FANTASTIC BEASTS: THE CRIMES OF GRINDELWALD

UK, 2018, 134 minutes, Colour.
Eddie Redmayne, Johnny Depp, Jude Law, Katherine Waterston, Dan Fogler, Kevin Guthrie, Carmen Ejogo, Zoe Kravitz, Callum Turner, Ezra Miller, Alison Siddol, Claudia Kim.
Directed by David Yates.

The Fantastic Beasts series is written by J.K.Rowling. After her extraordinary success with the Harry Potter novels and films (and her alternate career as a crime writer, R.K.Galbraith), and the adaptation of the theatre story of Harry Potter, she has turned her energies to this series. The first film, Fantastic Beasts and Where to Find Them, was very popular. Here is the second instalment.

And while there are some fantastic beasts, the most beastly character is the evil villain from the first film, Grindelwald, played by Johnny Depp, almost unrecognisable in appearance, gaunt, aged, white hair, distorted coloured eyes, but certainly with Johnny Depp’s voice.

For those who don’t remember all the details of the first film, it is probably a good idea to do a bit of revision before seeing this one, reminding oneself about Newt Scamander, played with a boyish and innocent raffish charm by Eddie Redmayne, the hero of the stories, as well as his American associate, Tina, Katherine Waterston. And, there is his hefty friend, Jacob, Dan Fogler. They all come into the action which becomes quite complicated, especially with flashbacks to Hogwarts and further flashbacks to the origins of Leta (Zoe Kravitz) and of Credence (Ezra Miller).

Fortunately, for comprehension, there is a meeting of a lot of the central characters in the latter part of the film, a discussion about origins, sorting out lost brothers and sisters, past stories in Africa and shipwrecks, sorting out who was who. (And it also emerges that Dumbledore, Jude Law, seen in flashbacks to earlier days teaching at Hogwarts, also has a lost brother…).

At the opening, Grindelwald is in prison in the US, to be deported to the UK, using his magic to defy the authorities, escaping to Paris where he institutes a huge plan to proclaim his leadership and draw his disciples to him – which he does, in a huge arena at the Pere Lachaise cemetery.

In the meantime, the British Ministry of Magic is pursuing him, Newt originally refusing, not liking to take orders, but persuaded by a visit from Dumbledore. There is also the complication of a new character, Newt’s brother, Theseus, Callum Turner who is engaged to Leta.

There are mysterious goings-on at the French Ministry of Magic, the visit to an exceedingly elderly alchemist for advice, Jacob reuniting with his old flame, Queenie, Alison Sudol, and her being feted by Grindelwald.

So, if this is all attractive and interesting, then it is on with the journey of the fantastic beasts. The final sequence is set in a castle in Austria, Grindelwald and his disciple, more than a touch of the fascist, hints of Hitler…

1. The popularity of the series? This film in itself, as a sequel? The title and the fantastic beasts? The focus on Grindelwald?

2. The work of J.K.Rowling, her sense of magic, the 1927 setting, the US, Britain, Paris? The sequences at of Hogwarts, exteriors and interiors? The Austrian Castle setting?

3. The US and the Ministry, the prison, the UK and its Ministry, the interiors and offices? The recreation of Hogwarts? Paris, the city vistas, apartments, the Ministry and its magic, the home of the alchemist, the Pere Lachaise cemetery, the arena? The musical score?

4. The title, the focus on Grindelwald, his appearance in the original film, evil? In prison, surviving, to be deported, his appearance, clothes, look, age, face and eyes? His use of Abernathy? The preparation for the flight, the guard, the battle in the air, his transforming himself into Abernathy?

5. The Magic sequences, the fantastic beasts, the special effects, gigantic and terrifying, minute, the pledge was lookalike (and its obtaining the blood back between Grindelwald and Dumbledore)?

6. The UK, the Ministry, the authorities, the meetings, Theseus and his role? Summoning Newt? His unwillingness to help? The bond with Leta, her engagement to Theseus? Her presence and participation in the plan?

7. Newt, in himself, his experiences in America, his appearance, his hair, manner of speaking? With the creature, little and agile, capacity to unlock? His friendship with Jacob? Confronting the beasts, in the streets, getting the beasts within his suitcase? Going inside the case, taming the beast? Finding Tina, the discussions? Seeing the son of L’ Estrange, the attack on him, reviving him, his help in the search?

8. Meeting Jacob again, Jacob and his character, the past romance with Queenie? Jacob and his work with Newt? The reuniting with Queenie, her going over to Grindelwald?

9. Dumbledore and his appearance in Paris, commissioning Newt? The later visit to Hogwarts, discussions with Dumbledore, the flashbacks to his teaching, Newt and Leta as young, the classes, the magic? Miss Mc Gonigle? Dumbledore and the blood pact with Grindelwald? Dumbledore not able to confront Grindelwald?

10. Credence, as a character, his identity, the woman accompanying him, the spells, the puzzle?

11. Theseus, as Newt’s brother, with the Ministry, the officials, commissioning the investigator (and his surrendering to Grindelwald)? The relationship between the two brothers, hugging, sharing a mission? The engagement to Leta?

12. The visit to the alchemist, his personality, his participation in the search? His later appearance at the arena?

13. The sequence for explaining the plot, all those present, Leta and her missing brother, Dumbledore and his missing brother, the discussions about L’ Estrange, in Africa, stealing the wife, her death in childbirth? L’ Estrange and his further marriage, his son? And the child crying, the boat, Leta taking the other child, the shipwreck? The visit to the nurse in Paris, her information, her death? Credence and the emergence of his identity as Corvis L’ Estrange?

14. Paris, the buildings of the Ministry, Tina and Newt, their search for the documents, missing? Leta and her pursuit? The magic in the office?

15. The assembly at Pere Lachaise cemetery, the message to all the supporters, their assembling, the arena? Grindelwald and his speeches, his plan? Calling his followers, their claim, going through the fire, disappearing in smoke? Queenie and her decision? Corvis and his decision, siding with Grindelwald?

16. Newt, Tina, Theseus, Jacob? The decisions, the fights? The explosions? The escape?

17. The sequence in Austria, the Castle, Grindelwald and Corvis – and his destiny? Anticipation of fascist leadership in the ensuing years (and overtones of Hitler and Austria)?

