WIND RIVER

US, 2017, 107 minutes, Colour.
Jeremy Renner, Elizabeth Olsen, Julia Jones, Graham Greene, Tantoo Cardinal, Gil Birmingham, Kelsey Asbille, Jon Bernthal.
Directed by Taylor Sheridan.

This is a murder mystery with a difference.

Wind River refers to a Native American settlement in Wyoming. It is winter. There is a great deal of snow in the mountains (actually filmed in Utah). Cory (Jeremy Renner in a more substantial role than usual) is a hunter, seen initially confronting a wolf to save cattle, later hunting mountain lions. While checking the lions, he discovers the body of a dead girl in the snow.

The girl belongs to the community of Wind River, an 18-year-old who was a good friend of Cory’s daughter, some years dead in mysterious and tragic circumstances, Cory regretting that he could not save his daughter and now alienated from his grieving wife. His wife also belongs to the community of Wind River. Cory has rights to some time with his son and takes into his Native American grandparents.

Because of the nature of the injuries to the dead girl, her lungs frozen in the snow through which she had run some distance barefoot, there is an autopsy but the doctor able only to give details of death rather than make a murder charge. This is immediately frustrating to the young FBI agent, Jane, Elizabeth Olsen, who has been called in from Las Vegas to supervise the investigation. Originating from Fort Lauderdale, she is young and somewhat out of her depth in the investigation, especially in handling the news and death for the dead girl’s parents.

Graham Greene represents the local community police force. Because of the difficulty of the terrain, and travelling through the snow on a ski bike, with the fluctuations in the weather, there are some difficulties in retrieving the body and giving information to the girl’s family. The mother grieves by cutting herself. The father grieves stoically. There is also a younger brother who has stayed in the community but is on drugs.

So, there is a murder, the need for a solution. But also challenging material about the nature of the Native American communities in such states as Wyoming, the old traditions, the younger generation breaking through, opportunities for progress, many barriers.

Investigation into the girl’s life leads the police and the FBI to a rig which is being closed down for the winter but is staffed by a group of security officers. The girl was having a relationship with one of them.

The film uses a dramatic device of the FBI agent knocking on the door of the security house and the transition made to a flashback which explains and dramatises what actually happened. Resuming the action, there is a confrontation between the security guards and the police with Cory able to intervene – and then take justice into his own hands, wreaking vengeance on the perpetrator according to the manner in which the girl died.

Writer-director Taylor Sheridan was responsible for the screenplay for the strongly dramatic Sicario as well as Hell and High Water. This film is as good, possibly better.

1. A murder mystery and investigation story? The different atmosphere?

2. The title, the reservation, the Native Americans, homes, social conditions, drugs, lack of opportunity? The local police? Intermarriage? Insight into 21st-century Native Americans and reservations?

3. The visuals, the walls of the hunt, the Hunter and white, the mountains, the snow, the storms, the Utah locations for Wyoming? The season, cold, the contrast with the homes and comfort? Police headquarters, the town? The rigs and the security huts? The musical score?

4. The hunting image, the walls, the threat, shooting? Animals saved?

5. Corey, his age, visiting his wife, the separation, his son, the time with him, sharing the hunt? The narrative of his dead daughter? His grief, husband-and-wife separating? The background of his intermarriage, his father-in-law and the reservation?

6. Corey, hunting lions, finding them? Discover body? His reaction, identifying the girl? Calling the local police, the experience of the storms? The cold, the bikes? The investigating police?

7. The dead girl and her story, her friendship with Cory’s daughter, the photos? Her mother’s grief? Cutting herself? The father, Solomon’s Island, painting his face and sitting contemplating? Her brother and his drug life? His being upset? The attack on the house, the man with the drugs, his attack, being shot? The girl and her relationships, with Matt, the scene in the shack, the drugs, the verbal assault, the rape, the fight and the killing and bashing of Matt?

8. Jane, the FBI, her experience and inexperience, from Las Vegas, from Florida? Seeing the body, the visit to the victim’s brother and the shooting, travelling with Cory? The doctor and her wanting a verdict of murder and his willingness only to give the diagnosis? Sharing with Cory, seeing the photo, the sadness? Her presence at the reek, knocking on the door, the encounter with the security guards, the massacre, her being saved from shooting? Learning on the job?

9. Ben, police, his role and authority, the collaborators, seeing him at work, at the siege, his death?

10. Cory and the hunting of the lines, seeing the reek of the group? The police, the FBI, the locals? The security guards, the knock on the door and the insertion of the flashback? The confrontation, everybody drawn guns, the shooting, deaths on both sides? Corey arriving, saving Jane?

11. Corey taking Pete, into the mountains, Peter and his fears, taking off issues, making him run in the snow like his victim, and dying the same way?

12. Order restored? The victim’s father, his change of heart, making contact with his son? Some improvement for the future?

GIFTED

US, 2017, 101 minutes, Colour.
Chris Evans, Mckenna Grace, Lindsay Duncan, Jenny Slate, Octavia Spencer, John M. Jackson, Glenn Plummer, John Finn.
Directed by Marc Webb.

Gifted is a word more frequently used than before, referring to individuals who could be classified under the title, genius. It is particularly used in reference to young children who are emerging as prodigies, be it intellectual, be it with a talent for performance…

This is quite engaging film which focuses on a seven-year-old, Mary (played rather convincingly by Mckenna Grace) who is about to go to school, an ordinary school, where she is bored as the teacher asks the children basic sums. When she is asked more complicated addition and multiplication, she adds in the square root which alerts the teacher, Bonnie (Jenny Slate) to wonder where Mary would be best helped.

