MEMOIRS OF A MURDERER

Japan, 2017, 118 minutes, Colour.
Directed by Yu Irie.
This is an intriguing, if complicated, Japanese crime film, based on a Korean film.

The subject is a serial killer, performing gruesome murders. The murders were never solved. They were committed in the 1990s but in 2017, the media and the police are still investigating.

A book is published, allegedly by the murderer. He also does media tours – and, rather depressingly, he is hailed by the Japanese media, loving a celebrity.

In the meantime, the original investigator is frustrated, investigates the writer, attends press conferences.

While the murders are seen in flashback, there is quite a twist in the plot, conspiracy between the relatives of those who have been killed, especially a young policeman who undergoes surgery – and who has written the book in collaboration with the police investigator.

Under suspicion is a journalist who was arrested and interned during the war, returned with his memoirs, became a television celebrity, owns a lavish mansion – and is unmasked as the killer and his motivations explained.

1. A Japanese film based on a Korean film? Serial killer, police investigations, frustrations?

2. The settings, the 1990s, the situations for the killings? 2017, city, the police, the background of the earthquakes and the collage of images? The role of the media? The mansion? The streets in the city? the musical score?

3. The title, the book memoir, the murderer and his motivations?

4. The initial chase, Makimura and his assistant, the young man, the pursuit, the news about the killer, letting the young man go – but his later being in the employ of the yakuza and his attempted killing of the murderer?

5. The law, statutes of limitations, the Japanese changes in law, the limitations lifted? The video and the focus on the lights meaning the crime was outside the limitations? The police and the connection with the murder? The murder of the sister, her fiance and his suicide attempt? Spirit of vengeance?

6. The author, announcing his interest in interviewing the writer of the memoir? The response of the public, the murderer and his memoir, bestseller, his becoming a celebrity, people flocking, in favour? Speeches? The role of the media?

7. The war correspondent, as a television host, examining the murders in the 1990s and writing an article? His time in prison, his photographs and souvenirs in his mansion? Coming home to Japan, keeping his reputation, writing it on television? His decision to interview the author?

8. The public reaction, reaction of the publishers, authors leaving? Audience response to the situation, plausibility, moral perspective?

9. The victims, the visuals of the murders, survivors as witnesses, angers? The daughter mourning her father, the doctor and his grief, the yakuza boss?

10. The revelation that the alleged author did not write the book? The public shock? Murakami and his announcement? The stories are of his friend to karmic, grief, attempted suicide, the murder of his fiancee, her disappearance and his wanting closure? The conspiracy, the operation and changing his face? Their both writing the book to flush out the actual murderer?

11. The TV host, the encounter with to calmly, the notes, the inconsistencies, two, going to the house, the confrontation, the fight? Murakami in pursuit, arrival? Persuading to a calming not to kill the serial killer?

12. The explanations of motivations, war correspondent, imprisoned, the torture, his friend being taken and killed, his surviving, the traumatic effect, the return to Japan after his release, becoming a celebrity, writing on the serial killings, TV host? His home, the relics? The graphic videos around the walls?

13. The solution and its twists?

UNDERBELLY: CHOPPER

Australia, 2018, 160 minutes, Colour.
Aaron Jeffrey, Todd Lasance, Michael Caton, Ella Scott Lynch, Vince Colosimo.
Directed by Peter Andrikides.

Mark “Chopper� Reed relished a certain notoriety with the Australian public.

Influenced by his father (here played by Michael Caton very convincingly), Mark Read defies authorities, becomes a petty criminal, finds himself in jail. Tough, getting the name “Chopper�. However, in jail, he wrote a book which became a bestseller – and was the basis for a 1999 film, called Chopper with Eric Bana in the central role – and some of the scenes in this film are reprised here.

After his release from jail and the publication of the book and its surprisingly popular impact, Read also goes on the entertainment circuit, regaling rather adoring audiences with stories about his exploits – which may or may not be accurate.

He is still with his childhood sweetheart, Margaret, though her fidelity is tested when he is caught up in an accusation of murder. On his first release, he went back to some of the gangland figures, especially Gangitano (Vince Colossimo), taunting him and finding that a petty criminal had put out a price on his head. The petty criminal, Syd, is a blend of the stupid in the vainglorious, taunting Read, inviting him to a wedding.

When Syd is killed, Read seems to have the perfect alibi but is nevertheless interrogfated by rather relentless police investigators and imprisoned again. Margaret breaks with him but a fan, Mary Ann, visits him in prison and, on his release, they marry and have a son. The marriage does not last – and Margaret returns to him, helping him in his performances – which, in a fantasy tone, are haunted by the presence of Syd, Read seeing him, put off by him, trying to banish him from his imagination.

This film was part of the Underbelly series which, over many years, which dramatised many aspects of Australian crime. While Eric Bana won awards for his performance as Chopper Read, Aaron Jeffrey gives quite an extraordinary performance, bringing Chopper to life – and, as Margaret said to him, there are two people in him, Chopper and his manic violence and a more gentle type, Mark Read. The series was directed by Peter Andrikidis, a veteran of television films.

1. The popularity of the television series, Underbelly? A Chronicle of Australian crime?

2. Chopper and his activities, as part of Underbelly? Mark Reed, his identity as Chopper? Audience knowledge about him, interest? The film and Eric Bana’s portrayal? Awards?

3. Chopper, his death in 2013, a retrospective? The use of his performance to the adoring crowds, the insertion of flashbacks?

4. How real, his life and career, his making up stories, his creating his own image, lies and reality? Invention? And the device of having Syd’s ghost present and questioning him?

5. Audience judgement on Chopper? The truths, falsehoods? In between? His life with his father as a bully, becoming a criminal, the abduction, going to prison, the years served, getting out? His connections in the crime world and their reactions? Violent confrontations? His reform, writing his book, the publicity and the popularity? His relationship with Margaret, from young days, her support of him? The presence of Sid, the attempted assassination, the confrontation? The police, the arrest? Chopper in jail, Margaret and her support?

