THE HUNTER’S PRAYER

US, 2017, 91 minutes, Colour.
Sam Worthington, Odeya Rush, Allen Leech, Amy Landdecker, Martin Compston.
Directed by Jonathan Mostow.

This film takes its audience into familiar material, the hired assassin, his refusing to kill his target, bonding with her, the possibility for a different life. Something of this is suggested in the title, with a focus on prayer – and the possibility for the assassin to experience a kind of redemption.

The film was directed by Jonathan Mostow, who made the submarine film you-571 as well as Terminator 3.

Sam Worthington is very serious as the assassin, a man who has experienced grief, has a drug addiction, a wealthy British businessman having a hold over him – as well as a hold over other assassins and a rogue FBI agent.

Odyea Rush is the daughter of wealthy American businessman who is assassinated, is away at a Swiss finishing school, goes on the run with the assassin, through Switzerland, France, the English Channel to Leeds.

When she learns the truth, she asks the hitman about his motivation for killing and she intends to kill the British businessman. She is abducted, taken to his mansion, the assassin following and coming into a lavish social reception – which leads to a shootout, the girl killing the businessman.

She is to make a new life – and persuades the assassin to contact the daughter he has not known.

1. Familiar themes of assassins, their targets, transformation? Variations on the theme?

2. The title, the assassin as Hunter? Change of heart – prayer? Discovery of redemption?

3. The American mansion and the assassinations? The wealthy Swiss boarding school? The Swiss countryside, France? The English Channel, on the boat? Leeds and the English tone? The final scene on the cliffs? The atmosphere? The musical score?

4. The killings, the motivation of the assassin, money, drug dependence and supply?

5. The opening assassination, the American couple? The money dealings and swindles? Richard Addison, the British background, his control? Sending out assassins? For the couple? For Ella? The range of assassins, the use of the FBI agent?

6. Ella, the death of her family, her not knowing, at school in Switzerland, with a fellow students, going out, the nightclub, the attempt on her life, Lucas following her, rescuing her? Her fears? Lucas not killing her, shooting the other assassins? The decision about transferring her, in the boot of the car, crossing the border?

7. Lucas, Sam Worthington, professional assassin, his drug dependence, the story of his past and relationships, the daughter never seen? The money, his success in his career? Targeting Ella, not killing her? The reasons? His shooting the others, putting her in the boot of the car, the interview with Addison, his being dismissed by him?

8. Travel through Switzerland, France, on the boat on the English Channel? Going to Leeds? Ella, his shielding her, her asking him about his motivation, asking about the gun, her intending to shoot Addison, the training – and the irony of her still having the gun with a bullet in it?

9. Addison, his mansion and high life, the money deals, his cover? The FBI agent and the phone calls? The other assassins? The plan to abduct Ella, her father putting the money in her bank account? The FBI agent taking her, Ella shrewd about the airport, their abducting her?

10. Lucas, the drugs, his daughter, motivations, Ella challenging him? His following her, shooting the guards at the gate, infiltrating the party?

11. Addison, his gun, Lucas overpowering him, freeing Ella? The shootouts of the deaths, the assassin, the FBI agent? Ella, drawing the gun, shooting Addison?

12. Ella saved, having a new life? The phone call to Lucas, encouraging him?

13. Lucas, going to the grave, the visit to find out his daughter?

14. The title, a theme of redemption?

SMOTHER

US, 2008, 92 minutes, Colour.
Diane Keaton, Dax Shepard, Liv Tyler, Ken Howard, Selma Stern, Mike White.
Directed by Vince di Meglio.

Audiences would need to be in a rather good mood to enjoy Smother. One of the reasons is that the central characters are rather irritating characters in their own lives and that may well carry over to their impact on the audience.

The title offers the tone. And, here is Diane Keaton, in her early 60s, in a performance that is rather the opposite of Annie Hall. She seems to be losing it, is suspicious of her husband (Ken Howard), accusing him of an affair. She moves out of her home, with her charity dogs, imposing herself on her hapless son, Noah (Dax Shepard). She has so dominated him that he lacks self-confidence, has lost his job, his loving wife Claire (Liv Tyler) wanting them to conceive, her screenwriting cousin, Myron (Mike White) turning up and imposing himself to stay with them.

Lots of clashes, lots of desperate humour, many confrontations, some absurd situations played for spoof.

Perhaps these are some of the reasons that the film was less commercially successful than expected.

1. The title, the focus on Marilyn as mother, smothering? The response of Noah as her son, being smothered?

2. The tone, broad comedy, spoof and satire?

3. The duration of four days, the range of episodes, change?

4. Noah, in himself, his work at the health spa, the manner of his being fired over the phone, the idea of setting out by himself, issues of money, needing to get a new job, the interview with his former boss and his being hired? His relationship with Clare, love, the plan for conceiving? Myron and his arriving in the house, his story? Marilyn and her arrival, his relationship with his mother? With his father? His mother walking out on his father, staying?