The thing is that Mary is living with her uncle, Frank (Chris Evans in a very sympathetic role), the brother of Mary’s mother, Diane, a mathematical genius who has committed suicide but entrusted her daughter to her brother. He has been a philosophy professor but has given it up and works on boat-mending in Florida, parenting Mary.

In comes an enormous complication in the form of Frank’s mother, Evelyn, a very British and determined woman (Lindsay Duncan, a strong stage and screen actress which is evident in a crucial court scene where she is cross-examined and gives strong-minded answers).

Head or heart?

When Evelyn takes Frank to court for custody, the past story emerges, Evelyn herself talented in mathematics, Cambridge-educated, but marrying and coming to the United States and living out her mathematical frustrations in the genius of her daughter. She has intervened strongly in her daughter’s life and relationships. On the other hand, she has been rather dismissive of Frank.

In the court sequences, with powerful cross examinations of both Evelyn and Frank, the audience is challenged to make their own decision about what is best for Mary. Should she have every opportunity to develop intellectually and mathematically? A decision for the head. Should she have more opportunity to act her age, to have a “normal� young girl’s experiences and grow into a rounded personality? A decision for the heart.

The judge has to make a decision. The question is raised whether it can be some kind of compromise. And, even if the answer is yes, how is the compromise to work in practice and what is the effect on Mary, especially her emotions.

To reinforce the issue of emotions, Octavia Spencer appears in something of a now-familiar role for her, as a sympathetic neighbour with whom Mary bonds, providing a kind of grandmother and nurturing figure.

This is a film which does appeal more to the heart than the head in asking the audience to respond to Mary, and the dilemmas about her education and her growing up.

1. The title, with reference to gifted children, the genius status and abilities, the demands for education, developing them as persons?

2. The Georgia settings, homes, the water and boats, the school, courts? The musical score?

3. The challenge to the audience, the issues and decisio 27 ns with head, with heart? The Court sequences, the audience listening to the evidence, looking at the characters, forming judgements? For the benefit of Mary? The difference stances, the judge and his decisions, the role of the advocates? The possibilities for compromise for the benefit of Mary?

4. Frank and Mary, their life together, the house, beginning the day, Mary having to go to school, unwilling, the bus, Frank going to his work on the boats? The situation about her education and her background? The gradual revelation throughout the film? Frank, associate professor of philosophy, Diane, his sister, her being a genius, mathematics, at age 17, the abduction situation, her relationship, the birth of Mary, the suicide?

5. Mary at school, the answers to the sums? Bonnie, the questions, discipline, alert to Mary’s ability? Mary on the bus, the boy with the models and his being tripped by the bully, Mary hitting him and breaking his nose? With the principal? The principal, the offer of the scholarship to the special school? Frank and his refusal?

6. Mary, her quality of life, not having friends, Roberta as a grandmother figure? Comfortable with her? The capacity for study, reading? Being bored by the ordinary? Being bored at school? The human side, the ride in the boat with Frank?

7. Audience impressions about Evelyn, her being absent for years? Her arrival, invited by the school principal? The past, as a mother, favouring Diane, not favouring Frank, her own mathematical genius, strong British tone, Cambridge education, the story about marrying, coming to the United States? Looking after her family? Not pursuing her maths studies? Living through Diane? Diane and discipline, at 17 and the ski holiday, Evelyn charging the young man with the abduction? His disappearance from Diane’s life? The sexual encounter, the birth of Mary, her suicide? Her leaving the manuscript to Frank?

8. Frank, the interrogation, his answers, the past, philosophy, giving it up, working on the boats, the scenes of him working with the parts, the relationship with Bonnie? Going to jail, the assault? His wanting the best for Mary?

9. Bonnie, as a character, in school, at the bar, talking with Frank, drinking, going home, meeting Mary, the embarrassment? Frank’s reaction in disciplining Mary? Bonnie and Roberta in the court watching?

10. The portrait of the lawyers, the hard cross-examinations? The role of the judge – and allegedly favouring the security of the money?

11. The lawyer, coming to Frank, the compromise, the effect on Frank, his agreement? Meeting the family, fostering? The conditions? Evelyn’s access? Frank by himself, his regrets? Mary, the tutors, Frank bringing the gift, the foster father talking about the meltdown, because of Frank?

12. Bonnie, seeing the notice about Fred, the blind cat and her knowing the bond with Mary? Photographing it, sending the photo to Frank? His going to the pound, preventing Fred being killed, taking the cats? Visiting Mary, Mary’s upset, her anger, the reconciliation? Frank and his being sorry?

13. Frank talking with Evelyn, giving her Diane’s thesis, explaining that Diane did not want him to give her the thesis or publish it until Evelyn’s death? His decision? Evelyn looking at the thesis, the box of notes? Her weeping? The final decision, ringing the maths professor at MIT?

14. The audience seeing Mary in her class, with the adults, studying and the formulae? At home, a child again, with Roberta and Frank?

15. Interesting reflections on how to deal appropriately with a child genius, fostering abilities while developing an authentic person?

MADAME

France, 2017, 91 minutes, Colour.
Toni Collette, Harvey Keitel, Rossy de Palma, Michael Smiley, Tom Hughes.
Directed by Amanda Sthers.

This is a French film with an international cast, a French writer-director who brings a female sensibility to the story and the central characters.

