THE LAST KING

Norway, 2016, 99 minutes, Colour.
Directed by Nils Gaup.

The main thing to note about this historical epic is that it is a Norwegian film made principally for a Norwegian or Scandinavian audience. Any audience from beyond these countries would need first to study something of the background of the plot, a Civil War in Norway at the beginning of the 13th century.

One of the great advantages of the film is the photography of the Norwegian landscapes, snow scapes. And while the budget is small, no cast of thousands, the battle scenes are nevertheless strong and vivid.

The basic plot concerns the infant son of the King who half the country wants killed and the other half wants to rule them. The child is taken, secreted away by a group of loyal heroes who spend a great deal of the film defending the child.

There is a subplot about a young princess and her being taken by the villain.

Because the film screenplay is so grounded in the history, it is difficult for a casual audience to begin to watch the film and follow it in detail and understand what is happening and the issues for Norway’s history.

ASSASSINS CREED

UK, 2016, 115 minutes, Colour.
Michael Fassbender, Marion Cotillard, Jeremy Irons, Brendan Gleeson, Charlotte Rampling, Michael Kenneth Williams, Essie Davis.
Directed by Justin Kurtzel.

Assassins Creed is based on a computer game and is intended for the players, especially those who are fans of the game and assure us that the details of the games have been incorporated into the screenplay. But what about those of us who are not game players are not familiar with Assassins Creed? It means that this has to be something of a spectacle action show with plenty of special effects and computer graphics, especially for sequences which are set in Spain in the 15th century.

There is some information on screen as the film begins, a reminder of the role (not necessarily historical but in the mythologies of novels and the movies) of the Knights Templar, their position in the church, their influence on monarchies. There is also information about the lineage of secret Assassins. But, to the surprise of those who know a bit about the Bible and the Genesis stories, there is information about the Eden Apple, not only the cause of the fall of Adam and Eve but, somehow or other, the reality of human free will is contained in this Apple. Not a surprise that everybody is after it, wanting its power – and this continues into the 21st century.


And that is where the film opens in the 15th century, the Court of Ferdinand and Isabella, clashes between Muslims and Christians, the role of the Prince of Granada, and a tradition of secret and well-trained assassins. During the film there are several flashbacks to action in Spain, protection of the Prince, challenges from royalty, the flashy action of the assassins, arrests, almost-executions, escapes… And even Christopher Columbus.

There is a sudden leap to 1986, a little boy in Mexico riding his bike, trying some dangerous feats, arriving home to find his mother dying, and his father dressed as an assassin with a knife, the authorities coming to get him and his advising his son to flee. In this way we are introduced to the character of the young Callum Lynch.

And then we are in the 21st century, 30 years later, with Callum actually about to be executed by lethal injection for murdering a pimp, so we are told. However, he is extricated from the jaws of death and set up in the experimental rooms of a huge company, investigating technology, medication, the role of memories. The person in charge is Jeremy Irons (who, as one reviewer wisely put, is very Jeremy Irons-ish). On hand is his daughter, Sifue (Marion Cotillard) who has dedicated herself to science, working with memories.

So, this is where Callum Lynch, played very seriously by Michael Fassbender, begins to get used to his post-almost-execution life, meeting various other subjects of experiments, meeting the rejects who now have very little life of their own. He agrees to go into the experimental program, the Animus, a virtual reality experience, where he goes back into the past, identifying with his assassin ancestor and his exploits, reawaken his own assassin genes, and discovering the Apple, involved in its rescue.

The Templars of the 21st century, meeting at their Temple in London, are very happy to have the Apple, and Jeremy Irons about to make a speech, but… Callum Lynch raises the question with his daughter whether her father really wanted the Apple or he just wanted to get rid of the assassins. We realise he wasn’t 100% supported by the Templars in this quest for the Apple, especially when we meet the woman in charge played by a haughty Charlotte Rampling.

And so, that is Assassins Creed unless you are a game player – and unless they decide on Assassins Creed 2.

1. A film for enthusiasts of computer games? For the game of Assassins Creed? The impact for non—gamers?

2. Fans and the comments about the accuracy of the film in relationship to the game? Situations, characters, issues, moves?