 

 

 

 

SECOND ACT

US, 2018, 103 minutes, Colour.
Jennifer Lopez, Vanessa Hudgens, Leah Remini Treat Williams, Milo Ventimiglia, Freddie Stroma, Charylene Yi, Alan Aisberg, Dave Foley, Larry Miller, Annaleigh Ashford.
Directed by Peter Segal.

Second Act is the kind of light entertainment that used to be referred to as a women's picture And, it will have a particular appeal to a female audience, especially with the strong characters all being women, men somewhat in the background.

Is also star vehicle for Jennifer Lopez who had been around in films for over 20 years, her heyday in the late 1990s, early 2000s. Her fans will appreciate her in Second Act, a strong screen presence.

She plays Maria, a very practical woman who has worked in sales in a supermarket, expecting to be promoted but powers that be noting that she has no major education background or degrees. Fortunately, she has three friends who work in the store, always helpful, always with advice . Leah Remini standing out as Joan, the kind of wisecracking, common-sensed friend (played in the long ago past by Eve Arden, in the recent past by Joan Cusack). Maria is in a somewhat tentative relationship with Trey (Milo Ventimiglia), a baseball coach who has a desperate desire to have a family. Maria does not.

And, a second act? Maria makes a wish on her birthday and Joan's son, an ultra-computer whiz, decides to produce documents of top education qualifications, personal abilities (Peace Corps, climbing Kilimanjaro…!) As well as Facebook page. Maria gets an interview with a pleasant executive, Treat Williams, although she clashes with his daughter, Zoe, Vanessa Hudgens (10 years after her High School Musicals). Despite her apprehensions, Maria makes a good impression, gets a job – and, with her knowledge of and criticism about ineffective facial products, gets a commission to develop a better organic product while Zoe leads a team to modify the current project and make it more organic than it has been.

Then, suddenly, although we realise it as it is happening, this is not exactly the second act that the action so far has indicated. It is much more  and audiences should have the opportunity to discover this for themselves without any advice or spoilers!

While Maria and Zoe are rivals, they also develop some bonds, especially in their dislike of the go-getting executive, Ron, the pushy scientist, Felix, who work with Zoe while Maria bonds with the very nervous assistant, Ariana, and the nerdy laboratory scientist, Chase. Not difficult to predict who wins  but it is interesting to see how they win and what they have developed.

But, of course, there is the issue of the truth and when and how Maria will confess it. Fortunately, she has the continued support of the three friends as well as her ingenuity in creating business and online sales.

Hollywood is often referred to as a dream factory and, in many ways, Second Act is one of those manufactured dreams. Could it happen in reality? We would like to think so  and it is enjoyable watching the roll-out of such a dream.

1. An entertaining film for a women's audience? Men's audience? Middle-aged? Younger?

2. The title, the chance for another opportunity for work and career, the chance for another opportunity for motherhood and nurturing?

3. The New York settings, homes, supermarkets, executive buildings and offices, research laboratories, restaurants, company auditorium? The musical score? Dance sequence?

4. Jennifer Lopez Has Maria, her screen presence, career? Her relationship with Trey? At home, his wanting a family, her not wanting children? The revelation of her reasons? Her going to work, her friends at work, her preparation and dress for the interview, the issue of degrees and study? The interview with the boss, the associate put in command, the reaction, her friends? Her birthday, the disappointment, the birthday cake and the wish? Dilly his expertise, computers, creating the documents, the website, the enormous claims?

5. Trey, baseball coaching, his disappointment, the break with Maria? Later going to see him? His response?

6. The offer of the job interview, the reception, the interview with Anderson, his genial response, Zoe and her hostility? The recall, her resigning at the supermarket, tripping over the wire? Going to the office, the welcome, Hildy as her associate in research, Ariana, her timidity, assistant? The office?

7. Maria and her straightforwardness, based on experience rather than studies, contradicting Zoe, the meeting, the plan for the new product, the two teams and the rivalry? Felix and his support for Zoe, Ron, Zoe's dislike of him, Hildy joining the team? The contrast with Maria, Ariana, Chase and his being exiled by Felix, his coming on board?

8. The research, the issues of organic products, modifying existing products, finding something new? The research on the streets, Hildy and Ariana and interrogations? Crisis? Maria and the idea about Hiroshima, the plant that survived, taking her Planned from the house, the experiments, all the leaves gone, final success? The plan for the product to do all kinds of work at once? Profit?

9. Zoe, her character, the revelation that she was adopted, her father giving her the information, the apartment, the photos, her memories of her mother? The revelation that Anderson had organised for Maria to come? Maria, her story about the adoption, pregnancy and birth? Advised not to follow up? Zoe and her successful life, with her parents? The bonding of the two women, Maria getting a second chance, Zoe getting a second chance for mother? Yet the continued rivalry?

10. Ron, obnoxious, making the phone calls, trying to find out about Maria? The final confirmation but his being thwarted by Maria telling the truth?

11. Anderson, his happy reception of the product, offering the partnership to Maria?

12. The background of Maria and her friends, the characters, Joan and her advice, their meeting Zoe and their performance? Maria returning to them, the support? Joan and her continued advice? Dilly and his ingenuity with Maria and her claims, Facebook? Her being able to cover, climbing Kilimanjaro, the earpiece device for the Chinese language and being successful?

13. The truth, the successful product, her walking off stage, her going back to her friends, Zoe's disappointment? The years passing, Zoe successful in England with her course? Returning? Maria and her friends, the online business? The partnership with the entrepreneur?

14. Maria running, Zoe joining her, reconciliation and all the hopes for a third act?

 

PEPPERMINT

US, 2018, 101 minutes, Colour.
Jennifer Garner, John Gallagher Jr, John Ortiz, Juan Pablo Raba, Annie Ilonzeh, Jeff Hephner, Cailey Fleming, Eddie Shin, Method Man.
Directed by Pierre Morel.

As well as the savours of sweetness in peppermints, in peppermint ice cream, there is also the touch of the sharp and the bitter. At a crucial stage in this actioner, a little girl is enjoying a peppermint ice cream when she is killed.