5. Diane Keaton as Marilyn, the opposite of Annie Hall, the long marriage, the voice-over and her dithering, on the phone, forgetting? The arguments with her husband? The dogs in the house? Her arrival, moving in with the dogs, her luggage? Accusing her husband of an affair? The dislike of her mother-in-law? Imposing on her son, her ditzy behaviour, taking over, Clare’s kind response? The friendship with Myron, the discussions about his science fiction screenplay and Vietnam? The sharing ideas? Food and meals, fads? Getting up during the night, phobias? The getting the job, enjoying it? The boss and his reaction, wanting to fire her, getting Noah to do it? The confronting her husband, the truth about his one night stand, twice? Taking Noah’s car, the surveillance and recording? Her reaction after her being fired, going to the motel, the karaoke bar behaviour? Coming home again? Taking Clare’s car?

6. Noah, his job, the carpets, the rules, the video training, his being fired?

7. Going to the bank, not getting a loan, asking his father, his father’s refusal, his grandmothers?

8. Clare, teaching the kids, telling stories, love for her husband, for conceiving, the special time, the attempts, the truth zone, Noah and his range of excuses? Her walking out, staying with her friend?

9. Myron, his character, writing the screenplay, coming to the writing conference, his changing times, moving in, the ideas for the screenplay, using the computer and the voiced responses, Marilyn and her contributions?

10. Noah, discovering more about his past, his mother drowning the pet rat, discrepancy with his age, the growing exasperation, with Clare, avoiding conception, the tight underpants, the boiling water? His saying that he was not ready to be a father, looking at his mother and father and their failure?

11. The mother-in-law, dying at the news about her son’s behaviour? The funeral, the range of speeches, Marilyn and Noah and their tributes but arguing with each other, a kind of vocal therapy?

12. The reconciliation, Marilyn leaving and going out on her own, but sharing a house with Myron and his ideas?

13. Noah and Clare, the frank talk, wanting to have a child?

14. The film as a comedy – and the difficulty of having irritating characters, the danger of the film being irritating?

HEARTS BEAT LOUD

US, 2018, 97 minutes, Colour.
Nick Offerman, Kiersey Clemons, Ted Danson, Toni Collette, Sasha Lane, Blythe Danner.
Directed by Brett Haley.

This is one of those films which an audience would enjoy if they came across unexpectedly but is not one that they would necessarily seek out. Which means then that it would have more of a life and a wider audience on television and downloading.

It is a New York story, a veteran member of a band, Frank, running a shop full of vinyl records, a tribute to the past. He is played by Nick Offerman, seen on television in Parks and Recreation, often a villain on screen. Gently gruff, bearded, a life with many regrets, he is a sympathetic character here.

While the story of the film does focus on life in the shop, there is also a domestic side of the story, especially with his daughter, Sam (sympathetic Kiersey Clemons) who wants to go to UCLA to study medicine, to chart a new life away from home. She and her father are grieving at the accidental death of her mother 10 years earlier. There is also a complication, seen sympathetically from the point of view of her father and the screenwriter, in her relationship with an artist friend, Alice (Sasha Lane).

The other central character in the film is played by Toni Collette, Leslie, who owns the building in which the shop is stored, is a friend for Frank, buying records, even offering to go in partnership for the survival of the shop.

There is quite some emotion in a sequence where, on the last day of sales in the shop, father and daughter do an extensive gig for the customers – and for the cinema audience.

So, it is a story of interactions, a father loving his daughter and wanting her to stay, to compse music with him because she has a great flair for songwriting, of having to let her go, of acknowledging the different stages in the development of music in the US, of having to face a future as he gets older – and confiding with his good friend who manages a bar, Dave (a sympathetic Ted Danson), strong memories of his wife, uncertain of his future.

There is quite some appeal through the story and the characters – perhaps more familiar from characters in television series. But, if you chance upon Hearts Beat Loud, there is good enjoyment.

1. The title, music, the human story?

2. The New York story, apartments, the record store, the veneration of vinyl records? Preserving the past? The background of the city, the streets, diners, shops?

3. The musical score, the range of songs written for the film, memories of the past and bands, father and daughter collaborating in writing songs, performance, the final gig?

4. Frank’s story, the past and his music, his wife, the accident with the bicycle and the memorial, her death? Sam as young? Frank bringing her up? His store, being there for 17 years? His friendship with Leslie, her being his landlady, her attitude towards the store, buying the records? Going for a drink with her, the kiss and his expectations, seeing her boyfriend? The visit to her house? His love for Sam, his concern about her going to California to study, wanting her to stay? His benign attitude towards her relationship with Rose? Composing with her, the instruments, buying her the board? The offer of the gig and travel? Into the bar, his friendship with Dave? The last day at the store, deciding to do a gig, the performance and people’s reaction, Leslie coming? Going to work in the bar, Sam going to study, his getting the money for her fund, Leslie’s visit to the bar?