3. For the wide audience, an action blockbuster? The range of action, the stunts, CGI, the atmosphere? The musical score?

4. The introductory information, the history of the Knights Templar and the Assassins? The mythology of the Eden Apple? Its powers, free will? Its existence, ownership, retrieval? This kind of mythology invented for computer games and films?

5. The introduction, 1492, Ferdinand and Isabella, the court, the history of the Templars, the history of the assassins? The continued flashbacks throughout the film?

6. Spain, the Catholic Church, clash with the Muslims? Royalty, Christopher Columbus? The Prince of Granada, the mission for the Apple, the assassins? The chief assassin, his female companion? The bond, their attacks, riding, fighting, capture, almost execution? The escape? The range of flashbacks providing the history, and the action?

7. 1986, Cal, his mother dying, the role of his father, the authorities coming, his father urging him to escape? The young boy, the bike, his attempted feats, and the image of the bird?

8. 30 years on, Cal, to be executed, the murder of the pimp? In prison, taken to execution, his fears, the injection, the effect?

9. His being saved? His being taken to the industrial unit? Technology, techniques, virtual reality? Dealing with recovery of memories? The Animus, its use for the recovery of memories? Cal awake, his reaction to his surroundings, the revealing of his character, dealing with the other members, the 200 year old Arabic leader? The regime, the meals, seeing those who had failed the tests and their lack of life?

10. Sophie, her presence, dedication to science, her work, with Cal, the Animus, virtual reality, his experiences, reliving them, acting them out, but the flashbacks providing the history? His discovery, his identity, the Assassin, the mind of the assassin?

11. Sophie, her father, his control, his character and ambitions? The interactions of father and daughter? Cal and his success with retrieving the Apple?

12. Sophie, her hopes, ambitions, supervising the work, her relationship with Cal?

13. The manager, leading the Templars, his decisions, the woman president, her wanting results, her lack of confidence in the process?

14. Cal, the visit to his father in the institution, his father’s story, his mother as an assassin, his father warning him, his decision to be active, his achievement, the Apple?

15. The Temple of the Templars in London, the ceremony, everybody arriving, hooded, the security, the rituals? The speech, Sophie and her contribution, her father going before the assembly?

16. Sophie and Cal, Cal and his decision, slitting her father’s throat?

17. The reactions, Sophie bewildered at what she had done, Cal and his role as an assassin, the havoc for the Templars?

18. The final scene on the rooftop, the assassins keeping vigil?

MOONLIGHT

US, 2016, 111 minutes, Colour.
Alex R. Hibbert, Ashton Sanders, Trevante Rhodes, Mahershala Ali, Naomie Harris, Janelle Monae, Andre Holland.
Directed by Barry Jenkins.

The preview was in the morning and, that afternoon, news that Moonlight had won the Golden Globe for Best film, Drama. It had some strong competition but it is a compelling film.

Much of the setting is familiar to moviegoers, especially the films from the 1990s showing poverty, drug deals, the experience of racism, life in the hood. While this is the setting for Moonlight, the audience is invited to look at situations, characters and issues from a different, more humane, perspective.

This is the story of Chiron, told in three chapters, with three different actors taking the role of the boy (Alex R. Herbert), the teenager (Ashton Sanders) , the man (Travante Rhodes) -one difficulty being that the actor portraying the teenager seems more slight physically than expected and not the kind of frame that could bulk up to the adult Chiron. There are three chapters: Little which is the nickname for the boy, Chiron which is his name, Black which is the nickname given to him by his friend, Kevin.

The city is Miami, some ventures into the centre of the city downtown but by and large life in the suburbs, the African- American suburbs (the only white characters in the film seen at the end in the diner where Kevin works as chef).

Chiron is a quiet boy, particularly reticent, even speaking few words when he is encouraged. He is bullied by the boys at school, chased, stones thrown at windows… He lives with his mother, Paula, a persuasive Naomie Harris, who is a drug addict and treats her son angrily, not showing any affection.

One of the best things that happens to Chiron is that Juan, a drug dealer, finds him in an abandoned house and befriends him, taking him home, Juan’s girlfriend, Teresa, able to coax him to speak. Juan, a very sympathetic Mahershala Ali, becomes the father Chiron never had, affectionate, interested, with a wonderful scene where he enable Chiron to trust him and to learn to float and to swim.

