CONFIDENTIAL

US, 1935, 65 minutes, Black-and-white.
Donald Cook, Evalyn Knapp, Warren Hymer, J.Carroll Naish, Herbert Rawlinson.
Directed by Edward L.Cahn.

While Confidential is certainly a film of its time, small budget, supporting feature of the mid 1930s, it is not a bad example of this kind of gangster thriller of the period.

There are racketeers in the city, a range of thugs, the opening with showing their activities and their evading the law and investigations. The reporter, stirred up, decides to go undercover – not only to capture the thugs but also to find out who is the Mr Big behind everything.

Donald Cook is the hero, going undercover, encountering the bookkeeper for the racketeers, a sympathetic performance by Evalyn Knapp. The undercover man is attracted to her but ultimately, she is very judgemental about his position, assuming the worst about him. Also in the group is Warren Hymer, one of those dumb characters that pervade this genre of film, but more sympathetic than most, even in his dumbwittedness. J Carroll Naish is the tough man, trying to remember where he saw the other undercover man, suspicious of him.

There is also a subplot with the son of a wealthy businessman, friend of the undercover agent, but a drinker and making a mess of his life, despite the support of his father.

Ultimately, of course, there is a big confrontation, especially with Nation who is suspicious of the wealthy drunken young man and kills him. When he learns who the young man’s father is, it is the collapse of everything because the father, the wealthy businessman, is the Mr Big.

An effective drama in its 1935 way.

SHOCK AND AWE

US, 2017, 90 minutes, Colour.
Woody Harrelson, James Marsden, Rob Reiner, Tommy Lee Jones, Jessica Biel, Milla Jovovich, Richard Schiff.
Directed by Rob Reiner.

This is a very interesting picture of American politics in the aftermath of 9/11. It does not seem to have had the wide release of many other films in a similar vein. It runs for only 90 minutes, but has a solid cast, probing investigative journalism, Rob Reiner directing as well as featuring as the editor of the agency pursuing the issue of Iraq and weapons of mass destruction as the occasion for the invasion of 2003.

Audiences outside the United States may not have heard of the agency in Washington DC, Knight- Ridder. It had its staff of journalists and supplied material to a range of newspapers and outlets around the United States – with the illustration of a Philadelphia paper refusing to take the articles about the weapons of mass destruction issue, not believing the agency but following the press conferences from the White House and the reporting in the New York Times.

The framework of the film is a Washington investigation into veterans, a young African- American man coming in to tell his story, in a wheelchair, asked to stand and take the oath, only for the presiding chair to realise his mistake and apologise. The young man begins to read a statement that begins to tell his story, using a memory device of numbers to indicate all that had happened to him, the invasion of Iraq and the immediate consequences.

There is also an introduction with a military game involving troops pursuing a journalist and subduing him.

It is in this context that we are introduced to two journalists played by Woody Harrelson and James Marsden, as Jonathan Landey and Warren Strobel, eager and their work, with a quite a range of political sources (whose function comes up on screen rather than their names). They work for the demanding editor, Rob Reiner. Also in the picture is an author and journalist played by Tommy Lee Jones (Joe Galloway who wrote We Were Soldiers) who is secondment to the agency and becomes more and more involved in the expose.

There are also several clips of the actual politicians and advisers, George W.Bush, Dick Cheney, Donald Rumsfeld, Condoleeza Rice and Colin Powell presenting his speech justifying the invasion of Iraq to the United Nations

The narrative is presented as an investigation, finding clues, questioning authorities, interrogations, the need for backup – and some officials willing, as in All the Presidents Men (and there is mention of Woodward and Bernstein) to give information anonymously.

As the invasion happens, Knight- Ridder is justified although they were beaten to the post in publishing the information. It is noted that the New York Times apologised later for misinformation, following the propaganda from the White House rather than their own investigations.

1. The title? The American use of the phrase? Military? Especially in the Middle East?

2. The true story, the role of the media in Washington, in the United States, the relationship with the White House? Investigation? Being fed propaganda by the authorities?

3. Washington DC, Knight- Ridder? As an agency, its offices, journalists and their desks? The role of the editor? Supplying information to various outlets? Outlets accepting the information or not?

4. Introduction, the hearing, the veterans, the committee, the young man coming in in his chair, being asked to stand and the Chairman’s apology? Starting to read his statement? Wanting to tell his story? The situation, his being young, at home, work, family, joining up, his parents’ reactions, going to Iraq, the attack, the shrapnel and his injuries? His device of explaining to the committee his remembering events by numbers?

5. The military exercise with the journalist, Jonathan Landey, his being chased, confronted, the training and his reaction?

6. Landy and Strobel, their work as journalists, in themselves, the characters, dedication to their work? Private lives and relationships? Their working together? Travels, the range of sources, the phone calls, the meetings? On-screen descriptions of all the authority figures they met with?

7. Strobel and his relationship? Landey and his wife?

8. The heritage of the Gulf War, the first president Bush, the defeat, the interactions with Saddam Hussein? The heritage for George W.Bush?