In fact, the real central character of the film is not Toni Collette as Madame, Anne, married to the older Bob (Harvey Keitel), his second marriage, with a stepson as well as three children of her own. The main character is Maria, played by Rossy DePalma? who appeared in a number of films by Pedro Almodovar. She is the maid in the Paris household.

In many ways, this could be considered a comedy of manners – and a comedy of quite some bad manners.

Bob has financial problems and is trying to sell off a Last Supper by Caravaggio. The evaluator for the authenticity of the painting is a good friend, David (Michael Smiley). Bob and Anne decide to host a lavish dinner which will also include the buyer of the painting and his wife, and a French tutor who is trying to coach Bob in conversational French. There are 12 to sit down to dinner. However, Steven (Tom Hughes), Bob’s oldest son, suddenly turns up, invites himself to dinner and, horror of horrors, that means thirteen places at table.

Which means that the early part of the drama is how to solve this dread situation. Anne gets the brainwave that Maria should sit down to dinner, fourteen places. So, rather unwillingly, Maria gets dressed, comes down to dinner, is placed safely beside Bob so that he can control her, with Anne critically surveying everything from the head of the table. Maria sits next to David and he is immediately charmed (although told by Steven mischievously that Maria has royalty connections). There is tension at the dinner – relieved, not for Anne, when David persuades Maria to tell a rude joke.

It is not all’s well that ends well. David is smitten, keeps contact with Maria, invites her out to the cinema, to meals (with Bob and Anne spying on them with the dilemma of whether to tell David the truth or not, Bob hesitating until the Caravaggio is authenticated). But, for Anne, it is a matter of class, social status, and, despite some gestures of friendship and kindness towards Maria, 26 is a dominating snob.

Rossy DePalma? brings dignity to her role as Maria, something of a fish out of water, in no way glamorous, but a woman of feeling, who has her own daughter, and is thrilled by the attentions from David and falling in love.

How can it all end? Because this is a French film there is discussion about (and some dismissiveness concerning) happy American endings. In fact, just before the final credits, Steven, who has overcome his writer’s block by writing a novella based on the experience of Maria and David, refers to audiences and whether they want an American happy ending or not.

And the film stops, leaving the audience to ponder the clues and decide for themselves whether there can be a happy ending or not.

1. A European story? American story? Americans in Paris? Society and status, personal drama, comic touches? The cast?

2. The locations, the city of Paris, its beauty, the different regions, the streets, homes, mansions? Restaurants? The musical score?

3. The title and tone, with reference to Anne? Society and snobbery, wealth, status?

4. Maria as the focus, her appearance, her facial appearance, Spanish, her accent? As the maid, with the staff, 10 years of service? Her own daughter, Skyping her and congratulating her on her achievement? Her place in the family? The dinner, the 13th place, the dilemma? Maria and her hesitation, Anne’s decision, the clothes, the choice of dress, the shoes, sitting at the table, near Bob and his control, Anne and her looks, chatting, next to David, drinking, talking, reticent, her being urged to tell the rude joke? Anne upset? The discussion in the kitchen? Hurrying Maria away?

5. Bob and Anne, poverty, selling the Caravaggio, getting it valued, David as the expert, the presence of the buyer and his wife? Living in Paris, the house? Anne and the preparation for the dinner, the places, Steven and his arriving, the extra place? And Bob, his age, the second marriage, their children at home, the bond with Maria? The sports event and their mother’s support? Steven and his story, his mother and Bob’s disdain? Published author, casual, arriving in the house, taking over?

6. The dinner, the guests, their arrival, everything formal, the preparation of the tables, the measuring of the places? David, the expert, his Irish background? The buyer and his wife? French, his motives for getting the painting? The house, the swimming pool? The teacher and her relationship with Bob? Steven, mischief, telling David about Maria’s identity, telling lies?

7. David, his reaction, contacting Maria, going out, the dates, at the cinema, watching The Invisible Man? The restaurants? The talk, his assuming she was nobility? Discussions about Spain? The nights together? The effect on Maria, in love, the servants and their comments? The effect on David? Bob and Anne and their spying, their comments, eating hamburgers as they spied? Anne and her dilemma about whether to tell David the truth or not? Bob hesitant because of the verifying of the authenticity of the picture?

8. Maria, the effect, going out, sharing with David?

9. Anne, the contrived coincidence in the street, telling David the truth, his reaction? No phone calls, Maria hurt, her phoning, disappointed? With the family, the promise of the raise – and her decision to leave?

10. Steven, his writer’s block, taunting people, writing the novel about Maria? The role of the publisher, the manuscript, the discussion about the ending?

11. Anne and Bob, their behaviour in Paris, the bedroom talk, Anne and her vanity and stylist? The affair with the buyer? Bob and the relationship with the French teacher? Going back to the US?

12. The discussion about happy endings, the disdain for them, American happy endings? Steven his talking with David, David realising his mistake, Maria walking away – and the film
ending but the audiences having clues as to happy ending or not?

THE HITMAN’S BODYGUARD

US, 2017, 118 minutes, Colour.
Ryan Reynolds, Samuel L. Jackson, Salma Hayak, Elodie Yung, Gary Oldman, Richard E.Grant, Joaquim de Almeida.
Directed by Patrick Hughes.

It would have to be a very strong candidate for the adrenaline-pumping action film of the year. As might be expected from the title, there is a fair amount of violence but most of it is quite tongue-in- cheek – and the tongue-in-cheekiness extends to a lot of ironic humour, deadpan remarks, and the use of popular songs to counterpoint the action.