It is Juan who explains the title: Juan is from Cuba where he was told that black skin in the moonlight looks blue.

One of the aspects of the bullies is that they call the little boy faggot.

The teenage Chiron goes to school and the bullying continues, brutally physical at times, even getting Kevin to punch his friend. Chiron’s mother is still the same, and Teresa is the continued support. Chiron’s reticence is still characteristic and his wondering about his identity, his sexuality – dramatised very quietly by a scene with Kevin on the beach.

The third part of the film takes place 10 years later, Chiron having been in prison, bulked up, and really assuming the character and role of Juan. The main drama of this section includes a visit to his mother in rehab and some kind of reconciliation and a tear. But, it is also the friendship with Kevin, a phone call, a visit, a meal, the lyrics of a song, remembrance of the past – and the openness for a future.

Director Barry Jenkins has created a film that is always interesting, that is very moving, that has touches of poetry, and a humanity that we may not have been expecting.

1. The title? The explanation of black skin seeming blue in the moonlight? Juan as blue? Chiron ultimately imitate imitating Blue?

2. The African- American setting? Miami and the suburbs, the city, the streets in the blocks, homes, school, the sea on the beaches, the diner? The musical score, especially the song for Chiron and Kevin?

3. The presentation of Chiron’s story? The three parts? Little, Chiron, Black? The three different actors, resemblances and differences? The finale of the boys Chiron looking out to the sea, looking back?

4. The introduction to Juan, the drug deals, on the street, his dealer, the client upset, supplying the drugs, payment? The world of dealing? The clients, Chiron’s mother and the others? Little asking Juan about the drugs, his reply, the tear in his eye? Teressa and her relationship with Juan?

5. Juan seeing the chase, Little being chased by the boys, hiding in the house, this smashing the windows? Juan coming to the door, Chiron’s reticence, not speaking, yet following him, the meal, his hearty appetite, staying the night, eventually talking with Teresa? Juan taking him home, his mother doing the drugs, her anger? Chiron being called a faggot? The bond with Juan, driving with him, talking with him, the swimming lessons, trusting and learning to float and swim? Father-figure? To Reza as a substitute mother? His concern about being called a faggot?

6. The teenage Chiron, his scrawny look, his age, at home, his mother and the drugs, her boyfriends? Demanding cash from him? The offscreen death of Juan? Teresa, Chiron staying with her, her teaching him to make the bed? At classes, the teacher, the boys mocking, the verbal abuse, the physical abuse? His friendship with Kevin? From the past? The episode on the beach, the attraction, kiss, fondling? The effect on Chiron? The gang urging Kevin to punch Chiron, his doing so, asking him to fall down? Chiron getting the chair, bashing the bully? The discussions with the principal? The police, taking him away?

7. 10 years passing, Chiron and his being bulked up, imitating Juan, the car, the gold teeth, the drug deals and the clients, the block? Scenes of him exercising, the explanation of his bulk? His talk about the prison, the dealer, being given the block? The visit to his mother in rehab, the declarations of love, tears? Kevin’s phone call, the talk? Chiron driving to see Kevin, Kevin and his history, prison, a cook, with Samantha, his son? The scenes in the diner, the customers (the only white characters in the film)? The discussions with Kevin, why Kevin called? Why Chiron drove? The meal, chef’s special, the drinking of the wine? The playing of the song and its lyrics, the drive home? Chiron explaining he hadn’t touched anyone, been touched since the beach? The image of the two men together, and the young boy looking back?

8. A familiar world of African- Americans, poverty, drugs…? Yet a different perspective? Drugs, violence and poverty, yet kindness, affection, the struggle for identity, sexuality?

MY SISTER EILEEN

US, 1942, 96 minutes, Black and white.
Rosalind Russell, Brian Aherne, Janet Blair, George Tobias, Allyn Joslyn, Grant Mitchell, Gordon Jones, Elizabeth Patterson, Richard Quine, June Havoc, Donald Mac Bride, Jeff Donnell.
Directed by Alexander Hall.

Ruth McKinney? wrote a series of stories about her family, her sister Eileen, an aspiring actress, and what happened to them when they moved to New York City. The stories were adapted as a play for Broadway, My Sister Eileen.