6. The background of his father, his criminal attitudes, supporting his son, the son trying to get out of the influence of his father? Life in Tasmania? With Margaret?

7. Aaron Jeffrey and his performance, the two characters, Mark and Chopper? Margaret’s opinion? The communication of the two personalities, pleasant on the one hand, the mad grin, eyes, teeth and laughter? Demeanour and postures?

8. Tasmania, Syd inviting him to the wedding, the money? The shooting? The police, their attitude, arrest? Chopper in jail? Margaret and her cutting him off? Mary Ann, the fan, visits, the wedding, the son? Her giving up? The divorce? Margaret reappearing, supporting him and his performances? His cancer?

9. Gangitano and his role in Melbourne, action? The Russian roulette scene with chopper and the betting? Gangitano and his money, his fears, his reputation in the book? Lewis Moran with him, his wife?

10. Trent, helping Chopper, the pressures, his being willing to testify?

11. The atmosphere with the opening, Chopper being taken, gunpoint, digging his grave, turning on the would-be assassin, killing him?

12. The audience at Chopper’s shows, the cheering? His reaction to the film with Eric Bana, watching the television and shooting it?

13. Chopper as an Australian criminal icon? For and against?

12 STRONG

US, 2018, 130 minutes, Colour.
Chris Hemsworth, Michael Shannon, Michael Peña, Navid Negahban, Trevante Rhodes, Geoff Stults Thad Luckinbill, Austin Stowell, Rob Riggle, William Fichtner, Elsa Pataki.
Directed by Nikolai Fuglsig.

12 Strong is based on a true story. It portrays a mission in Afghanistan after 9/11, a secret mission which was not revealed until almost a decade later. There are photos of those involved in the mission during the final credits.

This is one of those stories of American heroism. Patriotism, obviously, is one of the key themes. This is the United States, America has been attacked, America must act. In fact, the film opens with a resume of the terrorist attacks on the United States in the 1990s, various attacks on the World Trade Centre in 1993, the attacks on American embassies in Kenya and Tanzania in the late 1990s, the role of Al Qaeda, the shock of 9/11 – with the images repeated at the beginning of the film to the surprise and dismay of people watching everything on television. And then we realise that this film was made 16 years after the event.

One of those watching the television, at home with his family, is Captain Mitch Nelson. We can be confident in him because he is played by Chris Hemsworth (and, in a nice touch, his wife is played by his real-wife wife, Elsa Pataky). He is a desk man, a trainer, who wants to become involved in some action after the destruction. The authorities are not so enthusiastic but one of his friends, played by Michael Shannon, is able to influence them and a Special Forces unit is set up.

They are to go to Afghanistan, make a secret journey through the mountains, meet with the Northern Alliance, make friends with some of the warlords in order to undermine and attack the Taliban.

The action we see might seem far-fetched, an incursion into Afghanistan, into fearsome terrains, encounters with hostile tribes, clashes with the Taliban, an expert estimating that such a mission would last two years. The 12 strong team accomplishes it in under 30 days. The men also survive.

There have been quite a number of films about American presence in Afghanistan in the years after 9/11, some with a touch of satire, Rock the Kasbah, Whiskey Tango Foxtrot, others more serious action films like Lone Survivor.

The screenplay sets up a conflict between the sympathetic warlord who does not approve of the American tactics and withdraws his support for a time and the very sinister-looking Taliban chief. Ultimately, there will be a confrontation between these two.

The film does not underestimate the difficulties of the mission, language, supplies, the mountain paths, the armed Taliban, the difficulties of dealing with the warlord ally. However, the Americans can summon reinforcements for bombarding the enemy. There are injuries, there are some heroics.

This film is in the tradition of those World War II films, Vietnam films, where a unit in war is the focus of action, character development and interaction, achievement with some heroism.

1. Based on a true story? 2001? The background of the United States, the succession of terror attacks, Al Qaeda? 9/11?

2. The secrecy about the mission at the time? Not acknowledged? Later, the book? The final photo of the group?

3. The setting, President Clinton, the various attempts at terrorism, the attacks on the World Trade Centre, embassies in Africa? The role of Al Qaeda?

4. Nelson, at home, his daughter and wife, television news of 9/11? His squad? A trainer? The authorities, not wanting him to resume? Spencer and his support, the intervention? Nelson at his desk, turning it over? Getting his commission?

5. Spencer, at home, the tension with his wife, love for his son? Going into action?

6. Sam Diller, a teacher in the past, the fight? Joining the military? The others in the group – as a group, how much individual attention?

7. The commander, the interview with Nelson, orders? His assistant? Going to Afghanistan?

8. The history of Afghanistan, the wars, the previous intervention of Russia? American presence, the prediction about the war and America being stuck in Afghanistan? Local government, the role of the warlords, the Taliban? The two leaders exemplifying the groups? The scene of the execution of the girl and the condemnation of education for girls and women?

9. American understanding of Afghanistan, of the warlords, of power and influence? The role of Islam? The law and the Koran? Law and rigid interpretation?

10. The two Afghan leaders, Dostum, traditions, advising Nelson, upset about his decisions, getting closer to the action? His decision to leave? The Taliban leader, fierceness, in close-up, his strategies and tactics?

11. The terrain, the mountains, remoteness, the dangers? The towns and the people?

12. The listing of days “in country�, the tactics, communicating orders?

13. The squad as horsemen, the horses and travel, the mountains, the mountain pass and dangers? The role of vehicles? The range of ammunition, armaments? The availability? The type of mountain warfare?

14. American bombardments, from 35,000 feet? Getting the measurements, issues of accuracy?

15. The tactics of the two groups? Nelson and his leadership? His being wounded? The surveillance group? The political and diplomatic issues with the Northern Alliance?