5. Sam, her age, bond with her mother, her mother’s death? Going to UCLA, to study medicine? Her reaction to her father, offhand, yet love? Meeting Rose, her art, the relationship? The pressures on her, the music, the compositions, her talent? Performing with her father? Saying she should stay – but going to study?

6. Leslie, friendship, landlady, discussions, the drink at the bar, her friend, the plan for sharing in the shop? The presence of the gig, encountering Frank the bar later?

7. Dave, 30 years at the bar, friendship with Frank, visiting Woodstock, the pot, the trees? A good friend?

8. Frank’s mother, the shoplifting, his rescuing her, the scenes at home, love for Sam? In jail, getting out, at home with Frank?

9. The range of customers at the shop?

10. The talent scout, the offer of a gig?

11. A humane slice of life?

THE PREDATOR


US, 2018, 107 minutes, Colour.
Boyd Holbrook, Trevante Rhodes, Jacob Tremblay, Keegan- Michael Key, Olivia Munn, Sterling K.Brown, Thomas Jane, Alfie Allen, Augusto Aguilera, Jake Busey, Yvonne Strahovski.
Directed by Shane Black.

There is a more than centuries-old tradition of novels, then films, about human conflict with aliens. Stories of War of the Worlds have been continually popular, small-budget supporting features in the 1950s, moving to the 1970s with bigger budgets and prestige, Close Encounters. The aggressive aliens received something of a boost in 1985 is The Predator, which had its own sequel as well as an exploitative spin-off with Jason versus Predator. Here is a 21st-century version.

The film was written and directed by Shane Black, an expert in writing tongue in cheek crime adventures, police adventures, like Lethal Weapon. There is also tongue-in-cheek humour in the dialogue in this film but, in some ways, the treatment of the aliens in the invasion is somewhat heavy-handed.

It starts with American military staking out cartel deals in the forests only for it to be interrupted by the arrival of an alien spaceship, the deaths of the military except for Mc Kenna (Boyd Holbrook) who survives, most unwisely sending some of the armour of the alien to his young son, Rory, who has Aspergers. Mc Kenna is then rounded up and interrogated by the military chiefs and some stern authorities probing the aliens, led by Sterling K.Brown, and an expert, Casey (Olivia Munn) who is called in as an adviser.

So, this is a basis for an action thriller, the alien coming in wreaking destruction in the investigation facility, Rory being tracked by the alien to recover the equipment, threats to his mother, Mc Kenna coming to his son’s aid along with a band of fellow-soldiers who would not be out of place in The Dirty Dozen.

Casey goes along with the group, the official pursues them, it turns out that there are two aliens but you would need to see the film to work out who was the good one and who is the bad one and why.

Ultimately, buildup to huge action, the dirty half-dozen going into action, and prepared to give their lives for the sake of the boy.

Some praise for the young actor, Jacob Tremblay, who gave a fine performance with Oscar-winner Brie Larson in The Room and continued to show his talent as the boy with the disfigured face in Wonder. He certainly holds his own with all the action in this film.

The American authorities receive a casket, opening it, something alien but possibly friendly, possibly not – at least the premise for a sequel.

1. The original film and its impact, sequel? Tradition of alien invasion films?

2. Jungle settngs? The facility? The town, Halloween, homes? Score?

3. Action sequences, special effects?

4. The cartel deal, snipers, the spaceship, dead military, Mc Kenna surviving, sending the armour to his son?

5. Rory, Aspergers, his mother, father absent, bullied at school, the pirate outfil for Halloween, receiving the package, wearing the armour and its effect?

6. Casey, her work, consultant, being summoned, the leader and his attitude towards her? The examination of the predator?

7. Predator/Hunter, the attack, the destruction in the plant? Bypassing Casey? Scenes of action and destruction, deaths?

8. The pursuit, the battles, the weapons, the unlimited ammunition?

9. The new predator, the translation of the words on the screen? The conflict between the two, one destroying the other? The attacks by the military, on the trailer?

10. The aliens, their motivation, dying, taking over, hybridisation, to get better creatures, taking the best of the humans, Rory and’s Asperger’s as an evolutionary development, their wanting him?

11. Coming to the home, the military, the mother and her clash? The aliens, taking Rory? His father, following, the group, Casey? The leader from the laboratory and his presence, defiance?

12. The different confrontations, tactics, Rory and his role? Each of the military men, their personalities, prepared for self-sacrifice, the captain and the Tourette’s soldier, shooting each other? Nebraska going into the propeller to destroy the machine? Gathering their tokens and burying them?

13. The ultimate destruction, the weapons, back to the centre, opening the cask, the reactions, the violence – yet the weapon for the humans to defend themselves?

