MARAUDERS

US, 2016, 107 minutes, Colour.
Christopher Meloni, Bruce Willis, Dave Bautista, Adrian Grenier, Johnathon Schaech Lydia Hull.
Directed by Stephen C.Miller.

This is one of the many crime thrillers that Bruce Willis made year by year as he grew older. However, he is not the main star of this film – and, in fact, he is a billionaire villain. The hero, a somewhat jaded detective with harsh past experiences, is played by Christopher Meloni.

The initial focus of this drama is on bank robberies, the villains wearing skeletal masks, somewhat unscrupulous in their killing of security guards, a man in the street… The detective pursues his investigations with quite some intensity, critical of some of his associates, especially one who seems to have betrayed him in the past (Johnathan Schaech) and is now very much concerned about his terminally ill wife. And, he has been assigned a new man to be his immediate associate. He is played by Adrian Grenier.

There are some twists in the plot, more revelation about the Bruce Willis character, another side of the detective’s assistant, a trip to Mexico and some vigilante justice.

In many ways routine, generally keeping the attention, though with some touches of brutality.

1. Bank robbery movie? Twist? Conspiracy?

2. The Cincinnati settings, the town, FBI headquarters, police, the banks, the streets, drug areas? The transition to Mexico at the end? The musical score?

3. The opening, the robberies, split second timing, military precision, the skull masks? Speaking, the recordings, the viciousness of the shooting of the manager? The next robbery? The shooting of the security guard? The murder of the man in the street?

4. The introduction to Montgomery, intense close-up, slow motion? His authority? His team? Well is being appointed to his team? Relying on him? His anger about the evidence, Mims taking it, the confrontation with Mims? The background, the torture and death of his wife, Mims and his giving information? The other agents?

5. The details of his work, interrogations, evidence, speculation, the visit to Huber? Wells and his advice? Or suspicions on Huber? The story of the death of his brother, squad going in, they’re being attacked and killed? TJ and his escape, not making himself known to his wife and child? His brother and the drug deals?

6. Interviews with TJ, the visit to the club, his wife singing? The interrogation by Montgomery?

7. Mims, the background, his wife with the cancer, his devotion to her, her support of him, his wanting to escape, his comments about the man that he had become, betrayals?

8. The character of Huber, his arrogance at the bank, the spider climbing up the wall, his wanting to go to the top, or that there was no top? Arrogance? The growing complexity of the raid on his brother? His participation? The news of the robberies? The helicopter, his escape to Mexico?

9. The details of the investigation, the discovery of the truth about Wells? His participation in the raid? Revenge against Huber? Going to Mexico, Montgomery trusting Wells? The confrontation of Huber, stabbing him, death? Will supporting him?

NOVEMBER CRIMINALS

US, 2017, 85 minutes, Colour.
Ansel Elgort, Chloe Grace Moretz, David Strathairn, Catherine Keener, Terry Kinney, Cory Hardrict, Philip Ettinger, Danny Flaherty.
Directed by Sasha Gervasi.

November Criminals is a Young Adult story. Ansel Elgort and Chloe Grace Moretz play two teenagers at school, bonding, though Elgort is still grieving the death of his mother, finding stress in dealing with his father, David Strathairn. Chloe Grace Moretz live with her mother, Catherine Keener, a hard-headed career woman.

They discover from television coverage that a friend of theirs school has been murdered. He is African- American. The police do an investigation. The principal of the school gives a speech – vigorously interrupted by Elgort and summoned to the principal’s office. He becomes even more determined to discover the truth, leading him to a visit of the murdered young man’s parents and discovering drug involvement, leading him to dealers, leading him to violent danger, leading to threats to his life. He involves his girlfriend though she is hesitant.

The material seems familiar enough. The film leads are competent in their roles. However, with the brief running time, the film moves along but then just seems to stop.

1. The Young Adult drama? Washington DC? Homes, schools, drug areas, police?

2. The introduction to Addison and Phoebe? Younger audiences identifying with them? Addison and his relationship with his father, at home, the death of his mother, his father watching home movies? Phoebe, the expectations of the mother, hard?

3. Sexuality issues, Phoebe and her proposal to Addison, his agreeing, the experience in the aftermath? The continuing?

4. The story of the death of the student? His being a friend? Shot at the diner? Addison and his going, becoming involved, emotional? His confronting the headmaster during his speech, the headmaster in his office and demands on Addison? Addison going to the police, his thinking they were not listening to him?

5. The reputation of the young man? Addison going to his house, meeting his parents, the revelation about the drugs?

6. Phoebe, partly involved, keeping her distance, yet supportive of Addison? His father and her mother being called to the principal?

7. Addison, the intensity, finding the drug dealer, getting a name from him, going further and the confrontation? The dealer and his leading him on? The dangers, the confrontations, shooting, Addison in hospital?

8. The solution, drug deals, Addison carrying the drugs to Phoebe’s friend from school?

9. The low-key ending, the solution of the killing, Phoebe and Addison, his going away to college?

ISMAIL’S GHOSTS

France, 2017, 114 minutes, Colour.
Mathieu Amalric, Marion Cotillard, Charlotte Gainsbourg, Louis Garrel, Alba Rohrwacher, Laszlo Szabo, Hippolyte Girardot.
Directed by Arnaud Desplechin.