9. The impact of 9/11, the visuals, the detail, the reactions? Terror? Government response?

10. The clips from speeches by Bush, Cheney, Rumsfeld, Colin Powell and his address to the UN, Condoleeza Rice, Paul Wolfowitz? The public statements? The private views of many of the officials, as sources for the journalists, the need for verifying opinions and facts?

11. Woolcott as the editor, in himself, his dedication to his work, relationship with the journalist, the getting of stories, wanting verification? Excitement? The fact that they were beaten in the story? His going to the subsidiaries, contacting Philadelphia and their refusal to take the articles?

12. Joe Galloway, the publication of We Were Soldiers? His role as a journalist, his experience? Promotion of his book, his speeches? Woolcott contacting him? His work with the Pentagon? Woolcott invitation, his coming to work for Knight- Ridder? His connections? His becoming more involved in the expose?

13. 9/11 and the focus on Bin Laden, Afghanistan and the invasion, the promotion of the Iraqi connection, weapons of mass destruction, the information given out by various White House officials, the reaction of the public? Press conferences? The New York Times taking up the propaganda material?

14. The buildup to the invasion of Iraq, the government desire to have a war, the range of motivations, getting rid of Saddam Hussein, the oil and business interests? The role of Cheney and Rumsfeld? The pressure on Colin Powell, the information given him?

15. Those searching for weapons of mass destruction, the testimonies, finding nothing?

16. The announcement of the war, the visuals of the invasion, the ship and Bush and Mission Accomplished?

17. The event seen in retrospect, interpreted, American morale boosting, government deception, later interpretations and apologies?

A DOG’S WAY HOME

US, 2019, 96 minutes, Colour.
Ashley Judd, Jonah Hauer- King, Edward James Olmos, Alexandra Shipp, Wes Studi.
Directed by Charles Martin Smith.

That this is a dog-lover’s tale, pleasantly done, might be enough for a review. The obvious recommendation is that those who love dogs, have their own tales to tell about their pets, will be delighted. (On the other hand, those who can take or leave dogs, will feel that they can take or leave this story.)

One of the pleasant features of the film, for those who believe that dogs have their own distinctive personality, intelligence, and even an interior voice, is that the whole adventure is narrated by Bella, the heroine, very sweetly but sensibly by Bryce Dallas Howard. In fact, her voice-over seems perfectly natural and acceptable, making the whole adventure credible enough.

Actually, Bella, before she gets a name from her rescuer, Lucas (a sympathetic Jonah Hauer-King) has been born, along with other pups, under the foundations of a building which has to be demolished. But not only are there dogs, there are plenty of cats, many of them immediately being impounded as the film opens. But, Bella is cared for by the mother cat, a characteristic of getting on well with felines which is going to be most significant for Bella in her adventure, her way home.

Other human characters include Lucas’s mother, Ashley Judd, a war veteran in throes of depression, doing voluntary work at the Veterans Affairs centre in Denver, Colorado, where they all live. Also working there is Olivia, Lucas’s friend and – spoiler alert, obviously to be his wife! Bella, now having a name, can’t stay at home one day and is brought secretly to the VA centre, discovered, and an enormous hit with the vets.

However, all is not easy. The owner of the buildings which are to be demolished gets a court order, confronts Lucas and his mother, wants all-out war, Lucas knowing his law and getting a restriction, so more tension. However, while Bella confides in us, describing all the different games that she has learned to play and her feelings about all the humans, she breaks out of the house chasing a squirrel which leads her being taken into the pound. But, all is not lost, Lucas and Olivia are able to get Bella to safety in New Mexico.

We are told that New Mexico is 400 miles from Denver so, the dog’s way home is going to be a long one and, in fact, takes 2 ½ years, including two winters.

Lots of adventures for Bella as she jumps over the fence in New Mexico, hungry but learning to seek out humans, helped by a group of scraggy dogs who do the rounds of the bins in one of the towns, find lakes for water, keeps advancing over the territory as she plays the game that Lucas taught her, “Go Home�.

The scenery is beautiful. There are threats from wolves. Hunters kill a giant cougar but Bella befriends the young kitten and they travel the wilds together. There are hunters, one caught in an avalanche and rescued with the help of Bella and his dog, Dutch, who are taken in by two young men who live in a hut in the mountains. Bella also encounters an old homeless veteran (attracting passers-by to put money in his tin), but he goes out into the cold and dies, Bella fortunately being rescued by two kids who find her.

So, plenty of episodes on the dog’s way home – and, as we leave the cinema, everyone happy, Lucas, his mother, Olivia now Lucas’s wife, and the welcoming vets. (And even the dog catcher, a nasty type, is removed from his catching job by his superior!)

1. A film for dog lovers?

2. Dogs, Bella, growing up, her mother? Dutch? The group of dogs scrounging food? The world of cats? The cougar and the kitten? The wolves?