While this is in the tradition of screwball comedy, the screenplay seems to rely strongly on the play and its structure and the confining of a lot of the action to particular sets, especially the downstairs apartment where the two sisters live. The film is also strong on dialogue, especially of the deadpan kind with its irony, delivered by Rosalind Russell in an Oscar-nominated performance as Ruth. Janet Blair is all vivacity and flirtatious this as Eileen.

There is a strong supporting cast with George Tobias as the eccentrically smooth-talking landlord who also paints. Brian Aherne is very serious as the editor who supports Ruth. Allyn Joslyn is a fast-talking newspaper man while Richard Quine works with some dignity at a diner. June Havoc turns up in a small role as a medium. Gordon Jones is a football player who irons but who doesn’t do washing because that is women’s work, with Jeff Donnell as his wife. Donald Mac Bride is the sardonic local policeman urging them all to move, while Grant Mitchell is the father and Elizabeth Patterson as their very affirming and rather endearing grandmother.

The stories were turned into a Broadway musical, Wonderful Town, music by Leonard Bernstein, with Rosalind Russell winning a Tony award. Richard Quine, who had appeared in the play and the first film, directed a musical version in 1955 with Betty Garrett in the Rosalind Russell role, Janet Lee as Eileen, Jack Lemmon as the publisher and guest performances with song and dance and verve by Bob Fossey and Tommy Rall as Eileen’s suitors.

Enjoyable in itself, though it often seems rather forced, even strained, with the added attraction of Rosalind Russell’s performance – the 1955 version seems more enjoyable.

And who would have expected the Three Stooges to suddenly appear at the end?

1. A popular comedy based on original articles and a Broadway play? Popularity in the early 1940s?

2. The tradition of the screwball comedy, fast-paced, farcical situations, strong characters and interactions? This version as rather stage bound, especially in the apartment? The reliance on dialogue? The musical score?

3. The performances, the very strong cast?

4. Columbus Ohio, the Sherwood sisters, their strict father, not wanting them to leave home, the very liberal grandmother and her support? Ruth and her writing stories, wanting to go to New York? Writing the review of her sister’s performance before the performance? Eileen, wanting to be an actress, the editor’s daughter taking the role? Her weeping? The decision to go to New York?

5. The relationship between the two sisters, the title and the emphasis on Eileen, the strong character with the emphasis on “my� with Ruth?

6. New York, their luggage, the advertisements, looking for an apartment? The encounter with Mr Appopoulos, his continued talk, the offer, the money, spoken contract, the witnesses? The sisters being tired, staying, the blasting underneath for the subway? Small, the light outside, the people passing by, dog chasing the cat inside?

7. Mr Appopooulos, his art, painting on the street, his exhibition but nobody coming? The Wreck, practising with the body double on the clothesline, his wife, the secret, his mother-in-law coming, staying with the girls, the ambiguities? His doing the ironing? Helen and her jealousy? His having to leave, his getting down the window and the police challenging him? The mother-in-law, haughty, the couple getting married, the new honeymoon?

8. Eileen, going to the producer’s office, pushing forward, Clark and his offering to interview her, his fascination, her happiness? His coming to the house, flirting? Unwelcome with Ruth? The phone call for Ruth to go to the Portuguese sailors in Brooklyn, his turning up to flirt with Ruth? Eileen and Frank, the restaurant, his being proper, the bottle of wine, the blasting splashing the wine over him? The reconciliation with Eileen?

9. Ruth, her manuscript, the encounter with Bob Baker, getting her to speak her mind to Mr Craven? Her disappointment? His coming to the apartment, the discussions with Ruth, talking and interrupted, spaghetti and meatballs, the bus, the walk? Writing a new story? His praise, the contract, Mr Craven not wanting it? Ruth and her disappointment? The phone call to go to Brooklyn, the encounter with the Portuguese sailors, their following her, in the apartment, the conga line, causing the riot, Eileen leading the conga line, the arrest, in prison, Ruth going to see her, Eileen charming the police, staying in jail?

10. Father and grandmother arriving, father wanting them to go back to Columbus? His being shocked with all the goings on? And the policeman giving the knowing nod as if the father was a guest?