16. The growing desperation, Nelson riding, falling? The number of deaths? The pursuit? Spencer being injured? Carried, the helicopters coming?

17. The confrontation between Dostum and the Taliban chief? The chief dying?

18. The 23 days, the achievement, not being made public, going home?

19. The domestic sequences?

20. The consequences? The continued presence of the Americans in Afghanistan?

WISH UPON

US, 2017, 90 minutes, Colour.
Joey King, Ryan Philippe, Ki Hong Lee, Mitchell Slaggert, Shannon Purser, Sydney Park, Elizabeth Rohm, Josephine Langford, Sherilyn Fenn.
Directed by John R. Leonetti.

Wish Upon is an imaginative fantasy for a teenage audience. Joey King portrays a young girl at school in Ohio. At the beginning of the film, the audience has seen her mother with a mysterious package, putting it in the rubbish – and then hanging herself, her daughter finding her.

Years later, she is still missing her mother, somewhat embarrassed by her father and his collecting rubbish with his friend. The father is played by Ryan Philippe. She also has friends at school.

Her father has found the mysterious package, a box with Chinese letters on it, difficult to open – although it does open up itself, plays music, and offers the owner of the box 7 wishes.

The young girl is very self-centred in her wishes, initially wishing her bullying glamorous enemy at school to rot. She does. There are also wishes about wealth, her being popular… Despite her wishes and advice from her friends, she cannot let go.

The film is something of a moral tale, a warning that one can wish for all kinds of things for oneself but that they have consequences. This is pointed out by her Chinese friend at school who takes her to see a woman who can decipher the message on the box – and who is later killed. The friend is able to give an account of the history of the box and the various people whom it has destroyed. Clearly, the young girl is now on the list – and will hand it on to others for its devastating history.

1. The title? Wishes? Magic instruments? Destructive?

2. The Ohio settings, the old home, the mansion, the streets, school, dining room, the Asian loft? Atmospheric? The musical score?

3. The first part of the film a variation on high school drama and mean girls? The ominous opening, putting the package in the garbage, the mother going upstairs, the delight in her daughter, sending off on her bike, hanging herself, Claie’s discovery? The mysterious tone for the film?

4. Clare, a teenager, missing her mother, her relationship with her father, he and his friend continually collecting the rubbish, searching in the dumpsters? Her embarrassment at school? The accident on the way to school, her leg, seeing her uncle? Her father distanced from the uncle? Her friendship with June and Meredith? Looked down on by the others?

5. Jonathan, the concerned father, playing the musical instrument, giving up? His bond with Clare? Leaving the gift on her bed?

6. The Chinese background of the gift, the box, unable to be opened? Opening mysteriously? The music playing? The rays coming out? The dire effects, the death of Clare’s dog and her grief, Mrs De Luca and her friendship, her hair being caught in the sink, her death and Clare discovering it? The threat to her father, changing the tire, his being hit by the wheel but surviving?

7. Clare and her friends, in the dining area, shunned? Clare and her eye on Paul but is not noticing her? The conversations with her friends?

8. The beginning of the wishes? That her rival would rot, hospitalised? And the photos on social media? Her wanting to be rich – and the inheritance from her uncle? (And repossession because of his not paying taxes)? The news, getting the mansion, settling in, the new car, clothes, gifts for her friends? Her wanting to be popular at school? Her wanting Paul to fall in love with her – and his attraction, his girlfriend and the breakup, her animosity? And June and Meredith feeling left out?

9. The concern about the box, the death, Paul and his attraction? Ryan, his Chinese background, going to his aunt with the box, reading the signs? The dire consequences? The history of the box, the woman, plague, cure, getting everything she wanted, but eventual suicide? His aunt’s phone call, fear and death?

10. Ryan, his research, finding out about all the people at the box, the flashbacks to their stories, getting everything they wanted, grim deaths?

11. Meredith and June, trying to persuade Clare to get rid of the box, her initial attempts, at her wanting to keep it, having to more wishes? Ryan and his concern – and the news of his aunt’s death?

12. Meredith, the computer games, going to the top floor, caught in the lift, her death? June trying to get rid of the box? Blaming Clare? June falling down the stairs?

13. Clare, in the grip of the box? Her wish that life could go back to what it was before getting the box?

14. The restoration, the house, her dog, her father, lives restored?

15. The wish for her mother, her mother come back to life, the bond between the two – but the destructive results, for her father?

16. The discussions with Ryan about parallel universes, multi-verses?

17. A film for a younger audience, PG rating, the themes, the magic, touches of violence?

18. And the moralising – gaining the whole world but losing everything?

THE SEARCH FOR BRIDEY MURPHY

US, 1956, 84 minutes, Black-and-white.
Teresa Wright, Louis Hayward, Nancy Gates, Kenneth Tobey, Richard Anderson.
Directed by Noel Langley.

This is a 1950s look at hypnotism and its possibilities in healing and cures. It is also a speculation on reincarnation. The screenplay makes references to a Dr Cayce and his experiments on himself, self-hypnotism.

This film is introduced by Louis Hayward talking to the audience as the central character, businessman Morey Bernstein, and his interest in hypnosis. He is intrigued by a doctor doing an experiment with a young woman at a party and her obeying his commands, especially when she came out of the hypnotic state. Bernstein continues to study hypnosis.

When he experiments on the wife of a friend, played by Teresa Wright, she not only goes back into her own past but another character from the 18th and 19th centuries emerges, an Irish woman called Bridey Murphy. This character speaks with an Irish accent, sings an Irish song, gives details of her background and life, of her marriage, and even of her death. When she is urged to go back even further, she seems to express a character living in New York even earlier. While the subject is willing, her husband is very cautious as is the family doctor. The experiment with the wife is discontinued.