3. Denver, Colorado, homes, the VA centre, activities? New Mexico, the scenery, the mountains, lakes, huts, towns?

4. The seasons, enter and the ice, summer and the beauty?

5. The voice-over by Bryce Dallas Howard? The tone, intonations, communicating the inner life of Bella?

6. Bella, born, her mother, the pups? The cats, the catcher? Lucas and Olivia, searching the house, protecting the animals? Taking Bella, giving her a name? The bonding with Mum, the games, explaining the name of the games? Taken to the Centre, the vets and their response?

7. The dialogue for the dog, psychological, explanation of how the dog ticks and acts?

8. The owner of the building, hostile, dog catchers, the threats, confronting Lucas and Olivia, the catcher and his assistants?

9. Lucas training Bella to play the game, Go Home?

10. Olivia, the contacts in New Mexico, getting Bella ready to go, the drive, Jose and his work in the garden, Bella and her escape?

11. The range of adventures, her explaining them, hungry, humans and food, the pack of dogs and their wandering the bins, her visit to the supermarket and stealing the chicken, looking for water? The pursuit by the walks? The hunters shooting the cougar, the surviving kitten, bonding with Bella?

12. The men, encountering Bella, fear of the cougar? The lone hunter, the avalanche? Bella and Dutch digging out the survivor, the young men, taking the dogs home, going to see the injured man, his not wanting the dogs, their taking Dutch? Bella deciding to leave?

13. The encounter with Axel, the veteran, the extra money, out into the snow, his death? Her being chained, unable to reach the water? The two boys, finding and freeing her?

14. The pursuit by the wolves, cornering Bella, being rescued by the kitten grown into the cougar?

15. Seeing the city, the hazards in the traffic, her being hit, finding home, new inhabitants? Going to the Centre? Welcomed by everyone, the dog catcher, wanting the dog – and his superior listening to the people, take him off his rounds in the street?

16. An opportunity for dog lovers to enjoy and indulge?

GRETA

US, 2018, 98 minutes, Colour.
Isabelle Huppert, Chloe Grace Moretz, Maika Monroe, Colm Fiore, Zawe Ashton, Stephen Rea.
Directed by Neil Jordan.

Directed by Neil Jordan.

Greta is a woman with deep problems. And, the screenplay depicting her and how she acts out her problems has some plot problems in itself.

This is a psychological thriller, a collection of all kinds of familiar ingredients all stirred together and coming up with a story and developments which are still quite familiar. To this extent, pervading the whole film and its characters and situations, it is rather disappointing, especially as it comes from director Neil Jordan who for over 30 years has built up a solid reputation and some outstanding films, including The End of the Affair, the Crying Game, The Butcher Boy.

Greta is played by Isabelle Huppert who has been headlining films for over 40 years, an actress of great virtuosity, capable of performing all kinds of roles. We haven’t seen her quite like this although she uses her capacity for sometimes looking quite impassive while a whole lot is going on inside her mind and with her feelings.

However, the story belongs to a young woman, Frances, played by Chloe Grace Moretz, who sees an abandoned briefcase in the New York subway, takes it home where her roommate, Erica, Maika Monroe goes through it. But, Frances is honourable and takes it to the owner who welcomes her, is friendly, allows Frances to take her to buy a dog as a companion in her loneliness.

Fatal! Greta’s response is definitely a fatal attraction.

What follows is, as mentioned, familiar enough. Greta starts to be present, ever-present, standing vigil outside the restaurant where Frances works, suddenly appearing, stalking, mysteriously taking and sending photos as she follows Erica through the streets. When Frances complains to the police, they say they can’t do anything and that Frances will just have to endure it.

Desperate, Frances is advised to pretend to go away, trying to placate Greta. Fatal!

By this stage, some of the elements of abduction, torment and the touch of torture, come into play, Greta really out of mind (having created a personal back story which has no element of truth). Stephen Rea, who appears in most of Neil Jordan’s films, turns up as a private detective but obviously has not seen the enough films about private detectives leaving themselves open to attack by the stalker and so has only a very small, brief cameo role.

The device for the solution for the film also seems exceedingly contrived.

It is an opportunity to see Isabelle Huppert and her working with Chloe Grace Moretz but, the whole venture is rather ordinary.

1. The title, the focus on Greta? Greta, Isabelle Huppert, her French background?

2. The New York City settings, apartments, restaurants, the streets, the subway? The feel of the city? The musical score in the various moods?

3. The psychological drama, drama of madness and obsession, stalking? The horror elements?

4. Frances’s story, her age, relationship with her father, scientist, communication with him, the story of her mother? Her moving out? Erica, flatmate, her style? In the subway, the bag, taking it home, Erica going through it, Frances’s reaction? The address, finding the house, the visit to Greta, the cup of coffee, the atmosphere? The Chopin? The piano, the photos? The banging on the wall and Greta’s explanation? (And the banging recurring later with Frances banging?)

5. Greta, her age, personality, her story, husband and daughter, the apartment, French background, her daughter in Paris, study? The piano and learning? Going to buy the dog, Frances and her support?