Ismail’s Ghosts has a lot going for it on paper. However, the finished product is rather unsatisfying.

The director has a strong reputation in French filmmaking. The leading cast is more than reputable. However, it is in the structuring the film, in the writing that there is some confusion and dissatisfaction.

Actually, the film opens promisingly, with a story about a young man who has become involved in the diplomatic service but who has a questionable reputation. A lot of officials seem to be running to discuss the situation and evaluate it. Then, this line of action, comes to a halt. It is part of a film that is being made and, while there are some excerpts throughout the film, with Louis Garrel is the young man, the action shifts to the maker of the film, Ismail. He is played by Mathieu Amalric.

With his story, the film veers between time eras which are 20 years apart. Ismail’s wedding, when young, to Carlotta, Marion Cotillard, who then disappears from his life. After her disappearance, he encounters Sylvie (an Astro-physicist no less) and they begin a long relationship. She is played by Charlotte Gainsbourg.

There are quite some complications about the filming, about Carlotta turning up after 20 years, the filling in her background story and motivation, the effect that it has on Ismail, Carlotta’s interactions with Sylvie, and the consequences for the filming and the pressure of the harassed producer.

A film which ends with one of the leading characters talking for some minutes to camera to explain things indicates, as has been suggested, some dissatisfaction.

1. the French story? French tone? Relationships?

2. Locations, Paris, the coast, homes, studio sets, the beaches? The musical score?

3. The structure of the film: the various pieces, the screenplay going back and forwards? Confusion and clarity?

4. The title, Ismail the focus, his life, his work as a director and writer, marrying Carlotta when he was young, his relationship with her father, her leaving him, the effect? Bloom and his friendship? His life, style, the years passing, parties, drinking, his grief, Carlotta’s portrait? The encounter with Sylvie, meeting and the drink, came to her apartment, her resistance, surveying the apartment? The beginning of the relationship, the love for each other, his continued writing?

5. The discussions with Bloom, his watching the slides of Carlotta, his regrets, the drinking, the effect?

6. Sylvie, astrophysicist, in herself, her life, relationship with a married man, her age, issues of pregnancy and children? Fascinated by Ismail, the drink, the walk home, her flat? The bond, sharing life with him, happy?

7. The significance of Ivan Daedalus, the opening of the film, the diplomats and their comments, openness a subtext? Talking, his being hired, diplomatic life, reputation? His relationship with the young woman? And the fact that this was all part of the film?

8. Carlotta, her age, return, her story, whether she was a true Carlotta or not? Going to Sylvie, knowing all about her, talking and sharing with her? Sylvie getting Ismail, his reaction, 21 years lost? Her wandering, drugs, getting on the train and going away, came to India, marrying, the death of her husband, his funeral, her return to France, nowhere to go?

9. Sylvie and her jealousy, leaving, Ismail and the sexual encounter with Carlotta? But his hostility, leaving for Paris?

10. Carlotta, the visit to her father?

11. The finale, the close-up and the focus on Sylvie and her narration of what happened?

 

 

 

 

THE MEG

US, 2018, 113 minutes, Colour.
Jason Statham, Bingbing Li, Rainn Wilson, Cliff Curtis, Winston Chao, Shuya Sophia Cai, Ruby Rose, Page Kennedy, Robert Taylor, Olafur Darri Olafsson, Jessica Mc Namee, Masi Oka.
Directed by John Turteltaub.

The Meg has to be big. And it is! The focus on the film is a mega shark, the prehistoric shark which has survived in the depths of the ocean until today (and not only just one).

During the last 40 years or more any audience seeing a shark on a film poster will immediately think of Jaws. And rightly. It is the archetypal shark film. This film pays some homage to Jaws especially in the final sequences at a crowded Chinese beach resort, lots of people in the water, the celebration of a wedding and a poodle falling into the water (will it be chomped - so we are led to believe and, for those of tender emotions towards dogs, spoiler alert, it is saved!).

However, with the shark being prehistoric and surviving into the present, there are memories of Jurassic Park, so this is a kind of Jurassic Deep Ocean Floor.

Chinese producers have invested heavily in this film as have the Americans - which leads to the setting being the oceans off China, with a climax at the above-mentioned beach resort, some key Chinese characters in the drama and lots of extras on that beach resort. It is not surprising to find that the film was a box office success in China - and, more surprisingly, in the United States.

Jason Statham, who has survived 20 years of action shows and shows no sign of easing off, is a popular hero of this kind of film. He is something of a kind of antihero, involved in a disaster in the initial action here, retired to Thailand, unwilling to come back to deep sea diving when there is an emergency but, of course, persuaded to do so.

The centre of most of the action is a huge facility (perhaps something of an understatement given the size, affluence, high-technology) in the ocean, scientists doing research on the ocean floor and sponsored by one of those bluff American billionaires (Rainn Wilson). The assorted experts include the veteran Chinese scientist (Winston Chao), his daughter who is skilled in science and deep sea diving (Bingbing Li) whose young daughter is present and proves a significant presence not only in the drama but in fostering a relationship between her mother and our hero. There is an eccentric young inventor (Ruby Rose), a Scandinavian expert in diving, an African-American? whizzkid on theory but who gets very anxious in the water and the hero's former wife (Jessica Mc Namee). More than enough for interpersonal clashes in crises.