Decades on, there has been a lot more work done on hypnosis and reflections on reincarnation and individuality.

The film was written and directed by South African Dir, Noel Langley, who wrote a lot of hits at MGM in the 1950s including The Knights of the Round Table.

1. Audience interest in the themes? Hypnosis? Healing? Issues of reincarnation? The impact in the 1950s? Now?

2. A film of interiors, offices, homes, lounge rooms? The flashbacks to Ireland? The musical score?

3. The title, Ruth Simmons and her hypnosis, Morey Bernstein and his skills, the emergence of Bridey Murphy? The continued hypnosis sessions? Further revelations?

4. The framework with the speeches to the audience, Morey Bernstein and his life, scepticism about hypnosis, interest, developing skills, his work? The statement that the dialogue from Ruth Simmons corresponds to the recorded speeches she made?

5. The status of hypnosis in the 1950s, the references to Dr Cayce, self hypnotism, links with his patients, knowledge, healing? Developments in hypnosis since the 1950s?

6. The status of reincarnation, Buddhist traditions? Western scepticism? Scientific interest, medical interest? The presence of the priest, his tolerance of the experiences but his own personal disagreement with theories of reincarnation? The Christian tradition, God, creation, souls, individuality?

7. Louis Hayward as Morey Bernstein, earnest, ambitious, working in his company, the encounter with his visitor, the demonstration with the woman, going back to her childhood, detailed descriptions, bringing her out of the hypnosis and her hunger, taking off of her shoe and stocking…? The reaction of the group?

8. The presence of Dr Deering, medical, discussions with Morey? Morey and his continued training, skills? The tests with his wife? Her willingness to support him? Her migraines, cures?

9. The group, Rex and Ruth Simmons? Ruth agreeing to the hypnosis? The effect on her, her agreement to the tests, listening to the tapes?

10. Going back into Ruth’s childhood? Going further, the emergence of Bridey Murphy, Cork, the family, her growing up, her parents, her marrying the barrister, his continued care for her, her cold and chill? Going to her death? Describing her death? Her continued presence, able to move from place to place? Going back further, New Amsterdam, the bad memories? Bringing her back to Bridey Murphy? The singing the song, her accent? Dancing the jig when she came out of hypnosis? The final difficulty in bringing her out? The doctor’s concern, Rex Simmons and his concern, the permission of his wife?

11. The drama, the dialogue, the issues? From the 50s? Now?

PACIFIC RIM: UPRISING

US, 2018, 111 minutes, Colour.
John Boyega, Scott Eastwood, Cailee Spaeny, Burn Gorman, Charlie Day, Tian Jing, Jin Zhang, Adria Arjona, Rinko Kikuchi.
Directed by Steven S.De Knight.

A reviewer remarked that there was a transition from the original action and mystery, post--apocalyptic horror of the original Pacific Rim to just a noisy action in this sequel. There was also a remark that the film was geared to an audience of 10-year-old boys. This reviewer, having missed the preview, found himself sitting, unintended, beside to 10 plus or minus boys. The film held their attention all the way through, rapt, sometimes comparing notes.

Which meant that their reactions were sometimes more interesting than what was happening on the screen. Not that there wasn’t a lot happening up there. Probably too much. Giving too much time to think about other things…

And, one of the thoughts was that this is something of a combination of Godzilla and The Transformers. And the sound engineering seemed like a combination of that from both films.

In the original film, there is a crack in the bottom of the ocean allowing alien monsters, rather gigantic, to emerge into our world. The early minutes of this film do a resume for us in case it wasn’t in the forefront of our memories – even with a visual tribute to Idris Elba as the hero of that film. What they did in the past was to create gigantic creatures, engines of war, with humans inside, physically moving the creatures forward, working out the strategies and executing the tactics.

And, there is a great deal of this in the sequel. Lots of fights between the aliens and the human creations.

And the humans? John Boyega, known now as Finn from the new Star Wars films, is the son of the earlier film’s hero, living a rather easy life because there is peace in the world, although he is not above leading on gangs who want to plunder some of the past technology. He encounters a young woman who has been honing her skills on re-creating the attacking creatures. They are all called up because of an imminent threat. And the officer in charge is played by Scott Eastwood – with everybody commenting that he seems a 21st-century uncanny embodiment of his father, in look, in whispering voice, in action and heroics.

There is some training. There are clashes within the troop. But, then they will have to go into action, Boyega and Eastwood inside the main attacking machines, running on the spot to propel the creation forward… there are also risks, no damsels in distress because the young woman can outmanoeuvre the men at times.

And, perhaps in memory of Godzilla, there is a huge destruction of a metropolis as in most of these films, but this time it is Tokyo. The aliens are on their way to Mount Fuji to get rare earths for their own strategies. Where better to have a climax than on the slopes of Mount Fuji and its volcanic crater? While it is not a Pacific Rim, it is a rim for derring-do.

Perhaps those 10-year-olds went out of the cinema eager for a sequel. It will probably depend on their box office contributions …

1. Action adventure? The impact of the original film? This film as a sequel? Apocalyptic, Post-Apocalyptic?

2. The style of the film at action, Godzilla films, Transformer films?

3. The impact of the effects? Action sequences and stunt work? The musical score? The sound engineering and its impact?

4. The reprise of the original, the explanation of the crack in the ocean, the monstrous invaders, the engines built to repel them? The destruction? The memories of the original commander – and in memoriam to him? 10 years passing, rebuilding the world?

5. Life in the 10 years, Jake Pentecost and his attitudes, influence of his father? The girls, the drinking, squatting? His leading the thieves and their being caught?

6. Amara Namani and her presence, her skills, her attitude? Conflict with Jack? Her building the armament? The bonds and the clash?