6. Greta, arrival, imposing, Frances’s reaction against her? The continued pressures, the stalking, watching? The effect on Frances, the restaurant, Greta standing outside for hours? Calling the police, their not being able to help, information about getting documents to keep her away?

7. The true story of Greta, Hungarian, her daughter, the suicide, the information about Bellevue? Greta and her mental state? Frances at home, the phone calls, Erica, the photos being sent, Greta following her? Getting the taxi, almost hit?

8. The discussions with Erica, deciding to lie to Greta, the sincerity of her story? Greta not wanting her to lie, the implicit threat?

9. Greta finding that Frances had lied, her being taken, the drugs, put in the box, released, the vault, her life, the piano lessons and hitting her hands, the further pills?

10. Frances chopping off Greta’s finger? The attempt to flee, the Gothic atmosphere of the house, the bodies? Her being bound and gagged?

11. The relationship with her father, his thinking she was on holidays with Erica, Erica thinking she was with her father? The private detective, his tracking down Greta? His carelessness, the syringe, his death?

12. The new bag on the subway? The new girl, the interview, Frances listening, the banging on the wall, Erica removing her wig, hitting Greta? The two putting her in the box?

13. Familiar material? Stalking material?

PADDLETON

US, 2019, 89 minutes, Colour.
Mark Duplass, Ray Romano.
Directed by Alex Lehmann.

Paddleton is a small budget film, produced by the Duplass brothers in connection with the director, Alex Lehmann, director of their Blue Jay.

It has a short running time and focuses on two central characters. There is Michael, played by Mark Duplass, a middle-aged man who has a terminal illness. There is also Andy, played by Ray Romano, an engagingly eccentric performance, Michael’s friend.

The title comes from the game that they play, a kind of handball, hitting a ball on the back wall of an old drive-in theatre, aiming to get the ball to land in a bin. We see them playing, a strong form of bonding. And, at the end, Andy returns to play by himself as well as explaining the game to some young observers.

The film has been praised for its dialogue and performances in presenting a solid portrait of male friendship, male bonding. (There are some insinuations about the relationship, especially by the proprietor hotel with a booking and she makes wrong assumptions.)

There is some detail in the portrait of the men, their past, some information about their jobs and their responses, the apartment block in which they live, neighbours, visits to bars, interactions with the locals. They spend a lot of time watching a martial arts television series.

However, the main interest is in Michael’s illness, travelling some distance to pick up tablets which he can use for killing himself. Andy accompanies him on the trip, staying at the hotel that was mentioned, becoming friendly with the proprietor, Michael using the swimming pool at the hotel. There are some disputes with the pharmacist about the tablets but they eventually get them.

The pathos of the film’s finale is in Michael finally making a decision, Andy mixing the tablets, Michael hesitating, then drinking the mixture, lying on the bed, Andy lying with him in companionship.

The film raises the serious issues of terminal illness and suicide – this time the ill person taking responsibility but a friend being an assistant. As with very serious moral issues, the dramatisation of the story brings home not only the principles that also the emotions, the nuances in the situation, a means to interpret the morality.

1. The title, the game that Michael and Andy played, the back of the old drive in? Indication of friendship? Andy playing there at the end after his experience and Michael’s death?

2. A piece of Americana, the town, the units for single men, the city, the bars, the workplaces? Travel, the countryside, the pharmacy? The hotel, the rooms, the pool? The musical score?

3. Their continually watching the martial arts program, their discussions about it?

4. A film about male friendship and bonding? The men of their age, sharing, support? The crisis? The effect?

5. Michael, his age, midlife, the tenor of his life, his work, the bonding with Andy as his friend? His health? Playing Paddleton? Outings, the bar, the drinking, the friends? Outlook on life? His illness? The doctors and advice? The medication? His driving to get the medication, the instructions? The ups and downs of his health? The hotel, the proprietor, her friendship? The pool and swimming? His decision, being ready? The preparation
of the tablets, Andy and his help, sitting with him, lying with him? His death?

6. Andy, eccentric, a loner, his work and the workplace, with Michael, playing the game, their discussions, the variety of moods, erratic, going out, the bars, the friends and drinking? The travel the driving? His caution? The wrong doctor at the pharmacy? His pledging himself to Michael? The decision, preparing the pills, sitting, lying, the death?

7. Andy, his grief, emotions, the aftermath? walking, going to the drive-in wall? The boys and Paddleton?

8. A film about friendship, ordinary but with depth?

9. An exploration of suicide and illness, assisted suicide, dramatic nuances in telling this story and interpreting principles and morals?

CAPTAIN MARVEL

US, 2019, 122 minutes, Colour.
Brie Larson, Samuel L.Jackson, Ben Mendelson, Anette Benning, Djimon Hounsou, Jude Law, Lashana Lynch, Clark Gregg, Gemma Chan, Lee Pace, Akira Akbar.
Directed by Anna Boden and Ryan Flick.