14. Probabilities and impossibilities?

SHARP OBJECTS

US, 2018, 320 minutes, Colour.
Amy Adams, Patricia Clarkson, Chris Messina, Matt Craven, Henry Czerny, Eliza Scanlan, Madison Davenport, Miguel Sandoval, Will Chase, Taylor John Smith, Elizabeth Perkins.
Directed by Jean- Marc Vallee.


Sharp Objects is based on a novel by Gillian Flynn. Her book, Gone Girl, was a bestseller and made into a successful film.

The film focuses on a journalist, played with nuance by Amy Adams. Her dominating mother is played by Patricia Clarkson. There is a very strong supporting cast including Chris Messina as a visiting detective, Matt Craven is the local police chief, Henry Czerny is Alan as the more submissive husband.

The series was directed by Jean- Marc Vallee, best known for his film C.R.A.Z.Y, as well as achieving Oscar nominations for The Dallas Buyers’ Club. He was very successful with the miniseries, Big Little Lies.

After an opening in St Louis, the film moves south to a small town, abattoirs and factories with a lot of migrants, some white Southerners who feel trapped in the town. The main plot concerns the deaths of three young teenagers, brutal deaths, a detective called in from Kansas City to help investigations, the chief being rather laid-back. There are two suspects, the father of one of the girls, the brother of another girl.

The journalist, Camille, comes to her hometown, stays with her mother in a kind of love-hate relationship. The film has quite a number of flashbacks from Camille’s point of view, the past with her younger sister who had died, her defiance of her mother, the mystery of her absent father, her decision to leave home. She has had mental health problems and is alcoholic.

The film shows the town through her eyes, the people from the past, interactions with the chief, difficulties with the detective and then a sexual relationship with him. She writes articles, interviews people, gets more information.

Then there is a younger half-sister who is being dominated by her mother – and the mother, always with the genteel manners of the South, eschewing any mention of the killings, not wanting gossip, controlling her laid-back husband. It eventually emerges that she medicates the young daughter just as she did in the past, her situation being diagnosed as a particular condition, over-mothering, killing with kindness.

There are twists in the plot as to who killed the young girls – and the final revelation at the end and during the final credits.



1. The popularity of the miniseries? The popularity of the novel? Eight chapters, time and space for plot development, characters? The significance of the title and the images of sharp objects?

2. The strong credits, Gillian Flynn and her writing, Jean- Marc Vallee and his reputation as a director? Amy Adams, Patricia Clarkson and the strong cast?

3. The opening in St Louis, the newspaper, Camille and her life, her past, psychological condition, tired? The editor giving her the commission? Her being wary?

4. The return to her town, driving through the town, its look, absence of people, small town America? The homes, mansions, shops, police precincts, the abattoirs and the factories? The migrants?

5. The range of the musical score, the background of songs – and those from the past?

6. The mystery, the dead girls, three, two bodies, one disappeared? The mutilation of the teeth? The discovery of the girl in the water? The girls themselves, their links, age, their families, the grieving father, John as the grieving brother? Speculation about their motives? The townspeople suspicious?

7. The intercutting the flashbacks? Camille and Marian, as girls, the bonds between them, the play, getting into mischief, the dangers? The role of the mother, the presence of Alan? Marian, her illness, her death? The solemnity of her funeral, her mother, Camille’s odd behaviour? Camille, cutting her hair, the absent father, the decision to leave home?

8. Adora, Patricia Clarkson, a genteel woman of the south, as wife, as mother? Her relationship with Alan, his presence, quiet, her dominating him? Marian, illness, her mother tending her, her death? The new child, Amma, her care for her? The details of life it, dressing up Amma, concerned about her health? Her reaction to Camille’s return, having Camille in the house? The role of the police Chief and his visits? Not wanting gossip, not wanting to talk about the crimes? Her friendship with Jackie and the other women in the town? The link with the dead girls? The celebration, dressing up, the historical performance? Her preparing the medication, controlling Amma, making her sick, the motivations, using the same medication with Camille?

9. The importance of the diagnosis of Adora’s obsession, her mothering, controlling?

10. Camille, her articles, the phone calls to the editor, the comments of his wife? The town’s reaction to the articles? Her interviewing people, getting information, the speculations? The visit to Jackie, remembering the past and her presence?

11. Richard, his presence in the town, the detective, from Kansas, not wanted by the police chief? The tensions with Camille? The attraction, sharing, the sexual encounters and the effect on him, on her? Camille and the meetings with John, believing him, meeting him at the bar, going to the room, the sexual encounter and her motivations, the arrest and its impact? Her drinking, alcoholism, hangovers, sometimes going home, not, nights in the car?

12. John, the grieving brother, relationship with the mother, the funeral and her denunciations? His weeping? His relationship with Ashley, Ashley controlling him? Suspicions, his going out, Ashley betraying him? The sexual encounter with Camille? Richard and the interrogation, the sheriff and the arrest?