Audiences know from the outset that this is going to be violent film because we see a deadly confrontation, the camera moving in on a shaking car, going inside the car, and Jennifer Garner killing the men within. And then the action moves to 5 years earlier. Explanations, yes. Justifications, perhaps?

The word used for this kind of film is, of course, vigilante. 45 years before Peppermint, Charles Bronson appeared in Death Wish, an ordinary citizen whose wife is raped and killed, who is so emotionally affected that he goes out into the streets to mete out justice, beyond the law. The film made an impact in the 1970s and was followed by several sequels. After that, the vigilante thriller became something of a genre with its particular conventions about crime, victims, revenge, justice, the role of the law, the vigilantes being seen as criminal on the one hand and hero on the other.

And so, Peppermint fits entirely into this genre. Where it is different is that the vigilante is female. Jennifer Garner appeared in the television series in the early 2000s, action lead in Alias (and then followed this as Electra). In the meantime, she has made a number of family films and romantic comedies but here, as Riley, she is more than back in action.

We learn that the villains of the piece are drug lords and drug dealers, merciless and vengeful, no scruples in killing Riley’s husband who had been in invited to be a driver by his partner in a car repair job but who had phoned to refuse.

Riley had been wounded in the attack but had escaped and disappeared for the five years, information then coming in that she had been involved in all kinds of martial arts and training.

Sometimes vigilantes also appear as “avenging angels� and this is what she seems. With expert skills, timing, ability to conceal herself, split-second action, she seems to be cleaning up the city. But, on a bus, she encounters a little boy and gives him a toy, only to find that the drunken father brutally throws the toy away – and she follows him into a store and gives him a lesson in child consideration that he will never forget. It is clear that while she is avenging, she also has the Guardian Angel qualities.

In the past, she had encountered a detective, Carmichael, John Gallagher Jr, as well as his superior, Beltran, John Ortiz. They become involved in completing the work they had been involved in five years earlier, tracking down Riley, working within the law, but not against her bringing down the drug lords, especially in the final violent confrontation where, once again, innocent children are involved, taken as hostage.

Riley is rugged, to say the least, and the film writers know this and provide possibilities for a sequel – and the suggestion would be that she should become part of Special Ops and might find some causes in Afghanistan or the Middle East! (The director is Pierre Morel who has had a successful career in France and in the US in this kind of action thriller, especially the Liam Neeson action thriller, Taken.)

1. A vigilante drama? Female vigilantes? Drug dealers and cartels? Questions of the vigilante as hero, criminal?

2. The Los Angeles setting, homes, garages, fairs and playgrounds, the streets and Skid Row, the drug warehouses, offices, police precincts, mansions? Realistic feel? The musical score?

3. Audience response to vigilante films and action? Emotional response to tragedy and deaths, anger, vengeance and justice, violent retribution? Intellectual response, moral response? Contradictions and complexities?

4. The tone of the opening, the car, the violent struggle, the death, Riley emerging, into the street, the car, her band and living in Skid Row, the children watching?

5. Going back five years, Riley and her daughter, the birthday celebration, the father and his work, the pressure on him to be a drop for the drug deal, the promise of money, his later phone call backing out? The school, Peg and her snobbery and her daughter? Riley and her being dilated the bank, no be at the birthday party, Pegs message and the alternate party, the disappointment, the going to the bed, enjoying everything, they’re being stalked by the criminals, the boss of the motivation, they’re being gunned down, Riley surviving, in the ambulance, Carmichael his concern, her hitting him and escaping?

6. The five year is passing, the film fill in the background, the stealing the money from the bank, disappearing, martial arts training, building up her strength, fostering the vengeance and the quest for Justice? Her return to Los Angeles?

7. The role of the police, Carmichael and Beltran? The continuing on the investigation? Carmichael, dishevelled, drinking? His working on the case, Beltran trying to help? The investigations, the collaboration with the FBI, the agents and their work, African-American? and Asian backgrounds? The shock that Carmichael was betraying the police, in league with the dealers, is trying to cover himself, shooting the FBI agent, his pretence at the end, his being shot? Beltran, sincerity, trying to help?

8. Riley, the scenes of memory of her daughter, the photos, the ghostly presence protecting her? Her ingenuity, hiding, getting cars, buying weapons and being filmed by the CCTV? Taking the toy, Little boy and the bus, her giving it to him, the alcoholic father and his criticising his son, the shop, Riley and her threatening the man about his son?

9. The earlier court sequences, the lawyer visiting Riley in offering her money to forget the killers, his role in the court, the judge, saying there was not enough evidence? Her trying to make a statement, her anger, going from the court?

10. Her vengeance on the judge, tying him up, the nails and his hands, the confrontation, the house exploding?

11. Her attack on the three killers, her hanging them on the town?

12. The boss, his deals with the cartels, the news about the deaths? His henchmen? Riley and her attacking the plant, the killing of the folks, the explosions? Her going to the house, the deaths, confronting the boss? His daughter and taking her? Her going to the warehouse, the tripwire, the explosives, her escaping through the manhole?

13. The buildup to the confrontation, the police getting the information, the footage, understanding her past, the FBI and investigations, Carmichael and his lies about getting information? Carmichael killing the agent?

14. The drug boss, threaten the children in Skid Room, forcing Riley and, her leading him on, time for the police to arrive, confrontations and mayhem, Riley shot, Hospital?

15. Beltran, visiting in hospital, the key, handcuffs – and the potential for a sequel?

16. The emotional impact for vengeance, for Justice, yet the brutality in exercising the vengeance?

PUZZLE

US, 2018, 103 minutes, Colour.
Kelly Macdonald, Irrfan Khan, David Denman, Austin Abrams, Bubba Weiler.
Directed by Marc Turtletaub.

For the most of the time this is a rather quiet film – but it builds up a great deal of interior momentum, surfacing doubts, fears, angers.

The puzzle of the title is actually a jigsaw puzzle (and it is a remake of a very sympathetic Argentinian film of 2009, Rompecabezas). The setting this time is Bridgeport Connecticut with excursions into New York City.