In fact, the title even sounds tongue-in-cheek. Why would a hitman need a bodyguard?

It takes a little time before there is an answer to this question. The film opens with a rather James Bond-like introduction, cars through London, helicopter over London, a respectful scene at an airport with a sudden assassination. This is the realm of the bodyguard, Michael (Ryan Reynolds). With the assassination of his client happening right in front of him, Michael is demoted, fired and has to go into private enterprise. To keep the humorous flavour, there is an interlude where Michael, looking rather dishevelled – although he usually operates in a suit and tie – has to escort the panicky businessman, Richard E. Grant, from a building from which he has eliminated all the shooters.

There are also some sequences early in the film with the president of Belarus, Gary Oldman at his most sinister and savage (interesting that they chose the president of Belarus who, for a long time, has exercised rather despotic power in this country). The president interrogates a rebel professor and murders his children. We see that later he is on trial at the International Court in the Hague.

Then, at last, the appearance of the hitman. He is played with considerable zest by Samuel L. Jackson, who is being called by Interpol as a witness against the president of Belarus and has to be transported from Manchester to the Hague via Amsterdam.

Incidentally, the variety of European locations, especially the cities, offers many an opportunity for audiences to enjoy the touristic aspects of the cities – and, especially towards the end, the most elaborate chase through the streets and canals of Amsterdam and then through the streets of The Hague. They are very adrenaline-pumping!

Needless to say, the Belarus president has his contacts, thugs roaming England and the Netherlands, and a traitor within Interpol who is revealed almost immediately so that we can see his machinations, the ambush to kill the hitman, continually tracking him throughout the countryside, with lots of shootouts and explosions.

Actually, the film plays like a variation on the odd couple, the hitman, Darius, not worried about rules, regulations, not waiting for Michael to do his planning, consider the logical best, require the wearing of seatbelt… And they have arguments along these lines, working off each other, and Darius obviously enjoying himself, singing at various times, including getting a lift in a van full of singing nuns!
And there is romance. There are quite number of flashbacks explaining Darius and Michael, especially their stories of falling in love. Darius has married Sonia, Salma Hayek, who worked in a Mexico City bar, more than tough, fighting recalcitrant customers – and all of this shown with Lionel Richie singing romantically in the background. There is a similar treatment of Michael falling in love with the French Interpol officer, Amelia (Elodie Yung).

There is split-second timing at the end, loads of gunmen trying to prevent Michael and Darius getting to the court, the defence counsel telling the judge that the time had passed but, with only a few seconds to spare, Michael and Darius arrive.

Actually the film doesn’t end there, there is a whole lot more action including a helicopter and explosions.

One hopes that the writers will think up a nicely complex plot, some funny as well as serious situations and good lines for the sequel. It could be The Bodyguard’s Hitman, but, in fact, ironically, this is the climax of the film.

Yes, it has touches of the violent, and Salma Hayek and Samuel L. Jackson exploit what a prim American friend referred to as “cuss language�. So, perhaps something of a guilty pleasure.

1. An entertaining film? Comic touches? Serious touches? An adrenaline-pumper?

2. The European settings, touristic views, immersing the audiences in the cities: London, Manchester, Coventry, The Hague, Amsterdam? The Belarus settings?

3. The musical score, the range of songs, the comic insertion, especially for the two falling in love sequences, for the action?

4. The title, expectations?

5. James Bond style introduction, London, the cars, the helicopter, the vistas? The airport, Michael and his waiting, the guards, the farewell to the Japanese arms dealer, his being shot? Michael standing mesmerised? His interpretation of what happened, blaming Amelia? The break the relationship? The later revelation? Darius taking the opportunity and killing the Japanese?

6. Two years later, Michael demoted, his explanation of how high he had reached? The comedy with the businessman, in his office, his panic, going to the other car, the explosion, the flashbacks showing Michael demolishing all the intruders?

7. Belarus, the president and his attitude, personality, the confrontation with the professor, the Revolution? The interview, bringing in the family, killing them? His character, war criminal, going to the Hague, waiting for his trial, the role of Interpol?

8. Samuel L. Jackson as Darius, personality, character, his age, his style, joking, singing, genial, yet psychopathic behaviour? The number of contracts, the number of kills? The flashback to his father, the Minister, the assassination, the funeral, and the boy killing his father’s murderer?

9. The story of Sonia, the flashback, the bar, her fighting, the love song, Lionel Richie, marrying her, conflicts, in jail, wanting to free her, the deal with Interpol? The phone call, their arguments, her swearing, love? Supplying the tulips at the clock?

10. Darius as a witness against the president, in custody, Interpol wanting to transfer him from England to the Hague? The personnel, Amelia, her boss, the official and his betrayal, wanting the money from the president, the president stabbing his hand, keeping him waiting for the money? In the truck, Darius, the mocking touches, the ambush on the streets, the number of deaths? The two men escaping, phoning Amelia? Michael and his being tense (and the later flashback describing his meeting with Amelia, her being undercover, the criminal, the crash, falling in love?) The break, his talking about forgiveness, her saying she had nothing to be forgiven for?

11. Amelia calling Michael, the past history, his attitude, finally agreeing, coming to Coventry, his mission?

12. Darius and Michael as an odd couple? Darius, no rules, Michael and his orderliness, suit and tie, plans, seat belts, his skills, guns – but Darius doing everything initially, impulsively, immediately?