But, of course, the big focus is on the shark, savaging an initial diving expedition, biting at the reinforced windows of the facility, and doing all the menacing things that sharks do in the movies if not in real life.

Which means, there is plenty of tension, plenty of action, plenty of heroics, plenty of dangers, the American owner being arrogant and getting his comeuppance, a touch of romance, and a super-abundance of mayhem.

This is what The Meg promises - and what it delivers.

 

1. The title, a variation on Jurassic Park in Jaws, Jurassic Ocean Depths?

2. Audiences, interest in films about sharks, sharks in danger?

3. The background of science, technology and developments?

4. The underwater sequences, the action? Terror?

5. The special effects, computer graphics, the musical score?

6. The plausibility of the plot? The characters, the situation with shark, its menace, dealing with it, the threat to humans?

7. American and Chinese money? American and Chinese audiences? The Chinese settings and characters? World appeal? Box office success?

8. The prologue, the danger, the undersea rescue, the impact of the depths, the team, the vessel being shaken, the threat of the Meg? The reactions, Jonas and the symbolism of his name? His pausing, the decision, cutting off the members of the team? Rising to the surface? Action, the later review, the condemnation, his interrogation, not being believed, considered a coward?

9. Morris, the wealthy businessmen, his arrival, presumptions, introduction to the plate, the extent, affluent? The range of members of the staff, the spirit, their experiments?

10. The group, the decision to go to the ocean bed, the group going down, the menace, Laurie and the group, the danger, Tashi and his writing the letter, his self-sacrifice?

11. Thailand, Jonas and his retirement, the group coming to persuade him to return, the explanations? His decision?

12. CEN, her father, their working together, his dignity, science? Her skills? The presence of her daughter, the relationship between mother and daughter? Her spirit, going down? Jonas and is coming to her rescue? Jonas and Laurie in the hospital Ward? The death of Tashi?

13. The role of the doctor, his interrogation of Jonas, condemning him? His role on the plant? The dangers, Jonas and the rescue, the doctor's apology? His later giving his life?

14. Mac, his standing, command, personality, concern for people? The big man, called The Wall, going down with Laurie, the jokes, standing with the Jaws of the Meg? Into the water, his death?

15. Jack's, her being an inventor, participation in the action? The African-American? member, his skills, fear, wanting to get out? The team and the action?

16. The daughter, her personality, with her mother, playing with the ball, seeing the Meg, her talking with Jonas, her awareness of the truth?

17. The Meg, the visuals, in the depths, coming to the surface, the menace of the wall, the teeth marks? CEN and her going to the cage, shark proof, yet the menace? Jonas and his rescuing her again? The bond between the two?

18. Testing the Meg, during it, its dangers? The fact that there were two? The danger to the ship, the deaths, fears, ought audiences identifying with the situation?

19. Morris, his escape, saying words of sympathy, but not informing the other authorities, the helicopters, his wanting to destroy the Meg? His death?

20. The Bay, the people at the resort, the marriage, the dog and its going into the water, the chubby boy and his mother? The threats?

21. The mayhem in the water, reminiscent of jaws?

22. The final decisions, the boat, the wreck, in the water, Jonas and his slitting the belly of the Meg? His being stabbed in the eye? The final rescues?

23. A popular entertainment - doing what it intended?

 

 

SEARCHING…

US, 2018, 102 minutes, Colour.
John Cho, Debra Messing, Joseph Lee.
Directed by Aneesh Chaganty.

Searching… Is one of those messages that sometimes blinks on our computers. And, this is the key to this film, not only in its plot and themes but in its whole cinematic treatment.

The film has the audience looking continuously at computer screens – which means that if Searching… were to be downloaded on a computer, it would mean watching a small screen presentation of the big screen film of a small screen story and treatment!

Audiences may appreciate the inventiveness of the technique: homepages, photos and uploading, emails, texting, room surveillance, television news, police interviews, phone calls. On the other hand, some may find it at times something of a trial, being fixated on the computer screen for an hour and a half.

On the inventive side, the film quickly establishes the central characters by uploading photos, husband and wife, birth of a daughter, a file of uploads tracing her growth and development, the bonding with her parents, her mother’s illness… Most of us can identify with uploading photos.

The main action of the film takes place when Margot, the daughter, is in her final years of high school. She has many friends, enjoys texting, but there are some tensions with her father, especially in their shared grief at the death of her mother. She is not quite as open with him as she should be or has he expects. The father, David, played by John Chu, is sympathetic, wanting the best for his daughter.

She does some texting but when her father responds, there is no reply. This means that the film moves into the familiar story of the missing daughter, the possibility of abduction, the mystery of what has happened to her, the father and his growing anxiety, making demands on the police, confronting his brother who has been keeping some secrets from him.

A lot of the sequences on line from surveillance in various rooms of the house, split screens, characters walking from one side of the screen into an image on the other – we are continually conscious that we are watching the computer screen.