Prequel seems to be a keyword to appreciate Captain Marvel, where it is happening, when it is happening, why it is happening… However, all those millions of audiences who are very much at home in the Marvel Universe, they will know what is happening and be very pleased.

We have seen 20 big block buster movies with the range of super heroes for Marvel. And, we have seen them all lining up in the various Avengers movies to take their turn to do battle with the enemies. And, Captain Marvel will take her place in the forthcoming episode.

But, for those not as familiar as they might be, it may be a bit disconcerting to see Samuel L. Jackson’s Nick Fury with two good eyes and no eyepatch (although this is explained). This story is about Nick Fury when he was much younger, not in command of SHIELD, but just one of the officers (and the same with Clark Gregg’s Coulson). (The notes tell us that each actor has been artificially modified to look 25 years younger.) Nick Fury is on the lookout for heroes who can guard earth, make peace within the galaxies, build SHIELD into an effective human weapons resource.

And, it is in this context, in the 1990s, that a former pilot who has had an accident and has had Kree DNA injected into her (causing her to forget her past), is being trained as a powerful warrior in the Kree Starforce. Her name is Carol Danvers and she is caught up in the galactic conflict with the Krees and the Skrulls attacking Earth. She is being trained by a warrior (Jude Law) to control her emotional energies (and later has to stand against him in conflict). Anette Benning turns up as Supreme Intelligence, wanting all-out control

However, in her contact with Earth, she is recruited by Nick Fury. And, consequently, there is an enormous amount of action, stunt work, special effects, booming sound editing as battles (and more battle) are done throughout the galaxies, echoes of Star Wars.

For those not immediately know, there is an enormous challenge to try to work out who is who and who is on whose side! This is particularly the case with the character played by Ben Mendelson, seemingly a smarmy villain, then with particular make up, a family, one of the goodies.

Interestingly, given the Hollywood focus on equality between men and women, on proportionate representation of different racial groups, Capt Marvel’s best friend is another pilot, strong character, African-American? though Lashana Lynch is a British actress).

So, Captain Marvel is what the fans have been waiting for, who the fans have been waiting for. And, with Brie Larson (who proved her acting abilities in Room and winning an Oscar) as Carol/Captain Marvel, a bright personality, a touch of humour, tough in battles, adept in technology, able to take her place in the Marvel Universe, anticipations will be well satisfied.

One of the features of this film is a cat. It has quite a number of comic moments as it tours around the universe, is patted by Nick Fury, but, for the many fans who wait until the end of the very long credits and hopes for something interesting and amusing at the tail end, they won’t be disappointed with a plot development that is core to the Avengers but provides a funny cat hairball moment!

1. Captain Marvel and her place in the Marvel universe? This narrative explaining her origins, recruited by Nick Fury? Her role in the future?

2. The visuals, Earth, the planets, the space vehicles? The plane, flight? Episodes on Earth? The musical score?

3. The production design, elaborate, the action sequences, the special effects?

4. The origins of Captain Marvel, Carol Danvers, as a pilot, the accident, the Kree DNA, her past friendships but not remembering her past? Part of the Starforce? The tutor and the training, the fights, his wanting her to control her emotions? Her being both human and with the superpowers, the illustration of her powers and capacities?

5. The character of Nick Fury, audiences knowing him from the past episodes, the injury to his eye, his eyepatch? This story from the 1990s, his not being the head of SHIELD, his relationship with Coulson, trying to build up SHIELD? Recruitment? His interest in Carol, knowledge of her? Making her acquaintance, the good-natured relationship? Flying the plane (heights and the cat)? Seeing her in action? The threat from the Skrulls, the pursuit of the shape shifting villain? Shootouts? His taking Carol to see her friend, the background of their work with the planes, the friend and her daughter, the daughter delighted to see Carol? Their working together? The dangers, the confrontations?

6. The Kree, at war with the Skrulls? The Supreme Intelligence, the role, interactions with Carol? The final confrontation Carol defeating her? The tutor, the training with the fights, controlling her emotions? The later confrontations with him, her defeating him? The other Kree authorities, serious, shadowy?

7. The exiled family, the shape shifting, the father and his role with SHIELD, seeming villain, his defeat, American accent? Australian accent when he is with his family, getting the help of Nick Fury and Carol? The dangers?

8. The war of the worlds and the overtones of Star Wars, the galactic battles?

9. Captain Marvel in action, her powers, with Fury, her finding her place in the Marvel Universe? Her becoming part of the Avengers?

10. The role of Nick Fury and SHIELD and the future?

11. And the importance of the cat and the cat containing the Tesseract?

THE NEGOTIATION

Korea, 2018, 114 minutes, Colour.
Hyun Bin, Le-jing Son, Sang-ho Kim.
Directed by Jong Seok Lee.

For anyone looking for an effective Korean thriller, this can be recommended.

As the title indicates, and in the police context, this is a film about a negotiator in a hostage situation. The negotiator is a young detective from the Seoul police, called in from holidays to mediate when two robbers have a man and a woman as hostages. She proceeds to use her skills but is interrupted by the authorities who make the decision that an armed support team should go into action. Robbers and hostages all killed.