The central character is Agnes, a sympathetic Kelly Macdonald, married for almost 20 years to Louie, who works in a garage (David Denman). They have two children, the older working in the garage but wanting to be a cook, and the younger preparing to go to college but wanting a gap year in Tibet with his Buddhist girlfriend.

What could be likely to happen in this family, especially with Agnes who has lived the life of a subdued housewife (taking it for granted), mother, church worker (with some scenes at the church, comments about lessening crowds for confession, receiving and wearing the ashes on Ash Wednesday)? Louie is a man who has lived an enclosed life, moving from home to garage to home, his hobby of fishing one of the most important things in his life, never watching the news, thinking his older son is lazy because he dislikes working in the garage, wondering about his younger son and his going to college.

There is a telling sequence at the beginning where Louis clumsily breaks a plate at a birthday party while Agnes is working and cooking – and the audience then discovering it is Agnes’s birthday party – and Agnes searches for the pieces to put them together again. This prepares us for her response to one of the gifts, a jigsaw puzzle. She finds that she can put the puzzle together very quickly, feelings of exhilaration and achievement.

When she goes into New York to buy some more puzzles, she finds a number to text, someone wanting a puzzle partner. In a moment of daring, she texts and receives a reply. Without telling the family, she goes to New York to meet the partner, Robert (an inventor played by Irrfan Khan). She is very tentative, rather prim, not realising she is intrigued by Robert and his personality, way of life. They are very successful in working together at the puzzles – and he enrols them for the championships.

What will happen to Agnes in this opening up of her life? Will she tell her husband or not? How will she deal with her sons and their hopes? What if she persuades Louis to sell their holiday home and property to fund their sons? What if she becomes emotionally involved with Robert?

These are the many questions which we would expect to be raised by the screenplay – and they are. We empathise with Agnes. We hope that Louis will change. We wonder what influence Robert will have on Agnes.

From quiet beginnings, serious questions, serious emotions, serious moral decisions.

This is a film about the lives of ordinary, very ordinary people – which most audiences could identify with, empathise with, even learn from.


1. A small story, most audiences identifying with the characters, the situations? Universal themes of humanity?

2. The title, the focus, the jigsaw puzzles, the mental activity, the senses activity, eye, putting the pieces together, the achievement?

3. The origins of the film in Argentina, transferring characters and situations to the United States? Bridgeport, Connecticut, and New York city?

4. The settings, homes, the garage and repairs, the railway station, the train trips, the church? Grand Central Station, the streets and landscapes of New York City? Robert’s house, the interiors? The musical score?

5. Kelly Macdonald as Agnes, the portrait of Agnes, her age, marriage, almost two decades, keeping the house, domestic work, the two sons? The Hungarian background and drawing on it? Her family, going to church, her church work, the discussions about confessions not being so frequent, Ash Wednesday the ashes and travelling with them? The priest offering to help? The party, the guests, the discovery that it was Agnes’s birthday, making the cake? Louie breaking the plate, her wanting to put it together, intimation of skill with puzzles? The older son, working in the garage, his resentment, his father condemning him as lazy, his confiding in his mother about wanting to cook? The younger son, preparing for college, writing the letter for admission, his Buddhist girlfriend, the meals and discussions? The discussion about vegans?

6. Agnes and Louie and their rather narrow life, not watching the news on television, Louie going fishing, their holiday house? The issue of the sale, to support the two boys, going to college? The money Is a gift?

7. The birthday present, the jigsaw puzzle, Agnes solving it? Going to the shop, buying other puzzles? The information about the text for the jigsaw puzzle partner? Her response, daring, quick responses? The decision to visit? No permissions from her husband or family? The pretext of visiting her aunt?

8. Robert, the inventor, in himself, separation from his wife, his skills, love of puzzles? His preoccupation with world news, disasters, Agnes’s reaction? The visits, their working together, the methods, the episode with the tea, her continued coming to visit? The attraction, the kiss? The Ash Wednesday ashes on her forehead? The sexual encounter, sleep, arriving home late?

9. The fishing sequence, the discussion about selling the house, the gift for their sons? His reaction, to the older son and his cooking, the younger son and his wanting a gap year in Tibet?

10. The lies about the aunt being sick, yet one visit, church, the reactions of the women? The priest offering counsel?

11. Louie, ordinary, basic prejudices, narrow perspective, upset with his wife, yet his love for her, the bedroom scenes, snoring…? Unable to talk after finding out the truth? His relationship
with his sons, expectations, that his sons be manly?

12. Agnes’s decision, to go to the finals, the winning? Discussions about the prize?

13. The reaction, Robert phoning her, the decision not to travel, to stay home? With Louie, with each of her sons?

14. The transformation in Agnes, the future?

THE SCHOOL

Australia, 2018, 86 minutes, Colour.
Megan Drury, Wil Mc Donald, Jack Ruwald, Alexia Santosuosso, Milly Allcock, Nicholas Hope, Leah Ashwood.
Directed by Storm Ashwood.

A very general and unrevealing title for a film! No, it is not the expected kind of school, definitely not.

This is a very small budget Australian feature by a young director and writer. He is wanting to draw on the traditions of horror films, nightmares… And this is what he presents. This is a film for devotees of the horror genre – although, there is not so much physical violence or gore on display here, but rather nightmare and menace, it might better be described as ‘creepy’.

It takes a while to sort out what is actually going on, the audience immersed in a dramatic puzzle, a psychological puzzle, worlds of dream and reality.

The focus is on a skilful doctor (Megan Drury) and her career. However, she emerges from a drain into a mysterious basement, not knowing what has happened to her, sometimes getting flashes of illumination, remembering who she is. She has been professionally successful and the veteran doctor at the hospital (Nicholas Hope) is concerned about her welfare. Gradually, the audience realises that there have been tensions with her husband, his devotion to their son, her concentrating on her career and advancement, an accident for the son and his going into coma, her continued concern over so many months.

These are her memories. But there are also her nightmares, concerned about her son, the possibility of threats.

How real are the nightmares? She finds that she is in the remains of an old school, and that there are mysterious students still roaming the school, some very wary of her, some sympathetic, a number of small children and she tries to protect. But, there is also the arrogant leader of the young people, Zak (Wil Mc Donald). Audiences who might feel in a literary frame of mind as they watch the film might be reminded of Lord of the Flies.