13. Refuge in the building, the thugs entering, the ambush, the shootings, Darius jumping from the roof, Michael climbing down, taking the car, the drive and their arguments, stopping, changing cars, Darius with phone implant, tracing him, the siege in the countryside, shootings, explosions? Walking through the fields, the cows? Getting the lift, the nuns and singing? The ferry to Amsterdam?

14. Michael, his Amsterdam hideout, the pictures of Amelia? Darius tricking him, the shower, getting out, buying flowers, his being followed, Michael killing the pursuers? The flowers at the clock?

15. The excitement of the chase through Amsterdam, cars, canals and boats? The cumulative effect with the chase through the Hague?

16. The court, waiting, the prosecutor and the defence counsel? The president, his phone calls and the contacts? The treasure from Interpol and his presence?

17. Michael, contact with Amelia, attempted reconciliation? His being in a daze? Darius and his getting him to the Hague? The final difficulties, cars, shootings? The police bringing them in? A few seconds to go?

18. The alternate plan, the helicopter, the explosions, the president escaping, the pursuit through the corridors, to the roof? Darius in pursuit? Michael, the president and his threats? Darius and confrontation, the president on the roof, the hitman being the bodyguard and defender of the bodyguard? The president’s death?

19. The aftermath, Darius in prison, Sonia free? Darius’s escape, their dancing in Mexico? And Michael and Amelia together?

AN INCONVENIENT EQUAL: TRUTH TO POWER

US, 2017, 98 minutes, Colour.
Al Gore.
Directed by Bonni Cohen, John Shenk.

Al Gore has made his mark on American society. Serving for six years as vice president to Bill Clinton, he then stood for the presidency, losing in a decision from the Supreme Court of America to George W. Bush.

In not becoming president of the US, Gore was able to devote his time to environmental causes which he was always interested in (with scenes from his presence at international meetings from the 1980s). And he was able to appear in the documentary, An Inconvenient Truth, which won the Oscar for Best Documentary of 2006. His name became commonplace with environmentalists as well as politicians, whether believers in climate change or sceptics. After the film, he set up an institute for environmentalist trainees with candidates from all over the world, able to contribute to the environmental discussions and influence political decisions. A number of scenes show participants and his workshops, listing the variety of countries from which they came.

A decade later, a sequel, with some tones of desperation about what has happened and what has not happened since 2006 – but, some optimism about the increasing consciousness throughout the world, the serious look at disasters in the last 10 years, developments in such countries as India, and the 2015 Paris agreement. (There are many downbeat moments towards the end of the film with Donald Trump’s campaign, his election as American president, his anti-environment advisers, his withdrawal from the Paris agreement.)

But, something can and must be done. Learning more of the truth leads to an effective exercise of power as the subtitle suggests.

As might be expected, the visuals are often very impressive. This is particularly true of disaster sequences, floodwaters in the streets of Miami, the devastation of hurricanes in the Philippines, the contrast between floods, drought, the reality of evaporation and the weakening of soil and its consequences for farming and food producing.

The film ranges around the world as might be expected. Al Gore has many contacts. His visit to India and discussions with the authorities there, their choices concerning coal, their comments about being where the United States was 150 years earlier and the needs of people for energy and electricity, seems to offer something of an impasse, even in Paris. However, the film shows Gore contacting a businessman with an interest in renewables and the making of a deal concerning loans and interest rates with the Indian government – and final view of extensive solar panels in India.

Al Gore is a genial speaker, connects with an audience, is enthusiastic, sometimes impassioned. And he uses power points and video clips to great effect – as does the film.

Which means that the film is something of a visual lecture, an inspirational movie, a challenging documentary.

The environmental movement has developed over the decades but there are still many who are sceptics, have political and/or business interests, or even religious arguments about climate change.

But, for believers as well as sceptics, there is still the enormous human responsibility to control carbon emissions, for recycling, not wasting, and a growing consciousness for the preservation and health of the world – and for those who will inherit it in the future.

ANNABELLE CREATION

US, 2017, 109 minutes, Colour.
Anthony La Paglia, Miranda Otto, Stephanie Sigman, Talitha Bateman, Lulu Wilson, Grace Fulton, Philippa Coulthard, Mark Bramhall.
Directed by David Sandberg.

After the success of the two Conjuring films and then the spinoff with the murderous doll, Annabelle, commentators have talked about the creation of a Conjuring Universe. Now we have the prequel to Annabelle and a further episode taking up the character of the murderous nun in The Conjuring 2, with intimations given in this film.

Most of the characters in this film are female. There are a few men, Anthony La Paglia as the doll maker, Sam Chambers, a priest driving a bus for orphans who also blesses a sinister house, police at the end and some adoptive parents. But, there is a great emphasis on the women, from Miranda Otto as Esther, the doll maker’s wife. And there is a little daughter who very early in the film is killed in a car accident.

Most of the action takes place 12 years later with a bus load of orphans, under the charge of Sister Charlotte (a very sympathetic nun played by Stephanie Sigman), who have been invited to transfer their institution to the Chamber’s house, a vast and somewhat Gothic exterior with a myriad of rooms. The two youngest girls at the centre of the drama, Janice (Talith Bateman) and Linda (Lulu Wilson), are two very convincing performers, especially Janice who is taken over by the evil doll who was possessed by the Chambers’ young daughter.

Having emphasised the female presence and the feminine sensibility of the film (although written and directed by men), it needs to be said that macho audiences have expressed disappointment at how “tame� the film is. Rather, it could be said that the film is a “slow burn� leaving the expected mayhem for a final climax.