There is a transition then to Thailand and the taking of a journalist. A police chief is also taken as a hostage. The person behind the taking of the hostages is revealed as a young businessman, in the arms trade. He wants discussions about deals, corruption, and records the communications.

While the picture of the police, the negotiator and her somewhat comic assistant, is very interesting, there are, as might be expected, further complications. The woman hostage killed at the beginning of the film is the sister of the arms dealer. He is out for vengeance. But, he also has detailed information about corruption and deals involving significant authority figures.

The negotiator is often thwarted, has feelings of guilt because of her responsibility for the woman’s death, nevertheless she continues to work, discovering some significant facts about the siege situation, sends her assistant to discover the truth.

And, there are some twists concerning the arms dealer, his blowing up the hostage scene, his surviving and the buildup to the confrontation with the authorities who think that he has been killed.

Interesting and entertaining for this kind of police negotiator film.

1. A police thriller? Hostage thriller? Political thriller? Government corruption, arms deals?

2. The setting, Korea, police officers, hostage situations, surveillance and monitoring? The sequences in Thailand? The musical score?

3. The title, the detective, her skill, on holidays, the dress and the criticisms, the officer bringing her to the case? The situation, the two men holding hostages, the hostages themselves and the dangers? The negotiator and her skills, questions? The chief intervening, the SWAT team, her resistance, the going in, the killing of the criminals, the deaths of the hostages? And the later revelations and repercussions?

4. The episode in Thailand, the journalist, his eluding escape, being captured, held? The police chief and his being held? Min and the hostage-taking? His communication? The research about his background, the negotiator wanting the information, his large interest in arms dealing? His personality? The revelation about his sister and her role? Her death?

5. The authorities, the point of view, the discussions, accusations, possible corruption, arms deals, the paintings, covering wealth? The revelation of the role of the sister and her getting the information?

6. Min, his age, personality, the negotiations, the discussions with the negotiator? Her not being fully informed about the situations? Her assistant and his investigations?

7. The recordings, involvement of the authorities, the different responsibilities? The accusations?

8. Min, the explosives, the attacking team, the explosion and destruction?

9. The negotiator, seeing the time difference, the realisation that the Thai setting was invented? That Min was in Korea? Her getting staff to find out when he came into the country?

10. The assistant, his finding the house, supplying the information?

11. The discussions, everything being taped, the authorities and their disdain, leaving? Arrogant behaviour?

12. The realisation that Min was in Korea, their being called, further negotiations, the negotiator herself? Her feeling guilty because of Min’s sister’s death?

13. The final confrontation, military, weapons, smoke? The wounding of Min? His death?

14. The negotiator, her trying to arrest the authority, his disdain?

15. Her having the records, at the tombs of Min and his sister?

16. The courts, her oath, supplying the information, truth and vindication?

FOREVER MY GIRL

US, 2018, 108 minutes, Colour.
Alex Roe, Jessica Rothe, Abby Ryder Fortson, Peter Cambor, John Benjamin Hickey.
Directed by Bethany Ashton Wolf.

In many ways, Forever my Girl could remind audiences of faith-based films. It has that small town atmosphere, this time in St Augustine, Louisiana, a focus on church and a minister, some sermons on forgiveness and mercy. However, it was made by a commercial company as an entertainment.

Josie, Jessica Rothe, is jilted by her fiance, Liam, a young man with a talent for singing who suddenly becomes a celebrity and goes on tour. He is played by British actor, Alex Roe.

The action shifts to 8 years later, Liam is in crisis, has adoring fans all over the world but feels the pressure, relying on his managers and publicist, rather impractical in dealing with day by day matters.

When he hears that a childhood friend has died at home, he comes back. Audience expectations are high about how he will deal with Josie, with the news that they have a daughter, Billy (a rather precocious performance by Abby Ryder Fortson who appeared in the two Ant Man films). There are quite a number of tense scenes (after Josie vigorously punching him after the funeral). The complication is that the Minister of the town for many years is Liam’s father, Billy’s grandfather.

On the one hand, the film follows Liam, his having to discover himself in relationships, as building a relationship with his daughter. On the other hand, the film also follows Josie, her attitude towards Liam, the gradual relenting, her care for her daughter. All is going well when a crisis occurs and Liam is paralysed, unable to help his daughter who is choking – which reminds him of how he reacted at his mother’s death.

Clearly, the film will have a happy ending but there are many difficulties along the way.

1. A popular story for an American audience? Family, children, successful country singer? Religious dimensions?

2. Louisiana, St Augustine, the small town, homes, school, flower shops, church? With a variety of scenes of concerts and performances?

3. The musical score, the range of songs, the significance of the lyrics?

4. Josie at the church, her friends around her, the talk about Liam and his popular success? Mason and his wife? The news that Liam would not be coming? The impact on Josie?