13. The sheriff, his personality, role, quiet, not wanting to gossip, his dislike of Richard being in the town, the investigation? Scenes at home, his wife, the visits to Adora, Alan and his negative reactions? The discussions with Camille? Watching the girls on their skateboards? The search for John, the arrest, the interrogation?

14. Alan, a passive presence, quiet, love for music, his not being a successful father, yet his memories of the young girls? The controlled man? Attitude towards Adora?

15. Jackie, the personality, drinking, the past, gossiping, the confrontation with Camille?

16. The range of townspeople, the search party, the talk, the women and the socials, the town celebration, the people enjoying it, the barber and the chief and Richard, the men
in the bars?

17. Amma, her age, Adora dominating her, her welcoming Camille? Her erratic behaviour, with the girls on the skateboard, the gossiping, drinking? Dressed as a Greek goddess by her mother? The medication, the detrimental effect?

18. Camille, the effect of this experience, succumbing to her mother, the medication? Her wondering about her having the same diagnosis as Adora, killing with care?

19. Richard, the to the hospital, the nurses, getting the records, the diagnosis? Giving the documents to Camille?

20. Adora, the arrest, the glimpses of her trial, prison, the visits?

21. Amma going to St Louis, the friendships, playing with the girl? Her relationship with Camille?

22. The final revelation, the twist, the murders, Adora going to prison for her daughter?

A SIMPLE FAVOR

US, 2018, 117 minutes, Colour.
Anna Kendrick, Blake Lively, Henry Golding, Dustin Milligan, Andrew Rannels, Ian Ho, Joshua Satine.
Directed by Paul Feig.

What could be more simple than one mother asking another mother to help her out by picking the children up after school? Needless to say, this film shows a range of complications that nobody could have quite anticipated. And, of course, that is part of the enjoyment.

Women come out quite well from this story – even a strong female villain. The men are also-rans…

One thought that arises is that this is the kind of story that could have been made in the Golden Years of Hollywood (though the language would have been extensively cleaned up). Anna Kendrick has shown herself quite a talent in serious roles but also very good in comic timing. She is a kind of 21st-century Nancy Drew, popular in those past Hollywood years. Blake Lively is a rather statuesque blonde with a commanding presence, the epitome of self-confidence and glamour. As it turns out, it is the kind of role that might have appealed to Joan Crawford or Barbara Stanwyck.

But, a 21st-century audience may not be thinking of these things and just go along with the way this interaction between the two women develops.

Yes, they are mothers and there are the questions of picking up the two little boys, great friends, from school as well as Stephanie (Anna Kendrick), single-mother (though, as with the whole screenplay, there are hidden secrets that do surprise) ultra-busy about doing things for the school, helping everyone out (to the sarcastic responses of so many of the other parents), even with her own Vlog (video-blog for those unfamiliar) for mothers where she cooks her specialities for viewers or does some handiwork.

Emily (Blake Lively) is a businesswoman, in PR, the epitome of glamour, rather hard in her demeanour yet befriending Stephanie. She has a trophy husband, Sean, an author who has only one novel, years ago, to his name. He is played by Henry Golding at the same time as he starred as a Crazy Rich Asian.

For those who have seen the trailer and the advertising, it is clear that Emily disappears leaving Stephanie with the children, falling in love with Sean, being interrogated by the police.

Actually, what has happened is exceedingly complex, audience curiosity on the increase, some developments that might have been guessed other developments beyond guessing.

Stephanie learns a lot about herself in the situation, acknowledging her past, discovering that she could fall in love, always devoted to the children, but determined to find out what actually happened, becoming an effective amateur sleuth.

In fact, with her Vlog, she is able to address all the mothers, speaking to camera (which she has effectively used in her sleuthing) to explain to the mothers that she will carry on with the cooking and her favourite recipes, carry on with her handiwork, but is available to do detective work for solving mysteries.

1. The title? Simple in itself? The consequences?

2. Middle America, the town, homes and mansions, school, offices? The scenes in Michigan, the lake in the countryside? The flashbacks to the past in the countryside and the old homes? The musical score?

3. The strong leading women, commanding and glamorous compared with ordinary with a touch of fluffiness? Yet women with deep secrets, their communicating to each other, the impact of the revelations – and audience response to the two women?

4. Stephanie’s story? Her upbringing, her half-brother and the attraction, the telling the story to Emily but not telling the truth, the gradual revelation of the truth? Her marriage? Her son and the initial paternity? Her husband’s anger with the half-brother? His taking him for a drive, deliberately crashing the car? Their deaths and the effect on Emily? Single mother raising her son?

5. Stephanie and her kindness, doing everything at the school, all the volunteering? The snide remarks of the other parents? The importance of her frog, addressing the mums, folksy, the cooking of the recipes, the handiwork? The range of the programmes, confiding about Emily, Emily’s disappearance and using the blog for communication, therapy –
and Emily watching it?