And so, in and out of reality, in and out of nightmare, the mission for the doctor to save the children, to confront their violent and malicious leader. Who are the children? Have they been victims of neglect? The doctor and her saving mission – and some atonement.

So many films of this kind have been made, in Australia as well as in America, small-budget, independently produced, experiments in their own way – and an invitation to audiences who like this kind of genre to allow for some shortcomings but to encourage the writers and directors to continue with their film careers.

1. An initial feature film? Small-budget? Independent? Developing the horror genre?

2. The title, the history of the school, the background, the hospital building? The modern look of the hospital and its wards? The nightmare qualities of the school, underground, corridors, cells…? The musical score?

3. The experience of the doctor, her coming through the drain, her bewilderment, alone, the basement and the cell? Her being involved in a nightmare? Not understanding what happened? The insertion of her memories, her relationship with her husband, the tension, the argument, their son, into the water, the rescue, his being in coma, in the hospital for so long? Her blaming herself, her interest in her career? The veteran doctor and his interest, support, trying to advise her?

4. The contrast with the nightmare experiences, the discovery of the young children, her concern, wanting to be protective? The young characters, the boys and the girls? The further discovery of the of the children, their fears, wanting to escape?

5. Zak, teenage, ominous presence, leadership, violence, his henchmen, his moods, the violent clashes? With the children? With the doctor?

6. The moving in and out of memory and nightmare? Giving the doctor motivation, the reality of the nightmare, gathering the children, the dangers, the escapes, the confrontations?

7. The reality of the son in coma, his joining the other children, their being seen as victims of similar neglect, yet hope for some surviving this in a life after death? The doctor and her making some kind of atonement?

PROUD MARY

US, 2018, 89 minutes, Colour.
Taraji.P. Henson, Billy Brown, Jahi Di' Allo Winston, Neal McDonough?, Margaret Avery, Xander Berkeley, Rade Serbedzija, Danny Glover.
Directed by Babak Najafi.

This is a brief gangster film, Boston settings, executive produced by Taraji P.Henson, a star vehicle for her. She is introduced, getting ready with some detail, dressing and make up, with a vast cache of guns to go out on a job. She kills the mark but does not realise that his son is present.

A year later she is concerned about the boy, Danny, following him, the audience seeing him on the streets, a tough boy involved in drug deals, threatening with the gun. When he collapses in the street, Mary finds him and takes him home to look after him. He is not used to such care, expecting betrayals.

Mary intends to get out of her work, the hold that Benny, Danny Glover, has had over her since she was a girl. She has been involved with his henchmen, Tom, Billy Brown, but wants to break. In protecting the boy, Danny, she actually kills the drug dealer and his henchmen, concealing the truth from Benny and Tom, participating in their starting a drug war, interviews with rival bosses, drive-by shootings, infiltration of houses.

Danny, a sympathetic screen presence by Jahi Di’ Alio, dresses up for a meal at Benny’s house, is caught in the clash between Benny and Mary. This leads to quite a shootout, Mary showing how skilful and adroit she is as an assassin. But, because the audience has been on side with Mary and her dealings with Danny, they are sympathetic to the solution and her driving off with Danny.
The film was directed by Iranian born, Babak Najafi, who directed the action feature, London has Fallen.

1. A film of gangsters, violence, power struggles, worlds? The contrast with the underlying theme of family, parental bonds?

2. The Boston settings, the city, the river, apartments, homes, warehouses and meeting places? Drug worlds? The streets of the city? The musical score?

3. The title, the introduction to Mary, in the apartment, make up, careful attention to her appearance, the wig, the weapons? The car, the city, the night, going to the apartment, the victim, shooting him? The sound of the television, her opening the door, seeing Danny, taking the photo?

4. The transition to a year later, the effect of the killing on Mary, her concern about Danny, the initial feelings of guilt, her following him, rescuing him from the street, bringing him home? Her own story, fleeing home, living on the streets, being taken of by Benny, his care, but grooming her to be a hit woman? Her maternal instinct, care for Danny? Her wanting to get out of the life? Benny and his hold over her?

5. Danny, doing the drug deals, being ripped off, pulling the gun, getting the extra money, hungry and getting the food, his visit to Uncle, the explanations, Uncle and his violence?

6. Benny and his gang, Tom as his associate, the place of Walter? The discussions about gang warfarin the groups? The news of Uncle’s death? Going to see the other Balkan leader, the discussions, the promises? The shootings, in the street? The revenge with Tom and Benny’s men going to the enemy territory, shootings and massacres?

7. Mary, protecting Danny, going to visit Uncle, the confrontation, shooting him and the others? Her not telling the truth to Benny? Her participation in discussions, going to the meetings with the Balkan leader? The suggestion that Walter was to blame, his independence, her watching him going for runs, shooting him?

8. Danny, his age, his mother leaving, the later revelation about his father’s brutality? On the streets, doing the drug deals, pulling guns on people, with Uncle? Sleeping on the bench, his being robbed, his pursuing the thief, firing the gun? Collapsing? Mary finding him, bringing him home, his being suspicious, having suffered loss so many times? Watching television, eating, going through Mary’s rooms, his questions?

9. Benny, his character, his age, seeming gentle manner, but ruthless? His power over Mary? His power over Tom? His devotion to his wife, the birthday party?

10. Mary not answering her phone, the past relationship with Tom, her wanting to be free? His visiting the apartment, discovering Danny? Danny invited to the meal, going to the shop, his reluctance, happy with the suit, the tie? At the meal? Brief I Mary with his story?

11. In the kitchen, Tom and Mary and their discussion, Tom then revealing the truth to Benny, that Mary had killed and his father? Mary and her discussions with Benny, his unwillingness to let her go?

12. Tom taking Danny to see Benny, Danny and his confrontation, the gun, learning the truth about Mary? The hotdog sequence – with the lot?

13. Mary, getting the weapons, driving to Benny’s, her skill in eluding pursuit, the number of deaths, confronting Tom, Tom’s death, confronting Benny, the talk, his relentless pressure on her, her shooting him?