Interestingly, there is quite a Catholic background to The Conjuring Universe. The Chambers go to church on Sunday, ask the priest to bless their house when it falls prey to the sinister presence of their daughter possessing the doll (and a reasonable explanation given later in the film). The children are Catholic, pray, are guided well by Sister Charlotte – with, interestingly, Sister and Janice sitting back to back but Janice formally making her confession to Sister Charlotte.

On the one hand, for evil possession sceptics, the film could be seen as rather well-written and well-acted hokum. For those who are susceptible, a different horror experience, because of the doll and the little girls.

(For those wondering about the connection between the Annabelle films and the Conjuring films, the murderous doll, Annabelle, finally found her place in the museum run by the Warrens, the famous couple, TV personalities as well, who had a career in exorcisms and appear in The Conjuring films and came into prominence with the possessed Amityville house in the 1970s.)

1. The Conjuring Universe and its development? The Conjuring films, Annabelle, themes of evil, possession, the possession of the doll? The prequel?

2. The period, the past, the American midwest, the countryside, dry and mountainous, the open roads? Church, town, home, workshop? Costumes of the period, the cars? The musical score?

3. The background of The Conjuring, the Warrens and their exorcisms, the doll in the museum, the drawing on Catholic background characters for these films?

4. The feminine sensibility of the film, the characters, behaviour, possession, suffering? Not a film for macho audiences?

5. The credibility of the story, dolls and evil, the later explanation about the death of the daughter, the prayer of the parents, contact with her – religious or not? The consequences? Destruction, cruelty and their deaths?

6. The Catholic tones, the initial going to church? The couple, accepting the orphans, Fr. Massey and his driving the bus, St Eustace orphanage? Sister Charlotte and her presence? The background in Romania? The scene of Fr. Massey and his assistant blessing the house? Themes of prayer, faith, Sister Charlotte and her hearing of Janice’s confession?

7. Sam and Esther, as a couple, their love for their daughter, his making the dolls, fulfilling orders for the shops, happy? Playing the game with the notes: Find Me, and its latest sinister use? The calm, the breakdown, the piece on the road, the crash and the daughter being killed?

8. The passing of 12 years, St Eustace’s as an orphanage, the need for accommodation, Sister Charlotte and her presence, Janice and Linda chatting on the bus, Janice and her polio? The other girls? Arriving, happy, an opportunity?

9. Esther and Sam, the situation, the large house, the talk, the secrets, the locked doors, the chair to lift Janice to the top floor? Sam and his being dour? His wife and her confinement, the locked door, the mask and her disfigurement? The welcome, the cautioning? Sam and his death? Esther and her talking with Sister Charlotte, her being crucified on the wall?

10. Sister Charlotte, pleasant, the background in Romania – and the post script after the credits about the convent in Romania, the connection with The Conjuring 2 and foreshadowing The Nun?

11. The girls, ages, characters, interactions, the two older girls, the middle group, Janice and Linda? The rooms, the lessons, meals, ordinary life?

12. Janice being curious, opening the door, discovering the doll, the door shutting? Her watching, confessing to Sister Charlotte? Going back in, urging Linda?

13. Carrol and Nancy, the cover, the sense of presence? The girls and their reactions?

14. Janice, her being possessed, the consequences, in the barn, the mayhem and fear? Sam’s death, Esther talking and her fate, and, Sister Charlotte being hurled against the wall?

15. Linda, the continued searching, in the dumbwaiter? Her escape? The barn?

16. The girls gathering, the house exploding? The decision to leave and the travel the bus? The doll in the house?

17. Janice and her adoptive parents, their meeting with her, 12 years passing, the murderous outburst?

18. The post script about Romania and the sinister nun?

xXx

US, 2002, 124 minutes, Colour.
Vin Diesel, Asia Argento, Marton Csokas, Samuel L. Jackson.
Directed by Rob Cohen.

Vin Diesel's engine-fuel name sounded more suitable for Pitch Black and, especially, the Fast and the Furious.

Now we have the enigmatic xXx. He plays a physical stunt junkie who, before you can say I Spy, has been willingly recruited (like one of the Dirty Dozen) to be a CIA operative in the Czech Republic by standover boss, Samuel L. Jackson. There are dire things happening in Prague. The gangs are more deadly (disaffected Soviet youth) and, in fact, are in process of building weapons of mass destruction.

Here there is no need for the US President to attack the country. xXx will do the job almost singlehandedly with a 21st century grunge style, gung-ho spirit and explosive stunts and the loudest of Dolby sound. He is the 'shadow' side of the elegant James Bond who, I suppose, achieves much the same results with infinitely more deadly elegance.

Rob Cohen directed Diesel in The Fast and the Furious so he knows what he's doing in creating a comic strip, laconic hero who eventually shows a touch of humanity. Prague looks good, however.


1. The popularity of the series? Vin Diesel’s presence? His character and agent?

2. Action, stunts, special effects? Credibility – excitement?

3. Prague, the settings, the beauty of the city, the dangers, the castles? The touch of the exotic? The musical score?

4. Vin Diesel as Xander Cage, personality, style, his age, experience, extreme sports, seeing him in action, his television series? The stealing of the senator’s car? Trouble with authorities?

5. The situation in Europe, the Russian group, anarchy? Silent Night and the stealing of the weapon? The NSA and the infiltration, the recognition of the agents? Failure? Augustus Gibbons and his decision about Xander Cage?

6. Interview, training, the robbery in the diner, going to Columbia, the drug camp, the escape? Xander agreeing to be recruited?

7. Xander, going to Prague, the interactions with Sova, the clash, Xander not wanting to be under orders, the insults, his sense of freedom?