6. The encounter with Emily, the contrast in personality, tall, blonde, self-confident, commanding and demanding, not wanting to be Stephanie’s friend, their meeting, having drinks, mixing the drinks, the friendship and confiding in each other, the secrets? Emily and her work with the company, criticisms of the boss, challenging him? Asking Stephanie
for the favour of looking after her son? The disappearance? The company thinking she went to Miami?

7. Emily’s house, the mansion, comfortable, financial difficulties with her husband, Sean and his novels, not being able to write, writer’s block, his work and travels, his mother’s illness in London? The tension in the relationship?

8. The police, Sean and Stephanie and the visits, the officer and his insinuating, asking questions?

9. The children, staying at each of the homes, relating well to Stephanie, a mother figure? Sean and his reaction to the children?

10. Stephanie and the attraction to Sean, his manner, style, talking, the sexual relationship and the consequences? Stephanie going to the University, seeing him with a student, the later visit the student coming to the room? Her suspicions?

11. Emily and her story, gradual revelation about faith, the picture under the desk, Stephanie’s enquiries? Stephanie visiting Emily’s parents, the father misunderstanding the visit, seemingly threatening but not, the mother and her drinking, telling the story?

12. The revelation of the large amount of life insurance? Emily and her scheming, meticulous planning, insinuating that Sean was privy to the plan?

13. Stephanie confronting Emily, Emily and her visits, the messages through her son? Emily watching the blog? The explanations about faith and Hope, the revelation about charity and her death? The two sisters going their own ways, Faith becoming Emily and her financial success, manipulation? Hope, heroine, a different path? The encounter, after the years, in the Lake, faith killing Hope, initially denying it?

14. Emily confronting Sean, taping the conversation, Sean’s rejection of Stephanie?

15. The buildup to the confrontation after the talks with the police? Stephanie becoming her own woman, doing the detecting work herself? The buildup to the encounter with Emily, with Sean present, the denunciations, Stephanie with the gun, Sean shot? Faith and her reactions – and then irony that the only was she being taped but photographed with Stephanie’s blog camera?

16. Emily in prison, dominating basketball? Sean and his job, the new relationship?

17. Stephanie, her blog, confiding in the audience, the recipes, the handiwork – and offering to do detective work?

ALPHA

US, 2018, 96 minutes, Colour.
Kodi Smit Mc Phee, Johannes Haukur Johannesson.
Directed by Albert Hughes.

Over the decades there has been a cinema interest in prehistory including Quest for Fire and The Cave of the Clan Bear from a story by Jean Auel. The storyline of this film is more simple and straightforward.

This is a film that is seen best in the cinema, on a large and wide screen. The cinematography is impressive and striking, prehistoric landscapes, mountains and cliffs, lakes and rivers, the different seasons, snow and ice as well as the primitive village of the humans in Europe, 20,000 years ago. The landscapes were filmed in Canada, the province of Alberta.

The film opens with the men of the tribe assembling, crawling on the ground towards a herd of bison, then an attack, frightening scenes of terrified animals falling over cliffs, the role of the warriors especially when a young man is held by an animal and tossed over the cliff. Prehistoric times were not genteel.

The film then goes into flashback, focusing on the young man, a teenager, Keda (an impressive performance and screen presence by Australian Kodi Smit- Mc Phee). There are initiation rituals, some young men failing, others sharpening spearheads showing their priowess and for future use.

The main part of the film is the lone journey of survival for Keda. He finds water. He eats worms for sustenance. His leg is injured and he grinds herbs to make poultices for his recovery. He is pursued by a pack of wolves and takes refuge in a tree – but, one of the wolves is injured and he shares cave with the wolf, overcoming the snarling with some kindness, suggestions of empathy between the wolf and the human, Keda offering him water, hunting a rabbit and then sharing food.

Keda’s father has explained to him leadership in the tribe, the literal Alpha male – and Keda gives this name to the wolf.

The two travel together, discover a man frozen in the ice, Keda falling through the ice and Alpha helping in the rescue, confrontations with a giant bear-like beast – and the desperation of hunger as they move through the winter, snow and ice.

The film is impressive in many ways, directed by Albert Hughes (whose previous films were with his brother, Allen Hughes, Dead Presidents, From Hell, The Book of Eli). It also has an international cast with leads from Iceland in Poland.

So, an imaginative and speculative reflection on pre-history and evolutionary developments as well as human/canine bonding (which is taking the place of the rather exclusivist language of dogs as Man’s Best Friend).

1. Imagining prehistory? Speculating about human nature, human behaviour? Evolution?

2. The recreation of the landscapes of Europe, 20,000 years ago, the mountains, cliffs, rivers, the seasons and snow and ice? The musical score?

3. The humans (and their resemblance to 21st-century humans)? Appearance, the men and the women, teenagers? Warriors and hunters? Family bonds? Clothes, weapons? Caves, fears? The respect for ancestors, the spirits?