14. The escape with Danny, the reconciliation, the frank talk, driving happily to a future?

ROMA

Mexico, 2018, 135 minutes, Black and white.
Yalitza Aparicio, Marina de Rivera.
Directed by Alfonso Cuaron

Roma? Rome Italy? No, this Roma is a middle-class section of Mexico City. The setting is the early 1970s.

In fact, this film is a fictionalised memoir written by the director, Alfonzo:Cuaron (who has had quite a varied career with films in his native Mexico as well is a broad, a version of The Little Princess, Harry Potter and the Prisoner of Azkaban, P.D.James Children of Men, and Oscar for his direction of Gravity).

Roma has received quite a number of awards, including the Golden Lion in Venice, 2018, and Oscar nomination for Best Foreign Language Film. (And, it could be noted that Roma won the SIGNIS (World Catholic Association for Communication) award in Venice.)

Technically, the film has won great acclaim for its qualities in black-and-white photography and its use of 65 mm film. It is a reminder of how much can be achieved and the beauty of black-and-white photography.

The film is quite episodic in its structure, a series of events that takes place over a year, events for a middle-class family, a devoted mother, her shock at her husband leaving her and her pretence that he is away in Canada on research, her four children, three boys and a little girl. The audience is taken inside the family, sharing the details of its life.

While the family events provide the framework for the film, the focus is on the young maid, Cleo, an indigenous woman from a village, only moderately educated, employed as a servant, but the children devoted to her. She figures in the episodes, the film providing a portrait of Cleo (expertly portrayed by Yalitza Aparicio), a contrast to the Hispania-Mexican? family in her slight appearance, her quiet and respectful manner.

Many have rightly commented that the film invites the audience into this world and immerses it in the world. There are episodes in the home. There is an episode where a big group of families goes on a holiday together, extroverted jollity, then everybody being called on to put out some forest fires at the back of the house.

On the personal side, Cleo has an encounter with a young man who vainly demonstrates his progress in martial arts. When she goes to the cinema with him and tells him that she is pregnant, he disappears, although she tracks him down at an extended sequence out in the countryside of people watching a large group of young men, going through their martial arts paces, presided over by a Guru who asks them to do a simple movement, hands joined above their heads, one leg on eighth I and keeping balance – most of them are unable to do this but, in a quite simple way, Cleo achieves this.

There are scenes at the hospital where the sympathetic mother of the family takes Cleo and she is treated well by the doctor – and this will be repeated later in the film when Cleo gives birth. The background to this sequence of birth is quite powerful, Cleo going to a fashionable store for the family to buy her a cot for the baby, watching crowds of young people outside, joining for a protest, watching the police attack from the store windows, some of the young people pursuing others through the store (including the violent father of Cleo’s baby). There is shooting, traffic is jammed, and urgency to get Cleo to the hospital.

There is a sequence towards the end when the mother takes the children, invites Cleo to the children’s acclaim, to go to the seaside where she explains the family situation to the children. When they go into the surf, they go out too far and Cleo, who does not swim, quietly goes out to save them and bring them in.

A synopsis of the film might not seem too exciting but there is a humanity about the situations and characters, the memories of the director, which make an emotional impact.

And, at the end, the film is dedicated to Libo. In fact, she is the servant in the Cuaron family life whose life and devotion is dramatised on screen as Cleo.


1. Acclaim? Awards?

2. A memoir, Mexico, the early 1970s? Immersing the audience in the times, the atmosphere, Mexican atmosphere? Family, middle-class, servants? The range of activities over one year?

3. The director, his life and career, the memoir indicating the influences (and the scenes from Marooned and his thought to become an astronaut, his making Gravity?).

4. The cinema techniques, the quality of the black-and-white photography, using 65 mm? The wide range of music used?

5. The film is episodic, the cumulative effect, emotion in the period, the Mexican perspectives, life and issues?

6. Cleo at the centre of the film, the indigenous maid, the other servants and the use of indigenous language? Her age, coming from the village, leaving her mother (and apprehensive about her mother seeing her pregnant)? The government going to the village, taking the land? Cleo becoming a servant, working with the other servants?

7. The household, Sofi, her husband absent on research in Canada, the four children, the three boys, the girl, their ages? The various tasks in the household? Cleo and the details of her waking the children, the meals, bonding with them, care for them, and devotion to her?

8. Chloe and the encounter with Fermin, his martial arts, naked demonstration, the sexual encounter, her pregnancy, going to the cinema, her telling him, his abandoning her, the finding where he trained in the martial arts, being present, observing, talking with him, his abusive behaviour? Later seeing Ferman and the violence against the protesters? Her hesitation in explaining her pregnancy to Sofi, Sofi taking her to the doctor, the consideration by the doctor and medical staff, the examination, the months of her pregnancy, not telling her mother?

9. Sofi, the mother, the four children, at home, the fashionable life, the servants? Her husband, his leaving, deception, his mistress? With the four children and her devotion? Her work as a teacher, her mother’s presence in the house and support? The effect of her husband leaving, his lies, not sending any money, her having to manage?

10. The Christmas gathering, all the families together, the big number, joy and celebration, meals, clowns, dancing? The impact of the five, the forest, the people and their combining to put out the fire?

11. Cleo, her relationship with Sofi, with the children? Sofi in the car, going between the two trucks and scraping the vehicle, crashing into it as she drove into the narrow pathway? The later decision to buy the new car, smaller, everybody going to the beach, Cleo going with the family, in the surf? The children going out too far, Cleo going into the water, bringing them safely out?

12. Going shopping, Sofi’s mother and the buying of the cot, in the shop, parking the car, the students arriving for the demonstrations? The film not making clear the issues? The crowds, watching from the shop windows, the shootings in the bashings, the police, violence in the store, Ferman and his being part of the group, getting out of the store, the woman with her dead friend in the street?

13. Cleo, the water breaking, getting her into the car, the jammed cars in the tunnel, two hours to get to the hospital? The helpful treatment from everyone in the hospital? The birth, the dead child, Cleo holding it, the staff wrapping the child? Cleo later saying she wanted the child to be born dead?