7. Lambert, his personality, the pilots, the recruits, the training? The squad, personalities and clashes?

8. The background of the range of scientists, the Asians, Newton Geiszler? Hermann Gottlieb? Geiszler and the infection? Going mad, sabotage and destruction? Gottlieb and
his constant work? Success, time, ideas, engineering, the men and women? Building?

9. The Sydney sequence, the attack, its effect?

10. The transition to China, to Shanghai, the laboratories, the work, invention and ingenuity?

11. The rise of the monsters, giants? The combat with the rivals? The aim of the monsters, Japan, Mount Fuji, the rare earth minerals?

12. The impact of the destruction of Tokyo, extended sequence, mayhem?

13. The team, as pilots, running on the spot in the creation? The pilots? The effect of the sabotage? Being ready to attack, the risks? The dangers? The injuries?

14. Jake and Lambert, heroics, Jake and his saying he could not give a speech like his father – yet doing so, to save the world? Namani, her presence, kicked out, kicked back in, her help?

15. Gottlieb, the timing, the risks, the role of the scientists?

16. Geiszler, mad, watching and gloating?

17. The final attempt at Mount Fuji, the monsters are writing, the Allies in pursuit, conflict, destruction, Lambert and the rescue, the getting out of the vehicle, the world saved?

18. Geiszler, his threats? Jake confronting him, the attitude of attack to save the future?

HUMAN FLOW

UK, China, 2017, 140 minutes, Colour.
Directed by Ai Wei Wei.

Aie Wei Wei is a notable Chinese artist with exhibitions all around the world. He is also had his difficulties with the Chinese authorities and has left China, now a citizen of the world. He has had films made about his art. He is also directed a film himself. He returns now to direction, not for a film about art, but for about human rights, refugees and suffering.

He and his crew visited a number of countries around the world in 2015, 2016, photographing the refugees from a wide range of countries, photographing the groups, photographing individuals. At times the artist himself is seen in various situations, sharing the experience, interviewing some of the refugees. This personalises his concern. But the appeal is made to consciences and consciousness of the audience, to empathise with the refugees, what the conditions were at home, what they have escaped from, the hardships of their journey. And, as always, there are the hardships in dealing with the authorities, government and police border patrols from the country’s where they are seeking some kind of refuge. And then there are, so often, the fences.

The film was made in European countries, Kenya, Mexico and the United States, me and Mark in Bangladesh. (There is nothing about refugees in Australia or Manus Island or Nauru – Australian audiences can draw their own conclusions.)

The photography is often very striking, the audience being taken to such varieties of countries, being asked to imagine the lives of the refugees, their past, their escapes, the hardships of the journey is, hard hearts against them, sympathetic hearts for them.

The artist includes some quotations from problems as well as a series of running headlines at the bottom of the screen reminding people of dates and places, UN resolutions, government stances against the refugees.

The following is a list of the countries where the film was made: The range of countries visited, the situations, the refugees themselves, the hardships, the repercussions, welcoming countries, hostile countries?

• Iraq, the background of the American-led invasion of 2003, later developments. ISIS, the taking of Mosul, the siege, the destruction of the streets and houses, the people, the re-taking of Mosul. Iraq and the thousands of refugees from Syria, the camps.

• Bangladesh, the Rohingya, the ethnic cleansing in Myanmar. The leader and his explanations and regrets.

• Lesbos, the landing of the refugees from Syria, the numbers, their being welcomed, the camps, their journey through northern Greece, at the Macedonian border, the railway. The further walls from various countries of the Balkans? And Hungary?

• Refugees in Germany, the transformation of Templehof airport into accommodation, the interiors, safety, but the boredom for the children and the adults.

• Paris, the temporary shelters. The Jungle in Calais, the numbers of people, British Border Protection, jumping trucks and their being found out.

• The transition to Kenya, the enormous camp, the refugees from surrounding countries.

• Pakistan, taking of refugees from Afghanistan, for many decades. Returning the Afghan Nationals to their home country. The huge transport trucks. Their being accepted – not able to return to their home towns and villages. Living in the cities.

• Lebanon, the Palestinian refugees, the numbers - the Druze leader and his commentary.

• Jordan, the taking of the vast numbers of refugees from Syria, the Princess and her interview. The camps, and the number of refugees in proportion to the whole population.

• The Mediterranean, the Africans coming by boat, their treatment in Libya, the Italian rescue and landing in Italy.

1. The impact of the film? The vast number of refugees in the early 21st century? The range of countries being fled? Refuge countries? Legislation, attitudes?

2. The interviews with United Nations representatives, from groups representing refugees? The pessimism? Human rights, negotiations with governments?

3. The director, his work as an artist, his making films? The Chinese background? Difficulties in China? An international figure? His interest in the refugees? His being glimpsed throughout the film? His presence in various episodes, with the children, with the border patrol between US and Mexico? His perspective?

4. The headlines from various papers running at the bottom of the screen throughout the film? Questions, political comment? Criticisms and judgement?

5. The quotations from the poets? Imaginative application?

6. The range of countries visited, the situations, the refugees themselves, the hardships, the repercussions, welcoming countries, hostile countries?

• Iraq, the background of the American-led invasion of 2003, the consequences? Later developments? ISIS, the taking of Mosul, the siege, the destruction of the streets and houses, the people, the re-taking of muscle? Iraq and the thousands of refugees from Syria, the camps and treatment?

• Bangladesh, the Rohingya, the ethnic cleansing in Myanmar? The leader and his explanations and regrets?

• Lesbos, the landing of the refugees from Syria, the numbers, their being welcomed, the camps, their journey through northern Greece, at the Macedonian border, the railway, the hardships? The further walls from various countries of the Balkans? And Hungary?

• Refugees in Germany, the transformation of Templehof airport into accommodation, the interiors, safety, but the boredom for the children and the adults? What future?

• Paris, the temporary shelters? The Jungle in Calais, the numbers of people, British Border Protection, jumping trucks and their being found out?