And the other central character is the detective (Debra Messing) who is assigned to the case, interviews the father, makes investigations, finds that a criminal has confessed to the abduction. These sequences are all done by television newscasts, the on air talking heads, the on location photography, helicopter shots…

Just when the audience thinks that the film is going along in an expected manner, there is a dramatic twist, leading to an ending that is not quite what was anticipated.

For those who enjoy this kind of thriller, quite satisfying. For those intrigued by the cinema technique and the use of the computer screen in its various guises, intriguing.

1. An IT thriller? Combining the conventions of the thriller, the missing girl, the grieving father, detection with the focus on computers and development?

2. The title, the indicating of an IT search?

3. The use of the computer screen throughout the film? Homepages, photos and uploading, emails, texting, room surveillance, television news, police interviews, phone calls? The overall effect of the visual style with the computer screens? The musical score?

4. The basic plot, the film establishing the father and his love for his wife, the birth of the daughter, the images on the various stages of her growing up, the bonds, the wife and the illness, her death? The development of the father and daughter relationship? The teenager? The role of his brother? Differences, difficulties, lies, potential tragedy?

5. The impact of the photos of the central characters? Margot and her growing up? Her mother and the piano? The piano lessons and performance?

6. The situation, the grief of the father, communication and not communicating with his daughter, her age, the teenager, the father and his checking the emails? The brother, the visit, drugs, the cooking the recipes? The later discovery of the texts? His visit and confronting his brother?

7. The piano teacher, the contact, dropping the lessons, banking the fee for six months?

8. Margot not at school, the response of the teachers? Discovering her friends, the mother, the IT communication, phone calls and texting? The friends, going camping, to the mountains? Discovery that Margot had not gone?

9. Going to the police, the reporting, the detective, her being assigned (and later discovering she had volunteered)? The discussions with the father, following the leads, the nature of the investigation, the phone contacts?

10. The father checking Google, her reputation, the photo – and the irony of the man confessing, newspaper and television reports, his being in the seen in the photo with the detective?

11. The media and the coverage of the case, images, reporters? The discovery of the car, the contents, the location, the lake, the cliff?

12. The confrontation with the detective? Her confessing? The role of her son, his relationship with Margot, at school, after-school? His needing special treatment? His fears, contacting his mother? Her reassuring him, taking the blame? Her setting up the criminal, his confession, her dealing with him?

13. Her being arrested, the interrogation, the revelation of the truth?

14. The background of the article about the man surviving in the mountains? The issue of Margot, having enough water to survive?

15. The revelation about the money, her concern about the detective’s son, withdrawing the money, wanting to help?

16. The search, the cliff, the concerned father, the police, the recovery of Margot, going to the hospital?

17. The effect of watching this familiar kind of story through the means of the variety of IT communication and social media?

LEAVE NO TRACE

US, 2018, 108 minutes, Colour.
Thomasin Mc Kenzie, Ben Foster, Dale Dickey, Jeff Kober.
Directed by Debra Granik.

Directed Debra Granik has not made many feature films. Some years ago, she attracted a great deal of critical attention with her film Winter’s Bone, featuring Jennifer Lawrence in an early role which earned her an Oscar nomination. The film was set out in the back blocks.

This film is also set out in the black blocks. This time it is in Oregon, with beautiful photography in close-up detail in the forests beyond the city of Portland. The screenplay shows a father and daughter surviving in the forest, continually on the move, found at one stage and moved into the city (we we have actually seen them walk to shop in a supermarket). Because we have been plunged into their forest life, their independence and interdependence, the visit to the city is momentarily unnerving, and when they are taken in and interrogated by the authorities, psychological questionnaires, we share their unease.

Gradually, the background is filled in. The father, Will, played by Ben Foster (who is frequently cast in rather abrasive rules but is much more sympathetic here), is a war veteran, a victim of Post Traumatic Stress Disorder, returned from the war zone but unable to live in society. His wife has died. He is protective of his teenage daughter, Tom (played with conviction by New Zealand actress, Thomasin Mc Kenzie).

The film slowly builds up its portrayal of Will and his psychological condition, a principled man, trying to do the right thing, unable to settle in society, schooling his daughter, training her to survive in very harsh conditions. The attempt to settle him on a farm with a genial owner, with visits to the local church, does not work.

After an accident when Will needs treatment, Tom is able to rescue him and draws on the help of an isolated community, older men and women, withdrawn from society, living in huts and caravans, but building up a sense of interdependence.

Will this be enough for Will? Will it be the kind of life that Tom wants? That is the dilemma at the end.

A sympathetic woman, Dale (Dale Dickey), takes care of Tom and, in a striking sequence, shows her the beehive, trusting bees walking on her hand – something which Tom herself is able to develop and show to her father. Tom also helps Dale and the groceries, discovering that there has been a man living in the forest for years, leaving a bag hanging on a tree that is to be filled by provisions. That is the only trace he has left.

For some who have experienced Post Traumatic Stress, there seems to be a great desire to leave no trace. Is it possible? And is it possible for those who are loved?

1. A piece of 21st-century Americana?

2. Post-traumatic Stress Disorder, memories of Vietnam, Iraq, Afghanistan? An acknowledgement of the reality of the trauma?