14. Sofi and facing the reality of her husband leaving her, getting the children to write letters, imploring him to come home? Facing the truth, telling the children the truth, their grief, sadness, eating the ice creams? Going home, the husband collecting his books and the bookshelves, the new rooms and adapting to the future?

15. The personalities of the children, ages, interactions, the two supportive ones, the older brother dominating, the little boy and his devotion to Cleo?

16. Ordinary lives, difficulties, hardships, surviving, being creative?

17. The tribute to Cleo – and the film dedicating dedicated to Libo, the real-life equivalent of Cleo in the director’s life?

OVERLORD

US, 2018, 110 minutes, Colour.
Jovan Adepo, Wyatt Russell, Mathilde Ollivier, Pilou Aesback, John Magaro,Bokeem Woodbine.
Directed by Julius Avery.

Overlord was the name given to the World War II mission that came to be known as De-Day?, June 6th 1944 and the days after.

The first part of Overlord is a war film, opening with views of ships sailing the Atlantic, planes flying, bombardments, the voices of Churchill and Roosevelt, the atmosphere of the invasion. The action then narrows to the interior of one of the planes, troops flying to land in France, a specific mission to take out a communications tower in a church in a French village, opening the way for safer communications during the attack. The intensity of the first part of the film reminds audiences that one of the most vivid D-Day? films was Stephen Spielberg’s Saving Private Ryan.

The men in the plane chat, are jovial, get a pep talk from the commander, one of the men, It Boyce (Jovan Adepo) nervous, ridiculed for his apprehensiveness by the others. As the men line up to parachute, the plane is hit, the men jolted, out they go, dangerous landings, Boyce parachuting into the sea, cutting himself free, through the floating parachute, on to French soil.

So, the first part of the film is a war film, anticipation of horrors.

Then the film moves into familiar territory from those old action dramas of the French Resistance, Allied troops coming into a town, seeking shelter from the locals, avoiding the presence of the Germans. While much of the action resembles those wartime films, there is a desperation because of the time limit for the achieving of the mission. There are dangers in the woods. They encounter a young woman scavenging who is able to help them avoid the Germans, taking shelter in her attic, the younger brother there, fascinated by Americans, holding his baseball and his mitt. There are also strange noises in the night, an old aunt, a glimpse of disfigurement – and the beginnings of horror.

Most audiences would be able to watch these parts of the film. But, a warning word of review is that if they don’t exit the cinema at this stage, they might soon be likely to leave in a rush. This is definitely a horror film.

It is not as if this part of the film is not familiar. The soldiers discover experimental laboratories under the church, memories of Nazi clinical human experiments. And so the tension rises, will the group be able to blow up the church tower. What will they discover? How will they deal with it? Probably a useful indication (invitation to fans, warning to non-fans) that this part of the film derives from the zombie genre.

(Overlord was received well by many of the fans, the main complaint being that there was insufficient zombie horror!).

The film has respectable antecedents, writer-producer J.J.Abrams, writer Billy Ray. It is been directed by young Australian, Julius Avery (Son of a Gun). While the film draws on the conventions of horror, fright, disgust, violence, touches of gore, there is also some humanity, especially with the portrait of Boyce, his experiences, growing confidence, decisions in the face of harsh reality. There is also a humanity in the young woman and the plight of her brother. There is viciousness on the part of the German official as well as one of those sinister, conscienceless glacial doctors.

Some raise the question as to whether this is offensive to make a film using the background of D-Day? and its memories. It is a long time ago. But, if filmmakers want to combine war, occupation and Resistance, human experiments with dire consequences (a suggestion that the scientists and doctors could manipulate human beings to live at least for the thousand year Reich!), Then Overlord is successful at what it sets out to do.

1. The title? The D- Day operation?

2. The opening, the tone, footage of the invasion, voices of Churchill, Roosevelt? The visuals of the ships, the planes, the defence, bombardments? Action? The interior of the plane, the air force? Claustrophobic? Intimations of horror?

3. The context of the invasion, France occupied, the presence of the Germans? The raid, the target of the church tower?

4. France, the landscapes, the forest at night, dangers? The town, the streets, the houses, bridges? Authentic locations? The musical score?

5. The sense of the mission, the talk of the men on board the plane, Boyce and his apprehension? The plan, the corporal, morale? The plane hit, crashing, the parachutes, Boyce landing in the water, surfacing, finding Ford, the others? The commander, taken by the Germans, his execution?

6. Chloe, scavenging in the forest, the confrontation with the men? Boyce knowing French? Her testing out the men, speaking English? In the village, the presence of the Germans? The officer in charge? The alert, Chloe taking them to the house, the attic, Paul and his age, the baseball? The aunt upstairs and the glimpses of her disfigurement? The sounds in the night? Intimations of horror?

7. The German officer, arriving at the house, the sexual encounter with Chloe, the men outside? In the house, Chloe and her reaction? Paul and the baseball dropping, the men checking it? Boyce and looking through the floor, observing, the decision to attack? Tying up the German? Ford and his interrogation, his violence, brutality?

8. The American characters, the man with a camera and his taking the shots? The Jewish man apprehensive of the Germans? The loud American? The corporal, serving in Italy, tough?

9. Boyce, African- American, from Louisiana and training to 3 months later in France? His being mocked by the men? On the plane, his doubts, the parachute, the survival, the telling of the story about his unwillingness to kill the mouse? His reaction to the violence? His interactions with the men?

10. The mission, Boyce sent to rendezvous with the other men, the fields, the bodies, the flamethrower? Pursued by the dog? Getting into the truck, the men inside?

11. Getting inside the gate, the laboratories, his discoveries, the extent, the purpose, the thousand year Reich and soldier warriors, experimenting on the French citizens, their bodies, the mutilations, voices of pity, the ruthless doctor, the soldiers on guard? The transition to a horror film? In the zombie tradition?

12. Boyce, rescuing his fellow soldier, getting out through the drain, returning to the house, everybody underestimating Boyce?

13. Ford, the decision about the mission, the orders, the plan? The interrogation of the German? Chloe stabbing him? The soldier with a camera stabbed, dying, his rising again, the men killing him? The syringe, his transformation? His escape, taking Paul? The Americans arguing? The pursuit?