• The transition to Kenya, the enormous camp, the refugees from surrounding countries?

• Pakistan, taking of refugees from Afghanistan, for many decades? Returning the Afghan Nationals to their home country? The huge transport trucks? Their being accepted – not able to return to their home towns and villages? In the cities?

• Lebanon, the Palestinian refugees, the numbers? The Druze leader and his commentary?

• Jordan, the taking of the vast numbers of refugees from Syria, the Princess and her interview? The camps, a number of refugees in proportion to the whole population?

• The Mediterranean, the Africans coming by boat, their treatment in Libya, the Italian rescue? Landing in Italy?

TOMB RAIDER

UK, 2018, 118 minutes, Colour.
Alicia Vikander, Dominic West, Walton Goggins, Daniel Wu, Kristin Scott Thomas, Derek Jacobi, Jaime Winston, Nick Frost.
Directed by Roar Uthaug.

Those in the know about the title Tomb Raider will immediately think of Lara Croft. She is the heroine of computer games. Those who don’t play computer games but who like action movies, will immediately think of Angelina Jolie and the two films where she played Lara Croft. Surprising to find another Lara Croft story so soon.

This time Lara Croft is played by Alicia Vikander, Swedish actress who has performed in quite a range of films from Denmark to the UK to Australia (twice) to the United States. She won an Oscar for her supporting role in The Danish Girl. Some audiences might be surprised at the casting but, in fact, she has appeared in Seventh Son, Jason Bourne, The Man from U.N.C.L.E.

The plot is not dissimilar from Angelina Jolie’s Tomb Raider. Lara is wealthy but is disappointed by her father’s leaving her and for his disappearance, now presumed dead. We see her involved in action training, delivering food by bike around London, participating in a fox-hunt bike chase, recklessly, through the streets. She is taken out of custody from the police by her guardian, played with icy friendliness as usual by Kristin Scott Thomas. Then there is Derek Jacobi as the lawyer for her to sign the papers acknowledging her father’s death and her inheritance.

However, there is, as always, a mysterious key. Then there is a mysterious basement. And mysterious information about his mission to go to an island off Japan to find the tomb of an evil queen and investigate her curse and prevent Trinity, the evil power conglomerate, from destroying the world. (Spoiler: she does achieve all this!)

While London looks good, she gets help in Hong Kong which also looks good. She enlists the son of the captain who took her father to the island (Daniel Wu). They are shipwrecked, separated, the Chinese man taken into a labour camp, Lara rescued by the leader of an expedition, Vogel (Walton Goggins).

We see Lara’s motivation with scenes from her as a little girl, with her devoted father, the death of her mother, his departure, always calling her Sprout and a kiss with two fingers for her forehead. Vogel tells her that he has killed her father.

Vogel is in the employ of Trinity and communicates by phone with a mysterious employer. When Lara escapes from his clutches – emulating the best traditions of Tarzan leaping through the forest, diving into rivers, hanging on to wrecked planes to save going over the rapids… she sees a mysterious figure who, of course, is her father who has been surviving in caves for seven years, trying to sabotage Gogel’s attempts to find the Queen’s tomb.

Vogel has been searching in the wrong area but, with the capture of Lara and her father, the whole enterprise moves to the real location.

What goes on inside the tomb, the dangers, the threats, the various devices for floors to open, walls to close in will remind most audiences of Raiders of the Lost Ark. Perhaps a bit too similar?

A Chinese friend keeps guard in order to rescue her if necessary, vocals of the slaves support him.

The tomb is found, there are images in hieroglyphics, John Croft has misinterpreted aspects of the message, the Queen communicates an infection and destroys some of Vogel’s thugs – and, a final split-second timing for Lara to escape with her father urging Sprout to run, the two finger kiss on her forehead, and his sacrificing himself.

Meanwhile, back in London, Lara discovers some secrets about Trinity, who the head might be (as if we didn’t guess) and goes to the pawnshop where she tried to get money earlier in the film from Nick Frost and Jaime Winstone in cameo roles. She buys two guns – to be ready for a sequel.


1. Popular action show? Video game on the big screen? The transition from Angelina Jolie to Alicia Vikander?

2. The popularity of female superheroes? Characters, action?

3. The South African locations for the Japanese island? The sea, the coast, the mountains, the excavation sites, the mountains of the tomb? The interiors of the tomb and the special effects? The contrast with London, the streets, offices? The musical score?

4. Seeing Lara in action, the fight, her losing, her coach and taking his apple, working as a courier, the people in the restaurant, delivering and the group of young men, organising the fox hunt, her taking the dare, riding through the streets of London, the stunts, the crash? Anna and her coming to rescue Lara?

5. The flashbacks, Lara as small, getting older, devotion to her father, her dead mother and the tomb? Practising with arrows? The father’s farewell, the kiss on the forehead, calling her Sprout? Her recollections? Richard’s memories?

6. Richard, the explanation of the legend, the variety of ingredients, evil power, the illustrations, the curse? His research, wanting to save the world from Trinity? Seven years gone, official acceptance of his death, and persuading Lara to sign the documents, the lawyer present? Anna urging her? The puzzle, finding the key in the message? Going to the basement? The information about her father’s research?

7. Lara, pawning the emblem, the bargaining with the flirtatious Max, the comments from his wife? And the later return to recover the emblem?

8. Lara and decision to go, Hong Kong, being robbed by the young men, fighting back? Finding the boat, Lu Ren, drunk, ordering her off, falling? His dead father, the link with Richard? The two mourning the loss of their parents? Sailing, the heavy seas, the shipwreck? Lara rescued, by Vogel? And his taking the information from her bag?

9. Lu Ren and the other slaves, his father and the transport, taken by Vogel and the thugs? The years, exploitative work, the explosions?