3. The title, the traces of post-traumatic stress, the soldiers and the disappearance?

4. The Oregon settings, the forests and their beauty, the close-up detail? Father and daughter living there, in nature? The parks and the ranges? The work in the parks? Hopes? The secluded community and the homes, buildings, caravans? The musical score?

5. Will and Tom, father and daughter, ages, living in the forest, the details of their way of life, shelter, cooking, the bed, wood and the fire, food? Surviving?

6. Going into the city, the visuals of the city, the contrast with the forest? Going to the supermarket? Buying the goods, walking home?

7. Will, his age, his experience, his dead wife, caring for Tom, his experience in war, the effect, the trauma, coming home? Living in the forest? Protecting his daughter? The background information, newspaper articles, the squad, deaths and suicide?

8. The couple being caught, surrendering to the authorities, going to the city, the interviews, the tests? The being consigned to the farm, the care of the farmer? Their life, at home, going to the church, the Minister, the dancing? Will and his wanting to do the right thing?

9. Their going deeper into the forest, the walk, the cold, the plastic bags on Tom’s shoes? The hard life, finding the hut, settling in, Will leaving, Tom alone, the accident, the discovering her father, getting help?

10. The community, older people, the doctor and his help, Dale and her looking after Tom? The episode with the bees, the bees and their confidence? Tom showing this to Will? The food, Tom helping with the bags? The old man who had disappeared, leaving his bag to be refilled? Never seen?

11. Will, his recovery, deciding to go? Tom wanting to stay? The farewell in the forest?

12. Will, staying in the forest – and the image of the man who had disappeared, leaving no trace except the bag for the food? Tom and her refilling the bag?

13. An insight into the experience of stress? Consequences?

SLENDER MAN

US, 2018, 93 minutes, Colour.
Joey King, Julia Goldani Telles, Jaz Sinclair, Annalise Basso, Alex Fitzalan, Taylor Richardson, Javier Botet, Jessica Blank, Michael Reilly Burke.
Directed by Sylvain White.

Every other week there is a new horror film. Many are of the blood and gore variety, probably with a raucous male audience in mind. Not so many geared to a female audience – as is this one.

It is not as if we have not seen this story before. In fact, according to the bloggers, they have seen it before and generally better. Although there are a few who defend the film.

The central characters are four older teenage girls, still at school, with an eye on the boys but happy in one another’s company. The boys go off by themselves to be with their computers, to look up the mythological Slender Man online, the girls decide to do the same thing. There is an eerie video, a mysterious gangly male presence in the forest, face concealed, white-masked. There are all kinds of weird touches of information, threats – and, on googling, all kinds of stories, especially about abducted young women.

What else is the screenplay to do but look at the characters of the four girls, put them in difficult situations, put them at the mercy of Slender Man. One disappears in the forest. One has a frightening experience at home. One is more resourceful, goes to the library to research the phenomenon, has a very weird experience, thinks she has the solution from a book discussing vibrations and force fields, and tries to persuade her friend. Which leaves the main drama to the friend, friendly with one of the boys but then experiencing hallucinations, having a number of nightmares (which often is a bit of a cheat on the part of the writer to have their scares and then back to reality), concerned about her younger sister who seems to become involved in the Slender Man experience and is hospitalised.

The film is literally very dark a lot of the time, especially with excursions into the deep forest. The other camera technique is focusing on the close-ups of the four central characters, the audience being fixed on them and their experiences. Actually, the film does get a bit scarier as it goes on – and does not really let up at the end.

1. The title? A variation on the bogeyman? The mythology, the descriptions, on the Internet, the visuals, his behaviour?

2. The Massachusetts setting, homes, school, the forests? The feel for the horror atmosphere? The musical score?

3. The visual style of the film, light and darkness, especially darkness? The continual focus on the close-ups of the characters?

4. The introduction to the friends? The film’s focus on young women? The second place of the men?

5. The introduction to the characters, their friendships, being together, the boyfriends and their lesser presence? The story of the boys at the meeting to find out about Slender Man?

6. The girls, deciding to go online, finding the video, the impact?

7. The repercussions for the girls? Into the forest? Katie, her character, her disappearance? Chloe, at home, confident, her experience, appearance of the window, possessed? Wren, lively, researching, going to the library, a nightmare experience in the library, discovery about the book, the physical and scientific explanations of Slender Man? Trying to persuade Hallie? Hallie going to the house, on the roof, falling and caught? Her ultimate disappearance?

8. Hallie, her parents, Lizzie? Her involvement with the group? Her fears? The encounter with Wren at her house, catching Wren?

9. Lizzie, the effect of Slender Man, the parents concerned, going to the hospital?

10. Hallie, the range of nightmares, going to the forest, seeing Slender Man, wandering the hospital ward, prepared to give her life for Lizzie? Slender Man and his overpowering her? And Lizzie’s survival?

11. The effect of a horror film, the popularity of these films with young audiences, this film with the female audience?

BOOK CLUB

US, 2018, 104 minutes, Colour.
Diane Keaton, Jane Fonda, Candice Bergen, Mary Steenburgen, Andy Garcia, Craig T.Nelson, Don Johnson, Ed Begley Jr, Richard Dreyfuss, Wallace Shawn, Alicia Silverstone, Katie Aselton, Mircea Monroe.
Directed by Bill Holderman.