4. The opening hunt, the bison, the attack, the men crawling, the panic of the beasts, the raid, the animals going over the cliffs, Keda and the attack, his being tossed over the cliff? On the ledge, survival? The hunters and their collecting of meat for the winter season?

5. Keda, his age, the initiation, the quality of the knife, his father presiding, the fight and the bashing of the initiates? His listening to his parents’ comment about him, his mother saying he led with his heart rather than the spear? Admiring his father? Participating in the hunt, attacked by the animal, his father spearing the animal, his being tossed? The vulture and his confrontation? Climbing down the cliff, the rain, falling into the water, left? His injuries and his treatment of his leg?

6. As a survivor, water, food and worms, the poultices for his leg, the attack of the wolves, hiding the tree, the wolf being wounded, his concern?

7. The caves, the wolf and its injury, the bond, giving the water, tending the wound, killing the rabbit, sharing the food, the efforts to make fire after his initial failures? The wolf snarling, but changing in trust?

8. The travelling of the landscapes, sharing, the coming of the winter, ice and snow, the man frozen. Keda going beneath the ice, the rescue? The arrival of the other wolves, Keda letting Alpha go for the family?

9. Human/canine relationships? The bonds? The naming of the wolf Alpha?

10. The effect on Keda, his father saying had more strength than he knew, the encounter with the frozen man in his tent, the beast in the cave and the fight, Alpha wounded again? His carrying Alpha? Seeing the snow-covered cairns? The stars on the map on his hand?

11. The camp, arrival, collapse, the welcome, reunited with mother and father, caring for Alpha? The surprise birth of the cub?

12. The tribe, the number of wolves, humans and walls bonding? A stage in evolution?

THE HOUSE WITH A CLOCK IN ITS WALLS

US, 2018, 104 minutes, Colour.
Jack Black, Cate Blanchett, Owen Vaccaro, Kyle MacLachlan?, Renee Elise Goldsberry, Colleen Camp, Sunny Suljic, Lorenza Izzo.
Directed by Eli Roth.


There are some rather irresistible urges impelling us to go to see this entertaining film. What about a title which sounds so intriguing (although audiences might have a technical quibble about the exact location of the clock). And the combination of Jack Black and Cate Blanchett? And more than a dabbling in magic? A story that appeals to the Harry Potter deep inside each of us.


A word about that cast first. Fans of Jack Black will enjoy him – always variations on the same performance but entertaining nonetheless, this time a warlock who has had some success but fallen foul of his performance partner (Kyle MacLachlan? enjoying himself as wizard, Isaac Izard, with a number of appearances where he seems quite sepulchral and villainous). The screenplay is well-written which gives Jack Black a whole lot of typical humorous quips as well as some engaging banter with his neighbour, a benign witch, dressed in purple, Florence. And, Cate Blanchett looking good and generally serene is able to deliver some funny caustic one-liners as well as slapping Black with the banter.


And then there is Black’s recently orphaned nephew, Lewis, with a sympathetic performance by Owen Vaccaro, sadly alone, trying to make friends at school where he is either mocked or ignored, but with a great desire to become a warlock himself.


It is 1955 so a nice period piece (Back to the Future also incoporated returns to 1955), the set designers and decorators working overtime to create a most elaborate house, one of those mansions with extraordinary rooms, museum-like with remnants from local fairs, deep basements, portraits which move. It is entertaining just to be in the house.

And, if you like magic action there is plenty to be relished here, Jack Black being successful as well as some expected messing up, Cate Blanchett’s Florence calm and magical, and Lewis a fast learner and, being dared by a friend at school, literally raising the dead.

The film is directed by Eli Roth who is best known to horror buffs for such films as Cabin Fever, the first two Hostel films (very gruesome), Green Inferno and Knock, Knock. Not exactly a calling card for a PG film – but, getting to the spirit of things, he delivers a comically scary film drawing on his horror talent.

The film was based on a novel by John Bellairs, published in 1979, part of a series of young adult novels influenced, as Bellairs himself (died in 1991) said were influenced by his Catholic schooling and imagination and J.R.R.Tolkein.

Actually, the film is so enjoyable that, in time to come, it would be well worth seeing and living over again.


1. Audience interest in magic, after Harry Potter? Younger audiences?

2. The strong cast? The comedy styles? The touches of horror and terror?

3. The important of the design, period, atmosphere of magic, mansion, interiors, exteriors? The contrast with the town, ordinary, school? The importance of special effects? make up in costume design? The musical score?

4. The title, expectations, the visuals, sound, the clocks and the range, the search for the clocks, the clock under the boiler in the basement?

5. Lewis’s story? The death of his parents, status as an orphan, going to live with his uncle? 1955 and its atmosphere? The impact of the house, his uncle meeting the bus, the caftan? Impressions? His room? His character, ordinary, at school, the friendship with Tarby? His not being chosen for the sports teams? His response to Jonathan, to Florence? The introduction to the world of magic?