14. The plan, Chloe and the chase, the soldier on his bike, the sexual attack, the explosives, his being taped, sent into the laboratories, the explosion? The Americans and the covering fire? Boyce and Ford going in, with Chloe, finding Paul and his rescue?

15. Ford, the confrontation with the German officer, his being transformed? Ford and the syringe, his transformation, the confrontation with the German? The zombie battle? Locking out Boyce? The German taking out the detonator?

16. Boyce, the setup, restoring the detonator? The rescue, his escape, the rescue of Paul, under fire, the heroism of the loudmouthed American for Paul?

17. The official interrogation afterwards, Boyce keeping the whole event secret? The elimination of the laboratory, the doctor, the collapse of the tower and the Communications? D- Day proceeding?

SHERLOCK AND THE SIX THATCHERS

UK, 2017, 88 minutes, Colour.
Benedict Cumberbatch, Martin Freeman, Amanda Abbington, Mark Gatiss, Lindsay Duncan, Marcia Warren, Rupert Graves, Una Stubbs, Sacha Dhawan.
Directed by Rachel Talalay.

This is the first film in the third television series of Sherlock, starring Benedict Cumberbatch as Sherlock and Martin Freeman as Dr Watson. Mark Gatiss reappears as Mycroft and Amanda Abbington is Mary Watson. Also reappearing a Rupert Graves as Lestrade and Una Stubbs as Mrs Hudson.

This is a rather complicated story, taking up the mysteries of the previous Sherlock series, accusations that Sherlock was a murderer, the fact that Moriarty had disappeared and died. Now Sherlock has been vindicated and is looking for a case to explore, interested in the search for a Black Pearl, but also interested in a series of mysterious deaths with which a bust of Margaret Thatcher is associated.

Then the story moves to the activities of Mary Watson when she was an agent before she married John, but not telling him of her past. There are a variety of flashbacks, taking the audience to Georgia, to Tiblisi, where the Thatcher busts were made and where there was a raid and a betrayal of the agents. Another survived, believes he was betrayed by Mary, has been pursuing her for vengeance. She travels back over the places where she served, finally arriving in Morocco, where Sherlock and John had tracked her.

This builds up to a confrontation, revelations, deaths – and finishes with John Watson resenting the fact that Sherlock had promised to protect him and his family and had failed. Which prepares the audience for the next episode.

1. The popularity of the series of films? Contemporary settings? Interpretation of Conan Doyle? The presence and style of Benedict Cumberbatch? Of Martin Freeman? And echoes of Moriarty?

2. The familiar backgrounds from the previous films, Sherlock and his appearance, manner, clothes? Watson and his role, friendship, the blog? Mrs Hudson and Baker Street? The past issues with Moriarty?

3. Sherlock, the accusations of murder, the role of Moriarty, his death, Sherlock expecting something posthumous? The interrogation by Mycroft and the officials? The covering of the story? His being free?

4. Dr Watson, the marriage to Mary, her pregnancy, the birth of the daughter, her name and its symbolism? Married life, at home, waking up in the night? The baptism, the godparents, the role of Sherlock (and his texting at the ceremony)? Sherlock’s promise to protect the Watson family?

5. Sherlock wanting cases? The story of the boy ringing from the Himalayas, the mansion, the birthday party, his phone call, the drunken crash, his body being found in the car, dead for a week? Sherlock and his visiting the parents, his speculation, the bust of Margaret Thatcher, the comic dialogue about her? The mother and her anxiety?

6. Sherlock following through on the busts of Mrs Thatcher? The background in Tiblisi? Tracking the owners? The further killings and smashing of the busts?

7. The background of Mary being an agent, the controls in London, the hostage situation, the rescue, its going wrong, the deaths? The codename, Amo, not ammunition but love in Latin – and the interrogation by Mycroft of the head of operations, her protesting her innocence, the irony of it being the quiet secretary, her control, selling secrets, her house in Cornwall, her giving the orders, the betrayal, the cover?

8. The memory sticks, the initials, the identities of the agents, their having all the information to cover each other? Sherlock and his tracking down AJ, the confrontation, the fight, his anger at Mary? The escape?

9. Sherlock confronting Mary, the explanation of the memory sticks, her going on a journey – retracing her steps, the various countries, the experiences, her manner on the plane and her fears, disguising the flight attendant? Her finishing in Morocco, Sherlock tracking her there, Dr Watson and his presence? The explanations? AJ and his presence, explanations, the flashbacks to his being tortured, the voice on the phone? His presumption about Mary? His shooting Sherlock, Mary in front taking the bullet, the last words, her death?

10. The aquarium, the confrontation with the secretary, the confession, confrontation, Lestrade and his following up the case (and the jokes about his fame after Watson’s blog was published), her arrest?

11. The consequences, Watson denouncing Sherlock for not protecting his family, his refusal to see him?

12. Audience anticipation of the next episode?

WATERFRONT

US, 1944, 64 minutes, Black and white.
John Carradine, J.Carroll Naish, Maris Wrixon, Edwin Maxwell.
Directed by Steve Sekely.

Waterfront was released in 1944, a contribution of a small studio to the war effort. It focuses on a group of Nazi spies, a ring in San Francisco, edited by J. Carroll Nation as, what he refers to as an oculist, but is described as an optician, with the title optometrist outside his office. He seems respectable, but is unmasked as the leader of the spies and their controller.

There is a mysterious notebook with information about all the spies – and the film opens with its being stolen during a brawl in the streets. There are various other businessmen of German origin in the city who take possession of the book and want to unmask the villains. This makes for quite some complications in blackmailing, an entrepreneur wanting to exploit the book for money (and, of course, getting his comeuppance as do the other men).

The cause of this is a Nazi operator arriving from Germany, played with sinister intent by a tall and gaunt John Carradine. He has a cover of staying in a boarding house, threatening the woman who runs it with danger for her relatives in Germany. Her daughter lives in the house and has a fiance – who is accused by the police of some of the killings.

Tension builds up, the optician is exposed and is killed, the police close in on the boarding house and, after some violent killings, the arch-villain is killed.

Interesting and entertaining in its very modest way.