Is a book club a mainly female phenomenon? You don’t hear about many men’s book clubs. Whatever the case, the book club here is very much a women’s club – with a rather prestigious Hollywood membership, Jane Fonda at 79, Diane Keaton and Candice Bergen in their early 70s, Mary Steenburgen merely 65. It is clear that this comedy is for an older female demographic.

There isn’t exactly equal time for men but here are Andy Garcia, Craig T.Nelson, Don Johnson and Richard Dreyfuss.

And, what are the members reading this month? With a bit of a giggle, with more than a touch of embarrassment, with some eyebrow-raising and jawdropping, they have ventured into The E. L. James 50 Shades of Grey. So, we know what the film is going to be about. We are not wrong.

We are introduced to the four members of the club, Diane Keaton, a widow, with two insistent daughters who feel a compulsive need to look after their mother – and Diane Keating performing (and sometimes dressing) like Annie Hall after 40 years. With Jane Fonda, we are remembering her long career, 50 years since Barbarella, almost 50 years since an Oscar for Klute, almost 40 years since an Oscar for Coming Home. And, she is a living example of the effectiveness of aerobics! She plays an accomplished businesswoman skilled in risk management. Candice Bergen has always been an enjoyable screen presence, especially in her television incarnation of Murphy Brown. There are some humorous references that she is not as thin as she used to be. Here she plays a Supreme Court judge who has been divorced for 18 years. Mary Steenburgen, winner of an Oscar for Melvin and Howard, has been married for 35 years, several children, a husband who has retired and is trying to do with a retirement crisis.

They read the book. They giggle, imagine, speculate. And they do some venturing. Most seriously is Diane Keaton’s story, not coping with her daughters, encountering a more than charming airline pilot who has retired to a vast ranch in Sedona, Arizona, Andy Garcia. Will she? Should she? The other serious story is that with Mary Steenburgen and her all-out efforts, including dance lessons, spiking beer with Viagra, to interest her husband who has retreated to his workshop, Craig T.Nelson.

Ultimately, Jane Fonda’s story is a bit serious, meeting again an old flame after 40 years, Don Johnson (being rather benign with that Trivial Pursuit answer that he is the father of Dakota Johnson who portrays Anastacia in the 50 Shades films). Her friends in the book club persuade Candice Bergen to go online, online dating. Actually, she is very lucky that one of the earliest men she meets is Richard Dreyfuss, genial and charming.

So, the four stories are intercutting, a lot of humour, a reminder that every subject is possible for humour, even sex. As with so many American films, it starts out with tongue-in-cheek, the touch of the permissive but, eventually, arriving with four final speeches all in the name of true love.

1. The title, the group, the women members, meetings, friendship? The books selected?

2. A film for older audiences, female audiences, their identifying with the characters? The men? Memories, memories of the cast and their films? The age, in the 60s and 70s? Issues of ageing – or not?

3. Los Angeles, homes, hotels, offices, dance studio? Arizona, homes, the ranch? The vistas of Sedona and the air flight?

4. The range of songs, memories of the past?

5. The photos of the past, the actresses in the present? Age, issues of weight, dying hair or not, relational situations, domestic situations, professional? The impact of the past?

6. The meetings, the selection of The E.L.James’ books? The touch of embarrassment, the effect, the erotic details, the excitement, the imagination?

7. Issues of sex and sexuality, sexual activity, relationships, love, mistakes of the past, love of the past, family and children, sexuality and age?

8. The humour, sexual humour, double entendre, the jokes?

9. The indicating of the stories of each of the women, their influence on each other, the meetings, the discussions, ease with one another?

10. The screenplay, moving from the touches of permissiveness to expressions of authentic love, reality? The speeches of each of the characters at the end, declaring what had happened to her?

11. Diane Keaton as Diane, memories of Annie Hall, manner, idiosyncrasies, clothes? The widow, memories of her husband, her explaining the cooling of the relationship? Her daughters, their age, the continual concern about their mother? Going to Arizona, the request that she come and live there, the plane flight, her nervousness, the awkwardness with Mitchell, the effect, the return flight, his being the pilot, getting her interests? The arrangement for dates, the outings, the meals, her clothes? The ease with one another? Telling each other stories? Her going to Arizona but going to Sedona, the happiness of being with Mitchell, the police and her being caught by her daughters? Returning to Arizona, the usual truck, to her daughters, warning them off, her returning to Mitchell?

12. Vivian, Jane Fonda and her reputation and career, at almost 80, glamour? Her life story, risk assessment? Managing the hotels and the staff? Her personal life, her perks? The meeting with Arthur 40 years earlier, meeting again, relationships, her not literally sleeping with people, sexual relationships? Rekindling the friendship, his turning up, the outings, the meals? Her fear, bravado? The sleep, the input of the women, her going to the airport, missing him? His return, appreciating her as she was?

13. Sharon, in the court, the 18 years and the divorce, her concern about her ex-husband, concerned about her son? His remarrying, the young fiance? Her being persuaded to go online for dating? The comic photo with her make up? The encounter with the accountant, his charm, the ease of the meal, the sexual encounter?

14. The dentist, meeting with her ex-husband? On and off the dating service? Her going to the party, listening to her ex-husband speech, her own speech, pride in her son? Dating again – and the photo of the accountant?

