reputation, married, bought for Ed’s case, the reason, the tapes, his homosexual liaison? Giving Ed the combination to the safe? Ed and his bungling it, Zeke helping him out? At home with his wife? With a lover, the lover in the bathroom, Andy coming in, to get the money, the confrontation and fight, the shooting? Andy unable to kill the young man, his naked escape (and seen by the FBI investigators, puzzled)?

7. Zeke, seeing him with the investigation, Reed as his partner, ordinary life, his comments about law and order in the town, working with the FBI agents? Avoiding his sister-in-law’s meals? Looking for his brother? The night of the robbery, his nonchalance, helping Ed with the safe, the confrontation with Ed, shooting him, the explanation about the boy, his relationship with Steph, shooting Ed? His work throughout the days – and the finale with Steph?

8. The FBI agents, the touch of Laurel and Hardy?

9. And his daughter, the secret, with Zeke, the jokes about the meals, Martha and her not believing anything about Andy?

10. How well would the narrative have worked if presented in chronological order?

WONDER PARK

US, 2019, 85 minutes, Colour.
Brianna Denski, Jennifer Garner, Matthew Broderick, Norbert Leo Butz, Mila Kunis, John Oliver, Ken Jeong, Kenan Thomson, Ken Hudson Campbell.
Directed by David Feiss,

This is an animated film for little children, very small children, the age of the littlies who populate this film (with very few adults, mainly the parents of the heroine, June). That might serve as a warning for parents and, especially, grandparents who accompany their children – there is not much for them except to share the enjoyment of the children. The film was produced by the company, Nickelodeon.

It is all very colourful, literally, inviting the attention of the young audience. They are treated to all the delights of Wonder Park, which turns out to be the invention of June’s imagination, creating all kinds of attractions, and having the help of a range of animals in the park, most especially Peanut, the monkey, but also with the help of a large bear, a hedgehog and other mischievous animals. The opening sequences spent a lot of time at Wonder Park, certainly drawing in the youngsters.

Then, we are introduced to June at home with her parents. Her father is supportive (voiced by Matthew Broderick) and she is devoted to her mother who encourages her imagination, continually inventing new attractions for Wonder Park.

Then comes the mischief. June is an organiser and gets all her friends in the neighbourhood to make quite an elaborate version of the park and its attractions, making the equivalent of a rollercoaster from her backyard, round the neighbouring houses, up hills and down dales, but eventually losing control and finding herself in the middle of traffic. Initiative praised but discipline imposed!

Then there is a big transition when the mother (voiced by Jennifer Garner) is diagnosed as very ill and has to go away for treatment. June goes into depression, burns all her Wonder Park stuff – and is ordered by her father to go away to summer camp.

She feels that she needs to be with her father and arranges to get off the bus – but then starts to take initiative, recreating Wonder Park with all her friends, bigger than ever. But, this is a dream and she returns home – with, thank goodness, a happy ending so that the young audience goes off smiling when June’s mother happily returns home.