10. Vogel, character, motivation, talking about his daughters at home, subservient to the heads of Trinity? His violence, the slaves, his thugs? The discussions with Lara, killing her father? Lu Ren and his hitting the guard, the shooting, Lara’s escape, through the forest, her falling into the river, hanging on to the wreckage of the plane, her survival? Sleeping, killing the guard, seeing the shadowy figure, climbing, her wound, finding her father?

11. Richard and the seven years, surviving, trying to sabotage Vogel’s work? Imagining his daughter’s presence? A reality, tending her wound? The discussions?

12. Lara, the arrows, the attack on the group? Richard and his going to the tomb?

13. Le Ren waiting, the others waiting to help Lara? The entry into the tomb, the range of obstacles, echoes of Indiana Jones, the dangers, the stunt work, the chasms, the floors giving way, the latter? The illustrations on the wall? The opening of the tomb, that the Queen was a carrier of plague but not infected herself? The guard touching the body, his death? Infected?

14. Vogel, his determination, taking the Queen’s finger? Richard, his being infected? Lara and the pursuit by the thugs? Richard urging her to go, his self-sacrifice? Lara and her fight with Vogel, destroying the latter, forcing him to swallow the finger? His death? The running to escape? The stones covering her?

15. Lu Ren, the rescue?

16. London, his signing the documents? Recovering her emblem? Reading the information about Trinity – and the revelation about Anna?

17. Her going to the pawn shop, getting the two guns – and ready for a sequel?

WINCHESTER

Australia, 2018, 99 minutes, Colour.
Helen Mirren, Jason Clarke, Sarah Snook, Finn Scicluna- O' Prey, Tyler Coppin, Angus Sampson, Bruce Spence.
Directed by the Spierig Brothers.

The poster looks arresting. Helen Mirren in the centre, dressed in 19th-century black, lace and veil. Who is this mysterious woman?

In fact, she is based on actual character, Mrs Winchester, the wife of the inventor of armaments, especially the well-known Winchester rifle. This means that Helen Mirren has the opportunity to play the Grande Dame that she does so well.

The poster also highlights that this is a film by Michael and Peter Spierig, originally from Germany, settling in Australia, making a number of films especially the acclaimed vampire thriller, Daybreakers, and, one of the most intriguing Australian films, Predestination, about time, identity, gender identification. The most recent film was a continuation of the Saw series, Jigsaw. Expectations were high from horror fans. However, they seem to have been somewhat disappointed, expecting more blood and gore and fears and frights. After all, it is, in fact, a film about a haunted house and ghosts.

The interesting premise (and tourists can go to see the Winchester house in San Jose, California) is that Mrs Winchester was conscious of the number of people who had been killed by the armaments. Over the decades, she extended her house with ever-increasing rooms in memory of or, perhaps, locations for the spirits of those who had been killed.

Needless to say, the board of the Winchester Company, who were extending their franchises into skateboard-making, are concerned about her mental health and send a doctor, Jason Clarke, who has his own regrets about his dead wife, subsequent drinking, to assess Mrs Winchester. At the house, he encounters her niece, Sarah Snook (who was excellent in Predestination) and her son who is prone to have preternatural experiences.

The film actually looks very elegant, is set in 1906, is more of a period piece than a horror film. However, there are things that go creak and bump in the night in the house, a sense of the presence of spirits. This is particularly true of one of the servants (who can be seen only by the doctor) and who turns out to have a bizarre history, his brother killed in the Civil War by Winchester, the violent consequences for the servant going berserk, his reaching out to possess the boy, to confront Mrs Winchester.

Perhaps it could be better said that this is a film of atmosphere rather than horror action, though there are the confrontations with the ghost at the the end. For those who enjoy being immersed in a period with an eerie atmosphere, it is an interesting venture.

1. The title? The rifles? The company? Mrs Winchester?

2. The directors and their horror films, expectations? Helen Mirren and a strong cast?

3. The American setting, San Jose, San Francisco? 1906? Costumes and decor? The mansion, the aerial shots, the continued repetition, the interiors? The atmospheric score?

4. The supernatural? The haunted house? The ghosts? The reasons for their activities? The ghosts of the dead from Winchester rifles?

5. The introduction to Dr Price, in the den, the laudanum, the girl and the discussions, reality and illusion? Mind and body in control? His grief?

6. Arthur Gates, his position in the company, the visit to Dr Price, wanting an assessment on Mrs Winchester, wanting her removed from the Board? $600?

7. The doctor, his acceptance, travelling to San Jose, the carriage, approaching the house, its extent, the vistas of the house, overviews, views from the ground, the different rooms? The work at night?

8. His arrival, the encounter with Marion? With Henry? Asleep at night, Henry and his possession, his eyes, the bag over his head, his warnings? Marion and her concern? Ominous?

9. The doctor’s room, his place in the house, the various members of the staff, John and his supervision? Augustine, in attendance, taking guard outside his room? His encounters with Ben Block? As a servant? As a ghost?

10. The doctor’s story, Ruby, her mental condition, love for him, her death? His being shot, dead for three minutes, with a Winchester bullet, restoring the bullet? Her ghostly appearances? The confrontation, talking with her, the shots? Mrs Winchester later reassuring him?

11. Mrs Winchester, the initial impression? Dressed in black? Coming to the meal? The lady of the manor? Her direct approach, to be tested by Dr Price? The interviews, asking questions and the truth, his lying about his drugs and drinking? The background of the medium, the presence of the ghosts, her building the rooms?

12. The Winchester rifles, the products, the catalogue? Roller skates? Expansion of the firm? The sense of guilt? The dead from the weapons?

13. The interaction between Mrs Winchester and the doctor, the tensions? The interviews?

14. Block, servant, ghost, the significance of the flashbacks, the Civil War, the death of his brothers, his going berserk, with the rifle, the massacre, in the room, his being shot?