15. Carol, her background as a waitress, her ambitions about restaurants? Seeing her at work? 35 years married to Bruce? Their children? His retirement, illness are the dinner? His going to work in the garage, his talk about the bike and the sexual innuendo unbeknown to him? Carol and her desperation, wanting the physical contact? The workshop, his frustration, her frustration, urging him to go to the dance lessons, their failure? The Viagra, the outing, stopped by the police, the Viagra jokes? Bruce upset and humiliated? Carol and her deep apology? Her performance, her dense, Meatloaf, tap dancing, Bruce joining her on the stage, the happy reunion, going home?

16. And the moral of this film is…?

THE MISEDUCATION OF CAMERON POST

US, 2018, 91 minutes, Colour.
Chloe Grace Moretz, Jennifer Ehle, Sasha Lane, Forrest Goodluck, Kerry Butler, Dalton Harrod, John Gallagher Jr, Christopher Dylan White.
Directed by Desiree Akhavan.

The title clearly indicates that something is wrong.

Cameron Post is a teenage girl, still at school, living at home with her guardian. She has a girlfriend and they are being prepared for prom night, dresses, make up, photos… The boys come calling. However, Cameron is not an enthusiast about the prom. She is in love with her girlfriend.

This is a film about sexual orientation, same-sex orientation, teenagers facing their orientation, hiding it, experiencing shame. When the girls are caught by the boys, Cameron is sent off to a re-education institution, for re-orientation, for, as is said, being de-gayed, confronting gender confusion. However, this is a Christian-based institution, with quotations from Matthew’s Gospel and, powerfully at the end, St Paul’s comments about his own experience with torment and the thorn that he asked God to be rid of (interpreted here in sexuality terms).

The facility, as it is called, is run by a brother and sister. The brother, Rick, has been re-oriented from being gay. His sister has a doctor’s qualification and runs everything by herself. At one stage, and the audience is possibly thinking this, there is a question as to what qualifications they actually do have and whether they are making things up as they go along. Jennifer Ehle brings the charm from her other roles but turns it into a sweet-smiling but iron-controlling personality. And the question is asked about what accountability the brother and sister have for their initiatives, for the course, for their control.

Chloe Grace Moretz, in her late teens, has had a very successful film career. She is convincing as a girl who is confused, made even more confused by the re-orientation, puzzled by the appeal to God, remedies based on overcoming sin, and stating eventually that she was tired of being disgusted with herself, something that the course re-emphasises.

The treatment of the facility is particularly American, echoing something of a cult, with a kind of Pentecostal enthusiasm, with TV programs which are ultra-zestful in the name of God, and some approaches to aversion therapy.

Cameron is allotted a roommate who is very earnest, says all the right things, tries to do all the right things, but is unaware (as the audience actually is) that she really is not changing in her orientation. There are group meetings and we are introduced to a range of those participating in the course including a chubby young woman who wants to sing but has a low self-image, a rather arrogant young man, a young man whom his father labels as effeminate who is driven to drastic physical action against himself. Cameron bonds with two of the members, Jane (Sasha Lane), a rather tough-minded young woman and Adam, Forest Goodluck, earnest and a good friend.

By these years in the early 21st century, such programs have generally been discredited although they are supported earnestly by those who believe that such re-orientation is possible and, especially by homophobic people who consider that it is essential.

The film has a comparatively brief running time, focuses on female same-sex relationships principally, invites the audience to understand as well as empathise with the young women, also invites the audience to be critical of those running the program, raising the questions and leaving the audience to reflect on possible answers. (A forthcoming film, Boy Erased, raises the issues in terms of male-male orientation.)

1. The title, the tone? The critique?

2. American issues, style, culture? Universal issues?

3. The issue of re-orientation, de-gaying? Attitudes pro and con? The possibilities of re-orientation? Not? The consequences?

4. Professional help, the abilities of those in charge, qualifications, accusations of making things up as they went along? The personnel, backgrounds, philosophy, understanding of human nature, sexual orientation, religious background, theology, methods? Aversion therapy? Religious background, Pentecostal style, Revivalist style? TV programs? The long-lasting effect or not?

5. Cameron, the introduction, her masculine name, her age, the death of her parents, Ruth looking after her? With her friend, the sexual experience, the orientation? Photos for the prom, Ruth and her enthusiasm, the boys, the expectations, the dance? The couple being caught?

6. Cameron being sent to the facility, the encounter with Rick, with Lydia? The range of those at the facility? The welcome, expectations, the inspecting of luggage, the room
and the roommate, the classes and the teacher, meals, walks and hikes, activities, the discussions, Jane and the drugs? The variety of sessions?

7. The religious background, issues of sin, making people hate themselves through their orientation and behaviour? The shoplifting incident? The roommate, her earnestness and saying the right things, Adam’s reaction, confessing or not? Issues of faith, prepare prayer, possibilities for belief?

8. The effect on Cameron, her memories and the flashbacks, her erotic dreams, with the teacher? Uncertainty? Learning, mixing with the others, the friendships, the phone call home, the roommate and the sexual encounter, Cameron preparing to leave?