5. Eight years later, the focus on Liam, his life as a singer, on tour, Sam, the managers, the publicist and her stories? The fans, the magazines? His choice in life?

6. The news of Mason’s death, Liam and his decision to go, arriving home, at the funeral, Josie and her punching him? His seeing Josie with Billy? The audience discovering that the minister was his father? His staying at home, criticisms of the coffee, his father making him wash the cup? His father’s anger with him?

7. Liam, waking up in the hotel, the girl, his running down the street, wanting to get his mobile phone fixed? To get the one message? The audience later discovering that this was the message the Josie had sent about Billy’s birth?

8. Liam, tracking down Josie, at the flower shop, her anger with him? The discussion, Is Asking about his being the father? The conversation different from what Josie anticipated? Liam and his plea to get to know Billy, to pick her up from school, to come for a meal? Billy wanting this?

9. Liam, dependent on everybody to do practical things for him, credit cards, how to shop online…? Eventually succeeding, buying the toys, the coffee maker for his father?

10. His decision to stay, Sam and is manager, at home with his own children, exasperated, doing everything for Liam, making allowances because of the death? The other members of the staff? Doris, the agency, her wanting publicity stories?

11. Liam the shop, turning the magazines, discovering that people were still hostile to him in the town? The old lady in the shop buying flowers him and calling him an idiot?

12. His father, the funeral, the service, his sermon on forgiveness and mercy, people shaking Liam’s and outside the church, Josie and her brother going out the back door? Josie having to forgive, a dilemma because her love for Liam and its continuing? The support of her brother? Her love for Billy?

13. Billy, assertive, her comments about life and characters, statistics about convertible car accidents, the meal, Liam and his awkwardness, the big bear, the necklace for Josie?

14. Matters improving, the happy meal, the choking incident, his being paralysed, the flashback to his behaviour at his mother’s death, Jake and others condemning him?

15. Liam returning to concerts, going to London, facing himself, the decision to go?

16. The music, Billy finding the guitar, his playing, her playing by looking at him and his fingering, his buying her the guitar?

17. Reconciliation, father and daughter playing on stage together? The marriage?

18. The kind of popular entertainment that the broad audience enjoys?

OUR SOULS AT NIGHT

US, 2017, 103 minutes, Colour.
Robert Redford, Jane Fonda, Judy Greer, Matthias Schoenaarts, Ian Hermitage, Bruce Stern, Phyllis Somerville.
Directed by Ritesh Batra.

In the 1960s, Robert Redford and Jane Fonda appeared in the film version of Neil Simon’s Barefoot in the Park. Here they are together, 50 years later, quite a sympathetic couple.

Redford plays a widower, living by himself, with the daughter. Jane Fonda plays a neighbour, separated from her husband, with the sun. One night, she visits Redford, explaining how she was lonely (and so the title) and suggests that he come across to her house and be a companion and comfort each night (not for sexual relationships).

More is revealed about the past stories of each of the protagonists, Redford is not as edifying as we might have thought and his confessing to this, Fonda having difficulties with her son and the breakup of his marriage and are looking after his son. She is not so good as a grandmother, while Redford is very good, a former teacher, relates well with children.

The couple decide not to be concerned with town gossip and eventually go for a break to hotel as husband and wife.

The son, played by Matthias Schoonaerts, is not happy with the arrangement and wants his mother to come to live with him and his son. Will Redford eventually go with them or not? That ending is left for the audience to ponder.

1. The title? Interior lives? Of the elderly? Loneliness? The long nights and needs for companionship?

2. The American town, homes and streets, interiors? The cafe under gatherings? The countryside, camping in the mountains? American scenery? The musical score?

3. The introduction to Louis, Robert Redford’s screen presence? Age? At home, the paper, the television, the quiet life? Seemingly nice man? Addie and her visit, awkwardness, discussions, the proposition for him to visit her, the companionship, not for sex? His thinking it over, his agreement? Going to the house, the awkward conversations, the tour of the house, staying the night? His concern about what people thought? His friends and their gossip and insensitive joking?

4. Addie, her background, the breakup of her marriage, the death of her child while playing in the front of the house? The effect on her son? Louis teaching her son at school? Her friend, with the flowers and shrubs, the innuendo, the drive, Addie telling her the truth? Her friend urging her on?

5. Louis delete the coming and his visit, the initial awkwardness, arriving again, Addie wanting him to come to the front door? The fact that people talked? Her not caring? Their discussing their histories? Louis and his past, his marriage, his daughter, his infidelity, with the teacher, living with her and her daughter, his conscience, breaking it off? His wife’s cancer, her death? His living alone, trying to make good of his life?

6. The decision to go out together, to the restaurant for the meal, people looking, arm in arm in the street?

7. Gene and his arrival with his son, Jamie? Jamie age 7, disturbed, his mother walking out, Gene and his desperation, losing his business, his mother offering support and money? The bond between him and his mother? His needing to leave Jamie with her? His disapproval of Louis, Louis teaching him at school, Gene criticising him for the scandal of his life?