8. Sova, character, privileges, clash with Xander, Xander exposing him – and vice versa?

9. Introduction to Yorgi? Kolya? The bond between the two? Xander, information, friendship, infiltration, meeting your Yelena? Her role as girlfriend?

10. Yelena, Xander catching her stealing, at the restaurant, revealing the truth, the Russians knowing the identities, the gunfight, the staging of the escape, punching Yelena and carrying her out?

11. Gibbons, his reaction, anger, wanting Xander home, Xander refusing, wanting to rescue Yelena, the castle and the attack, the role of Sova?

12. Yorgi, the plan with the drone, the biochemicals, killing the scientists as a test? The plan for destruction in the variety of cities?

13. Yelena, her being an agent, the two years, let go by the authorities, the situation, relationship with Xander?

14. The organising of the forces to attack the Castle, the plane, the teamwork, Xander leaping from the plane, snowboarding, causing the avalanche?

15. Yorgi, taking Xander as his prisoner, having Yelena?

16. The drama of the attack, the death of Yorgi, the biochemicals released? The harpoon, catching the vehicle, Xander taking the hard drive, the vehicle falling into the water, the rescue of Xander?

17. Mission accomplished, relaxing in Bora- Bora, Gibbons phoning with a new mission – and their ignoring him?

MADE IN FRANCE

France, 2015, 89 minutes, Colour.
Malik Zidi, Dimitri Storoge, François Civil, Nassim Si Ahmed, Ahmed Drame.
Directed by Nicolas Boukhrief.

Made in France is a topical and contemporary drama, not only for French audiences, especially in Paris, but worldwide with the increasing jihadist terrorism in European cities.

The film was made in 2014 but delayed in release because of the bombings and massacres in Paris in 2015.

The film is brief but intense, focusing on a young man, a journalist, with a wife and child, who infiltrates a group, living with them and sharing their plans for destruction in Paris. The audience is introduced to the other members of the group, especially Chris, wanting to be called Youssef, coming from a staunch Catholic family and rebelling against them. There is also an African. And there is a former prisoner who served his sentence with the leader of the group, Hassan.

Hassan comes back, allegedly, from training camps in Pakistan or Afghanistan, stating that he has orders from Al Qaeda, and that they are to infiltrate society, shaving their beards, seeming normal, drinking, ordinary jobs like his, selling shoes in a shop, and issues of sexuality and curiosity.

They prepare, they train, they execute a mission with destruction. As they plan the next one, there is some dissatisfaction in the group, especially not wanting to harm children. The African withdraws, the former prisoner is also shot by Hassan. This leaves Youssef to carry the bomb – but as Hassan wants the journalist to make a video confession, he reveals that he knows that he is in league with the police which builds up to an explosion and a confrontation, shootings and the police killing Hassan. And, it is revealed, that Hassan is an obsessed loner.

Direction is by Nicolas Boukhrief who went on to make The Confession, an interesting remake of Melville’s 1961 World War II drama of the priest and an atheist woman, Leon Morin, Priest.

1. A contemporary story? Reflecting events in Paris? Anticipating events in Paris in 2015? The delay in release?

2. A contemporary story, jihadists, training camps in Asia, ideologies, indoctrination, brain-washing, militancy, weapons and violence? Extremism in Islam? Knowledge of the Quran, ignorance of the Quran?

3. The Paris settings, the journalist, his work, home, family, school? The police at headquarters? The young man from the Catholic family, their ordinary French life, providing the headquarters? The former prisoners? The African? Hassan and his working in the shoe shop? The ordinariness? But sinister? The musical score?

4. The framework, Sammy giving information about himself? Writing the article? His relationship with his wife, discussing undercover work, the dangers, to her, to the sun?

5. Sam, his beard and disguise, his friendship with the members of the group? Sharing their life, the nature of the infiltration, his disguise and cover? Their accepting him?

6. The members of the group, Christophe, his Catholic background, his rebellion against its order, his parents and grandparents, want to be called Youssef, his commitment to the cause, videoing the proceedings? The contrast with Driss, in prison, knowing Hassan? Sidi, the African background? Islam, knowledge and ignorance? Their friendship?

7. Hassan, his place in the group, his cover, his story located Pakistan, the nature of the training camps, the physical training, the killing of traitors and his declaring he had killed? His claim for Al Qaeda bosses? Orders? His making them shave their beards, mingle, drink, go to clubs, issues of sexuality, the discussions about drinking, the discussions about sex? His cover and working at the shoe shop?

8. The discussions, the plans, the training, the mission, explosives, the destruction? The effect on each of them?

9. The discussions about the risks to children? Sidi and his unwilling to participate, his withdrawal? Driss? The confrontation with Hassan, his shooting them?

10. Sam, going to the police, the explanations, the backup, his searching, the phones, the setups?

11. Hassan, the girl, interrogating him, the death, folded in the shroud?

12. Youssef, going for the mission, the bomb, the phone? Hassan and his demanding that Sam make the video? Revealing that he knew the truth? The gun, Sam causing the explosion and Youssef’s death? The confrontation with Hassan, the guns, Hassan shooting him – and the irony as being saved by the Koran? The police arriving, Hassan, the confrontation, the machine gun, the police killing him? Hassan revealed as a loner, organising and controlling everything himself?