6. Tarby, his injuries, the teams, Lewis and of being chosen? The friendship? The change, Tarby daring Lewis?

7. Jonathan and his magic, Jack Black’s screen presence, appearance, clothes, at night, playing the instrument, the complaints of the neighbour? Bashing the walls, searching for the clock? Florence, her visits, the banter between them? The secret book, Jonathan’s rule, Lewis and his decision to be a wizard, the discussion about wizards and warlocks, the details of his study?

8. Tarby and the dare, Lewis taking it, raising from the dead? Raising Isaac? Tarby and his fear and running away?

9. Isaak, ghostly? The flashbacks, his life, performances, experience of the war, meeting the creature in the woods and the effect on him? Rivalling Jack? Selena, her conspiring with him? Their goals?

10. Florence, Cate Blanchett’s presence, appearance, hair, dressed in purple? The story of her family losses? The loss of powers? Interactions with Jonathan?

11. Jonathan, upset with Lewis, Lewis and his ball and the giving of information? The location of Isaac’s clock?

12. The search, the basement, the effect of the clock, the appearance of Isaac and Selena, the confrontation? Selena’s revelation about appearing as Lewis’s mother?

13. Conflict, the control, the defeat of Isaac?

14. The future, a happy household, Jonathan and Florence, Lewis as wizard?

CITY IN DARKNESS

US, 1939, 75 minutes, Black-and-white.
Sidney Toler, Lynn Barry, Richard Clarke, Harold Huber, Pedro De Cordoba, Dorothy Tree, C.Henry Gordon, Douglass Dumbrille, Leo Carroll, Lon Chaney Jr.
Directed by Herbert I. Leeds.

City in Darkness is one of the earliest Charlie Chan films with Sidney Toler taking up the rule from Warner Öland.

The film is surprisingly topical, incorporating at the beginning quite an amount of contemporary newsreel footage, of Hitler, Neville Chamberlain, raising the issues of the Czechoslovakian problems of 1938 and the possibility of the beginnings of World War II. Chamberlain goes to Munich and there is a respite for one year. In many ways, the screenplay is quite prescient, indicating the effect of the war.

Charlie Chan is being celebrated in Paris while there are preparations for war, flights over the city, blackouts, gas masks. Chan is supposed to leave for the United States but a dealer, Leo Carroll, sells a ticket to an agitated woman, Lynn Barry. The audience, in the meantime, has seen criminals involved in illicit arms deals.

There are several strands in the mystery including locals doing a robbery, the agent of the arms deal for the perpetrators is a financier who is in on the deals; and there is his butler whose son is going to war.

The drama is quite interesting but there is comic relief in the character of the police inspector from Romania, training in Paris, played by Harold Huber who was in many of the Charlie Chan films portraying a variety of nationalities. He is the equivalent in this film of Charlie Chan’s sons who are eager, rushing to conclusions.

The shady financier is murdered, there is suspicion on one of his workers who is to expose him and is being framed, his wife trying to get the tickets for him to get out of Paris. The smugglers are exposed – and the person who killed the financier turns out to be the butler who had overheard the plot and confronted him, self defence in a patriotic confrontation.

All the Charlie Chan ingredients but very topical in preparation for the experience of World War II.

PHANTOM OF CHINATOWN

US, 1940, 62 minutes, Black-and-white.
Keye Luke, Lotus Long, Grant Withers, Charles Miller, John Dilson.
Directed by Phil Rosen.

Phantom of Chinatown is the sixth in a series featuring Jimmy Lee Wong, Detective Wong. He was played in five films by Boris Karloff whose contract ran out and Keye Luke was called in. He is very serious in this role, efficient in his work – something of a contrast between his comic turns as Charlie Chan’s son in the Warner Oland films in the series.

The film has an interest in exotic China, opening with some footage of an expedition to discover a sacred temple. Information is given about the members of the expedition, the professor, his daughter and her fiance the pilot, the cinematographer, the co-pilot who disappeared.

At a lecture in San Francisco, the professor collapses, having been poisoned. There are various suspects including the professor’s Chinese secretary. Researcher Jimmy Wong arrives, interacts with the detective, a sympathetic and gruff performance by Grant Withers, discovers the means of the poisoning.

Quite a number of interrogations, the audience learning that the co-pilot had survived and was plotting against the professor. Then there is the revelation that the young woman works for the Chinese government, that the scroll from the temple contains residue of oil – which means then that the criminals want to capitalise on oil exploration in China. There are several murders – and the revelation that the cinematographer was in cahoots with the co-pilot and was betraying him.

Detective Wong is the hero and the case is solved. Direction is by Phil Rosen, who worked with Thomas Edison, directed a number of small budget features including Charlie Chan films.