15. Henry, ordinary, yet his being possessed? Marion and her having to cope? Search for him?

16. The role of the servants, the collapse of the house, the effect on John? Augustine and his guard?

17. The nailing up of the rooms, 13 nails, the confrontation with the spirits?

18. Ben Block, the pursuit around the house, the doctor with the gun, the shot?

19. Peace, the house, the role of the ghosts? And the nail coming out of the wood at the end?

20. The reality of the house in San Jose, a tourist and visitor centre?

READY PLAYER ONE

US, 2018, 140 minutes, Colour.
Tye Sheridan, Olivia Cooke, Ben Mendelssohn, Mark Rylance, Lena Waithe, T.J.Miller, Simon Pegg, Philip Zhao, Win Morisaki, Hannah John-Kamen?, Susan Lynch, Claire Higgins.
Directed by Steven Spielberg.

Immediately after his intelligent political drama, The Post, based on the 1971 publishing of the Pentagon papers and the consequences for Richard Nixon, Watergate, the Washington Post, Spielberg went back into the atmosphere of the 1980s, the decade where he achieved such great success with the Indiana Jones films as well as ET.

This film is based on a book by Ernest Cline, Ready Player One, which is subtitled “a Pop Culture Odyssey�. While it is set in the future, it harks back to the music, films, computer games, atmosphere of America in the 1980s. In fact, the setting is Columbus, Ohio, 2045, said to be the fastest growing city in the world but, it has an ugly futuristic look, especially for those who live in The Stacks, crowded accommodation.

But, for many of the inhabitants of Columbus, that is far less important than their goggles which serve also as masks, which take them, almost all the time it would seem, into virtual reality – or, what seems virtual unreality.

It may be all right for computer game fans, but many of the audience may be thinking to themselves that Columbus, 2045, is not where they they would like to live. For those who know that the running time of the film is 140 minutes, something like an atmosphere of dread starts to prevail. (This probably applies to a rather older demographic.)

But, while the younger audiences will enjoy identifying with the central characters, their participation in the virtual reality, the competition and quest that opens up for them, the clash with an evil villain who wants to possess the main virtual reality, it does get more interesting for those older audiences.

The hero of the film is a teenager, Wade, played by Tye Sheridan. He is in the care of his aunt and her obnoxious boyfriend. His area of virtual reality, so popular in Columbus, is The Oasis. He goes there at every opportunity and has created an avatar, Parzifal, not entirely unlike himself. Theme: a Grail seeker. He has a number of friends in The Oasis, with avatars that owe something to Game of Thrones. One of the puzzles for Wade is wondering what the avatars that he has come to like, relying on, fight with, look like in real life. (Spoiler: not as good as their avatars!) The main friend is Samantha, avatar Artemis.

While there are lots of references to past pop culture, many movie buffs will enjoy an episode which recreates the hotel scenes from Stephen King’s The Shining.

It seems, that the creator of The Oasis, was a loner, living in his own reality which was created by pop culture. He also had a partner with whom he fell out. Interestingly, the creator is played by Mark Rylands (who won his Oscar for his appearance in Spielberg’s Bridge of Spies and was also the BFG). Simon Pegg plays the partner.

The basic setup is a competition, the creator of The Oasis hiding three keys which will give ownership to the virtual reality paradise. There are clues, rather obscure. Wade and his friends decide that they will try to find the three keys. In the meantime, there is a villain. He is played by Ben Mendelssohn, ruthless in his decisions but something of a wimp in his personal character and reactions, compensating by a rather gigantic and fierce avatar and a tough henchwoman.

There is very little doubting about how it will all turn out. But, at the end, there is some reality-unreality moralising. The fact that virtual reality is virtual rather than real. Whether that will impress diehard games players may be debatable.

1. A film based on “a Pop Culture Odyssey�? Futuristic, science-fiction, science fantasy?

2. The career of Steven Spielberg? Imagination? Science-fiction and Minority Report?

3. Columbus Ohio, 2045, the most rapidly growing city? The homes, “the Stacks�, media offices, transport? The look, futuristic? The musical score?

4. The title, virtual reality? Prevailing over reality, for individuals, groups, society? The experiences of virtual reality? The real and unreal? The final moral of the film about reality and unreality – and two days off a week for Oasis?

5. The description of Oasis, the founder and his life, a loner, his imagination, films, games, fantasy? His associate and their collaboration, falling out? His death?

6. The visuals of Oasis, like a grand Theme Park – and beyond? Entry, the glasses as a mask? Actions in the real world, enclosed, on the spot? The range of imagination, games, avatars rather than human beings, and the shock of the reality of the actual characters behind the avatars? Achievement, conflicts, competition? The effect on the experiences of the characters?

7. Wade, in himself, his age, experience, family, his aunt and her care, her rough boyfriend and his hostility? The home, in The Stacks? Taking refuge in Oasis, his avatar looking more like himself? His group of friends? Comparison with the reality, plain looking people, ordinary, range of age, Asian backgrounds?

8. Sorrento, his leadership of his business group, focus on business, his control, his personal manner, with the board, the limits of his company, wanting Oasis? His tough henchwoman and her violent action? Ultimate failure? Yet his being afraid, cowardly? The brutality of his avatar? The threats, the confrontations? The ultimate battle and his defeat?

9. The competition for the keys? The role of the founder? The three keys and ownership of the company? Wade and Samantha, competitive for the keys, in themselves, and their avatars, the combined effort? The details of thinking through the clues? Moving backwards? The films, the nostalgia for the episode with The Shining? Getting the keys, almost dropping them? Ultimate success? The response of the founder, his handing things over?

10. The range of personalities, the team effort, defeating Sorrento? Their freedom?

11. The background of the founder, his personality, age, his apartment, adornments? Life, lonely? His passions? His being satisfied at the end?

12. The associate, the group meeting him, the bonds?

13. The future, reality and virtual reality? Oasis (and closed two days a week)?