8. Louis and Addie and working with Jamie, Addie and her awkwardness, Louis and his ability with children, able to talk, play, Jamie and his games on his phone? Louis taking him out, the ballgame, to his house, putting the train together? Jamie excited, coming out of himself, bonding with Louis? Wanting Louis to stay for the stopover, Jamie wanting to sleep in his grandmother’s bed, permitting Louis? Gene and his negative reaction? The excitement of camping out and away?

9. Louis and Addie going to the hotel, as husband and wife, sexual fulfilment, as a couple?

10. Gene’s return, Addie and her accident, in hospital, on crutches?

11. The future, Gene wanting his mother to come and stay with him and Jamie? Addie saying that Louis could not come? Louis ready to go, nothing to keep him at home?

12. The men in the town, the jokes, Louis’s anger with them, his return, the ringleader and his continued remarks?

13. Louis at home, quiet? Addie on the phone? Would she relent? Would he go…?

SPECIAL CORRESPONDENTS

US, 2016, 101 minutes, Colour.
Ricki Gervais, Eric Bana, Vera Farmiga, Kelly Macdonald, Kevin Pollak, American Ferrera, Raoul , Benjamin Bratt,
Directed by Ricky Gervais.

This is a comedy drama with the tongue firmly in cheek. It was written and directed by Ricky duvets, perpetuating his screen image, sometimes slow, sometimes cheeky, sometimes inventive…

Here is paired with the correct manner as they work for radio station in New York City, Banner the intrusive journalist getting a story and then being injected by authorities, surveys as the sound engineer, working with his assistant, Kelly Macdonald.

While banner is being threatened with being fired by his boss, Kevin Pollak, duvets is being ignored by his wife, Vera farm eager, who has a one night stand with the journalist.

But the gist of the story is that they are ordered to go to Ecuador to cover a revolution but, duvets throws wait the tickets by mistake while getting rid of a long letter he had written to his wife! What they are doing is hiding away in the upstairs of a local diner, helped by the sympathetic owners, creating news with phone calls to the head office, matters becoming more complex, they’re alleging that they have been kidnapped and held for ransom, advised to go to the Embassy in Quito.

In the meantime, the wife is supportive in the media for her husband, write a song, gets a great deal of publicity, receives quite an amount of money in donations for the ransom. As it turns out, the two men use some of the money to get to Quito to be rescued – a triumphant return to the United States.

Quite an amusing in its way, a sendup of the media and bombastic aspects, satire on American politics and concern about the journalists in Ecuador, and quite a satire on the limelight-seeking wife.

1. Ricky Gervais and his career, sense of humour, British perspective, on the United States? Journalism? Foreign policy? Ironic sense of humour?

2. The New York settings, journalists and crime reporting, offices, television studios, apartments, social parties? The cafe, upstairs, renovating it for a studio? Driving across America? The boat, landing in Ecuador, the countryside, the capture? The crowds and the rapturous reception? The musical score?

3. The title, Frank in action, pretending to be a detective, getting to the hotel, interrogating people, getting the gist of the story, his capacity for embroidering and dramatising the story, working with Ian and Claire? Mallard and his dislike? Threatening Frank? Breaking the law?

4. The contrast with Ian, British, short and podgy, awkward, not as smart as he hoped, not noticing Clare’s devotion? Going to the social, the clashes with his wife, missing all the signs? The party, arriving early, his being called to the job? His realisation that his wife did not love him? Writing the long letter?

5. Elleanor, dissatisfied with life, taking off her ring, flirting with Frank, the night together, ousting him?

6. The mission in Ecuador, Mallard sending Frank, Is Choosing Ian, the tickets, Ian and his letter to his wife, throwing it in the garbage? The airport, having thrown away the tickets, decisions? Going to talk in the cafe? Brigida and Domingo and their friendship? Ian and the plan? Going upstairs, setting up the studio, the sound effects?

7. The reporting, Frank and his ingenuity, creating the stories, getting information from other sources, embroidering? The decision to invent the uprising? The leader? The American media, Washington concerned? Pretending to be in the southern city, in danger, being taken hostage? Their sitting watching all the television?

8. Ballard, concerned, Claire? Going to see Eleanor, not liking her?

9. Eleanor, rising to the occasion, the appeal, the money, a dollar for the heroes, creating her song and singing it, radio, television appearances, the media? The donations, the office, all the cash in her apartment? In the safe?

10. US government, wanting the hostages to go to the embassy in Quito? Their going to the safe, taking the money, Eleanor catching them, the deal with her? Cross-country, the boat, landing in Ecuador?

11. Being captured, the treatment, Ian and his awkwardness, illness, the irony of the gun, shooting, Ian and his heroic escapade, shooting and escape?

12. The return, the crowds, heroes? The ratings for the radio station? Eleanor, Ian ignoring her, her satisfaction that she had a new album coming out? The clash with Frank? Ian and his going off with Claire?

13. Satiric English perspectives on the United States?