11. Effie, reading palms, her clients turning up, have been carried in, later arrival and her indiscretion about The Wreck and Helen?

12. The Portuguese, the apology, the metal for Eileen? Bob Baker arriving, Ruth disappointed that Eileen was flirting with him? Eileen’s realisation? The packing to go home, the change of heart?

13. Bob, the cheque, the success of the story, the magazine? Eileen and her self-focus?

14. Mr Appopoulos, persuading them to stay, six months? And the drilling beginning – and the Three Stooges drilling into the apartment?

FIRST RESPONSE

Canada, 2015, 89 minutes, Colour.
Dania Ramirez, Kristopher Turner, Joris Jarsky, Adam Butcher.
Directed by Philippe Gagnon.

First Responses is an interesting kind of thriller with a difference, the aftermath of a club robbery and shooting, the robbers hailing down and ambulance forcing the paramedics to deal with the wounded brother.

Perhaps unnecessarily and certainly rather awkwardly, back stories of the two paramedics are introduced with flashbacks throughout the film, giving some kind of character background but it seems rather superfluous, given the action.

The brother concerned about his brother who has been shot has a gun, has taken cocaine, is continually threatening, on edge. The wounded brother seems rather calm, in pain, haemorrhaging, experiencing surgery for the removal of the bullet. The two paramedics are sympathetic, Camilla being rather sympathetic and strong minded, Gerry also sympathetic with a wife and son, not as forthright as Camilla except when he goes to a hospital to commandeer material for the surgery

The keeps quite an amount of tension – but with a twist at the end when the brother who was wounded turns out to be the brains behind the robbery and has decided to kill the paramedics because they can recognise him.

1. A different kind of thriller? The criminals? The robbery? Shootings? Hailing down the ambulance? The work of the paramedics? The threats?

2. Philadelphia, city, clubs, the streets, hospitals, paramedics supervision? The musical score?

3. The title, the role of the paramedics?

4. The introduction to Austin and Dermot, Austin and the cocaine, ready for the robbery, going into the club, the threats, the guns, taking the money, the safe, the undercover policeman, shooting, wounding Dermot, the escape, the car, hailing down the ambulance?

5. Camilla and Gerry, the response? Their personalities? How effective the insertion of their life stories into the action narrative? Camilla, her background, her husband, seeking jobs, his date, her being upset, the computer, his being injured? Gerry, the shooting, surviving, his wife on the phone call, his son? The two working well together?

6. Austin, the gun, concern about his brother, the cocaine? Forcing the two to work on his brother, the interruptions, his threats, his concern? Camilla and her fighting back, his control? Taking the phones? No contact with the supervisor? His gratitude for their helping Dermot, going to the pharmacy with Gerry, creating the disturbances in the hospital, Gerry taking what was needed for the surgery? His promising that Gerry would go free, especially his listening to the phone call?

7. Camilla, stronger minded, wanting to intervene, not succeeding? Her skills in keeping Dermot alive, her various strategies? Confrontations with Austin? Going to the warehouse, being chained? The decision to get the bullet out? The return, the equipment, her Austin succeeding with the bullet? Her turning the tables on Austin? His taking her as hostage with the knife? Out on the tarmac, the plane, the threats?

8. Dermot, not taking the cocaine, his part in the robbery, being shot? The wound, consciousness, danger of infection, the loss of blood, Camilla giving her own blood in transfer? The surgery, the removal of the bullet? His wanting a clear head? On the tarmac? His gratitude – and the irony of his being the brains, his wanting to shoot Camilla and Gerry as witnesses? The disruption – and the shooting?

9. The supervisor, the contact, the information, the film, discussions with the authorities? Investigator, the information about the movement of the ambulance, the warehouse? The phone call from the hospital? The police arriving, the tarmac, the shootout, Camilla and Gerry safe?

10. Popular ingredients, keeping the attention – and the irony of Dermot being the brains and his wanting to kill the term had helped him to live?

MANCHESTER BY THE SEA

US, 2016, 137 minutes, Colour.
Casey Affleck, Lucas Hedges, Michelle Williams, Kyle Chandler, Tate Donovan, Josh Hamilton, Gretchen Moll, Matthew Broderick.
Directed by Kenneth Lonergan.