9. Rick’s story, the background of his orientation, re-orientation, working with his sister? With those at the facility? Lydia, the smooth manner, relationship with Rick, with the students, her iron will, controlling? Reaction to Cameron, to the others? To Mark and his mutilation?

10. The variety of characters, Jane, tough, Adam, the issue of his hair, the drugs? Helen, chubby, wanting to sing, Dave and his resentment?

11. Mark, his father, the quotation from St Paul to the Corinthians and begging to be relieved of the thorn? His despair, self-mutilation? Cameron and being tired of being disgusted with herself?

12. The audience drawing conclusions about re-orientation? Behaviour, attitudes? Love, relationships, sexuality, gender confusion, change?

13. The finale, the three in the back of the truck, going to freedom?

WEST OF SUNSHINE

Australia, 2017, 78 minutes, Colour.
Damien Hill, Ty Perham, Arthur Angel, Kat Stewart, Tony Nikolakopoulos, Kaarin Fairfax.
Directed by Jason Raftopoulos.

Here is a small budget piece of Australiana – or, more particularly, Victoriana and, even more particularly, of Melbourne’s western suburbs. (Those not familiar with Melbourne will not notice but, in fact, most of the action takes place east of Sunshine.)

The film also has a brief running time. It covers the day in the life of Jimmy, a rather dismal and disillusioning day at times, some crises points in his life. He is played convincingly by Damian Hill and he plays against his stepson in real life, his son in the film, Ty Perham.

The film opens with Jimmy waking up, getting ready to go to work, going to his wife’s house to pick up his son, Alex, trying to get another friend to mind the sun for the day but he refuses. He is accompanied to work by his good friend, Steve. They work at a delivery centre and, they arrive late for work, Jimmy initially unwilling to use his own car, pride and joy inherited from his father, but he finally agrees and begins his rounds.

This gives the director the opportunity to drive around Melbourne, showing the variety of the suburbs, the skyline of the inner city, the different views of streets, homes, warehouses, cafes, pubs… In many ways, the film offers an arresting portrait of Melbourne.

Jimmy really hasn’t made much of his life. He says he loves his wife. He loves his son but there are continued tensions between them as the day goes on, Jimmy forced to have Alex in the car with him, trying to get him to stay in the car but Alex wandering in and, despite warnings, inevitably touching things. He is bored, plays games on his father’s phone, gets hungry. And, inevitably, he gets into real trouble when his father does some drug-delivering to get extra cash.

Cash and repayment are at the centre of the plot. Jimmy owes a great deal but has a certainty at the races with the possibility of a big win, encouraging Steve to go along with him. It partly works out – and it partly doesn’t which leads to more tensions, Jimmy at first willing to sell his car, finally turning up to the loan shark, and his thugs, who is owed the money.

So, a slice of life from the western suburbs of Melbourne. It is the first feature film by Jason Raftopolous who also wrote the screenplay. It won him and award at the Barcelona International Film Festival and was screened in 2017 at the Venice Film Festival.

1. The day in the life of…? Jimmy? For Alex?

2. The importance of the location photography, Melbourne, authentic look and feel, the detail, the streets, pubs, cafes, warehouses, homes? The musical score?

3. Ordinary life, hard life, family relationships, father-son tensions, issues of money and debt? Recovering money, gambling, favours?

4. The portrait of Jimmy, his age, his look, the tattoos, his past, his pride in his car, from his father? The hard life, jobs, going to visit his wife, his love for her, having Alex for the day, Alex not wanting to go, Jimmy understanding him, irritated with him, coping? The risk of losing Alex? Going to the woman, her affection for Jimmy, listening to his talk, Jimmy not wanting anything more? His son refusing to stay? His going the money, the loan shark and the phone calls? Picking up Steve, his friendship, the lift, arriving late for work, the boss, the deliveries and the range of destinations and pickups? Steve, making the bet, winning the money? Jimmy winning, the promise to Alex, his betting again, losing? Asking Steve for a loan, Steve refusing, the risk of losing friendship?

5. Going to see Mel, the past links, the discussions, her children, Alex playing with them? The drug deliveries, the range of customers, furtive deliveries, the woman with the old man and the need for drugs? Alex being bored, food, playing with the drugs? Jimmy’s exasperation? The loss of money? Mel giving him $500? The decision to sell the car, the discussions with the dealer, the deal? Driving away? Facing up to the loan shark, his being bashed, giving him the car? Taking Alex home – and saving his relationship with Alex?

6. The portrait of Alex, his age, living with his mother, school holidays, her having to go to work? Not wanting to stay with the friend? In the car, tensions with his father, his boredom, playing games with the phone, arguing with his father, being demanding? Reacting to his father? Eating, the pub, winning the money, his father’s promise? Being bored? Playing with Mel’s kids? The drugs, his inquisitiveness, Jimmy’s reaction, losing the drugs? His being delivered home, saying that it was a good day?

7. The sketch of the mother, love for her son, relationship with Jimmy, going to work? Alex returning home? The friend, listening to Jimmy, the kiss, Jimmy’s refusal? Mel, the
past, her work, the drugs and the delivery, her reaction to the loss of the drugs, the money?

8. The loan shark, his thugs, the phone calls, wanting the money, taking the car?

9. Audience interest, sympathy?