13. The end with Sam writing his article, explaining what had happened? The effect on him?

14. This film for the present audience and their experiences? Jihadi terrorism in Europe? Beyond?

MATRIMONY

China, 2007, 89 minutes, Colour.
Leon Lai, René Liu, Bingbing Fan.
Directed by Hua- Tao Teng.
Matrimony is a brief Chinese ghost story, beginning with a woman reading a story over the radio and the plot returning to that story.

The setting is in Shanghai, recreated interestingly in the first few minutes, in the 1930s.

However, the focus is on three people. There is the hero who was about to propose to his girlfriend but she is killed in an accident in the Shanghai streets. Inconsolable, he is persuaded by his mother to marry a woman whom he does not love. She is upset, finds a key, goes into a room in the house where she finds a shrine to the dead woman.

But, she also experiences the ghost of the woman who wants to occupy her body to be in touch, however temporarily, with the man she loved.

The man is caught between the two women, touching his wife and finding the presence of the ghost but still thinking it was his wife – which, of course, leads to some kind of dramatic confrontation.

1. A Chinese ghost story? Asian perspectives on ghosts, hauntings, retribution, horror?

2. The title, the focus, the framework of the woman reading the ghost story on the radio, resuming, its relevance to the action of the film?

3. Shanghai, the 1930s, the city, the streets, the vehicles, the trams? The radio station? Workplaces? The musical score?

4. Junchu, his reticence, the reaction of Manli, in the street, his waving, prepared to propose, her crossing the street, her being hit by the vehicle, her death?

5. Junchu, his grief, Time passing? Coping with his grief, the flashbacks and the development of his relationship with Manli?

6. His withdrawal, his work, the role of his mother, the pressure on him? Sansan and his being persuaded to marry her? Not loving her?

7. Sansan, in the house, the treatment by the mother, by Junchu, ignoring her?

8. Her curiosity, the key, finding the room, the memorabilia of Manli, Junchu finding her, reprimanding her?

9. The encounter with Manli, the ghost, their discussions, the interaction between the two women? Manli, her wanting to enter into Sansan’s body, to touch Junchu? Sansan allowing it?

10. The consequences, the arrangement between the two women, reactions of Junchu, Manley’s touch, Junchu and his sensing Sansan?

11. The buildup to the drama, Junchu in the middle, the two women, Manli’s plans, the execution?

12. Audience interest in ghost stories – especially the serious kind like this one?

THE MYSTERY TRAIN

US, 1931, 62 minutes, Black and white.
Hedda Hopper, Marceline Day, Nick Stuart, Bryant Washburn, Al Cooke, Carol Tevis.
Directed by Philip H Whitman.

For those interested in the career of gossip columnist, Hedda Hopper (played in such films as Trumbo by Helen Mirren and The Feud, Betty and Joan, by Judy Davis), this is an opportunity to see her during her film career in the 1930s.

Here she plays an older woman in financial difficulties, relying on her attorney and the possibility of marriage to a millionaire who possesses an exotic diamond.

They are travelling by train when it crashes and she come across a young woman, handcuffed to the police, who escapes, but is taken on by the widow and groomed to become the bride of a young millionaire.

There is some slapstick comedy when the young couple encounter each other in a muddy accident. They do fall in love, but the girl is conscious that she had been arrested. The police seem to be suspicious of the older woman and come to her house only to tell her that the young girl is innocent. The woman decides to hide the facts from the young woman so that she can have a hold over her.

While there was a train crash, 1931 style, at the opening of the film, there is another crash at the end with some moments given to the dangers of a runaway carriage.

Some complications about the diamond, especially with extraneous criminals on the train wanting it, but happy ever after ending for the young couple – but the widow and her attorney dying the crash.


1. Thriller of the early 1930s? Camera work, sound engineering, action, special effects?

2. The title, the focus on the train at the beginning, the end? The recreation of crashes? The runaway train the dangers, possible collisions, final crash? The use of miniatures? The credibility of the sequences?

3. The melodrama? Hedda Hopper as Mrs Radcliffe? Her situation, wealth, extravagance, relationship with the attorney? Diamond? His collusion?

4. The crash, Joan and her being handcuffed, Mrs Radcliffe taking her under her wing, calling her niece? Her plan? Ronnie and his wealth? Potential marriage? Her being too old? Grooming Joan? The collaboration of the attorney?

5. The screwball comedy aspects of Joan and her riding, running into the car, her falling off, humiliation, Clash? Her laughing it off? The party, Ronnie and his infatuation with Joan, Joan liking Ronnie, their meeting, the verbal sparring? Falling in love?

6. The police, tracking down Mrs Radcliffe? Explaining that Joan was not guilty? Mrs Radcliffe deciding not to tell Joan, to keep power over her, the attorney agreeing?

7. Picture of high society, wealth, glamour? Joan fitting in? Yet her feeling guilty, Ronnie and his attentions, her not being able to say yes? Mrs Radcliffe being upset? Her blackmailing and pressurising Joan?

8. On the train, Ronnie and the diamond, Joan and her compartment, Mrs Radcliffe, the attorney? The coinciding of the two criminals on the train?

9. The attendant on the train, African- American, the treatment? Touches of racism?

10. The stealing of the diamond, the irony of the attorney in the bunk overhead, the audience thinking that Joan had stolen it? Mrs Radcliffe willing to be searched?

11. The crooks, uncoupling the carriage, its going backwards, the danger, Joan seeing it, with Ronnie?

12. Comedy of the married couple and their incompatibility, yet going to Niagara Falls, the slapstick comedy, their survival?

13. The crash, news of the death of Mrs Radcliffe and the attorney, Joan and Ronnie happily surviving, ever after.