Writer-director Kenneth Lonergan must have a great love for Manchester-by-the-Sea?, a fishing town on the Massachusetts coast – even during the credits he has many loving shots of the water, the islands, the coast as well as the town itself. He is able to communicate the atmosphere of the small town and its life – and its place by the sea.

This is a very moving film, a very humane film which ordinary audiences can readily identify with.

This is the story of Lee Chandler, one of his very best performances from Casey Affleck who anchors what is quite a long film. We find him as a handyman working in Boston, able in his maintenance jobs but subject to criticism and clash with clients, sometimes more than a touch abrasive. He lives alone. He drinks alone in bars. He sometimes breaks out in anger and brawling. As yet, we don’t really know how he ticks, what motivates him.

The next step in the narrative is his getting the news that his older brother, Joe (Kyle Chandler) has died from heart disease. Lee has to go to the hospital in neighbouring Beverly to see his brother and then arrange funeral matters, and then to Manchester to see Joe’s son, Patrick (Lucas Hedges), a great favourite with his Uncle Lee.

As Lee drives we begin a series of flashbacks which gradually reveal the family story, Lee’s marriage to Randi and their three children, Lee and his fondness for Patrick and their expeditions on the fishing boat at sea with Joe and his partner, George. We find that the family had known that Joe had a heart condition but that his wife (Gretchen Moll) could not deal with this, was alcoholic and walked out.

Gradually the film builds up the portrait of Lee, giving the audience a sudden shock when it is revealed what has damaged Lee and his wife and caused their separation.

The film is also a portrait of Patrick, a 16-year-old, sometimes on the aggressive side at hockey practice, fancying himself with the girls, in fact having two in tow and wanting his uncle to keep his secrets safe. Patrick finds it difficult to express his grief – and is particularly upset because it is winter, the ground too hard to dig a grave and so his father will have to be kept in a freezer in the morgue.

But it is the issue of what is to happen to Patrick with his father’s death, contact with his mother or not, Lee becoming his guardian as his brother wanted him to, even providing the finance for support, the house, the boat, but Lee very hesitant and wanting to go back to Boston, not wanting to stay in Manchester, and Patrick wanting to stay in the town which he knows well and with all his friends.

The acting is very strong with the two central leads but also with Michelle Williams having some very telling scenes as Lee’s wife, Randi.

The screenplay is down-to-earth (with quite a lot of contemporary swearing) but also has insight into human nature, feelings and emotions, conflicts and the need for decision-making.

Considered one of the best films from the US in 2016 – much to commend it.

1. Acclaim and awards for the film? Kenneth Lonergan as writer-director? The cast?

2. The images of the town, the Massachusetts coast, the sea, Islands, the boats, fishing? Homes, school? Neighbouring towns, hospital, roads? Boston, the streets, apartments, maintenance work?

3. The musical score, the selections from Handel and other classics? Songs, Beginning to see the light…?

4. The narrative direction of the film, a portrait of Lee, Casey Affleck’s performance? In Boston, his maintenance work, the encounter with the various clients, his manner, the clashes, the superintendent? News of his brother’s collapse, driving to Manchester? Coping with the experience? His personal grief and memories? The importance of Patrick, his memories? The will, the issue of guardianship? His reflection for his decision?

5. The insertion of the flashbacks, the effect, Lee’s memories, the picture of his family, scenes at home, Joe and his illness, the discussions in the hospital, his wife’s tantrum, the father’s calmness? The tragic night, cards with his friends, drinking? Randi and her reprimands? Going to the shop, coming back and seeing the fire, the bodies of the children, Randi being carried in the ambulance? The later interrogations, his explanation about what had happened? The consequences of grief, pain and anger?

6. Lee in himself, ordinary man, younger, relationship with Joe, with his father, Joe’s illness, the friendship with George, on the boat? The effect of his own family tragedy? His aggressive attitudes after drinking, brawling in the bars? Moving to Boston, trying to cope?

7. Joe, a good man, older brother, good son, his age, his heart condition, collapse, the discussion in the hospital, his life expectancy? His wife, drinking, her leaving? The scene of her on the couch and his covering her? With Patrick, as a boy, fishing, with Uncle Lee? With George, his sudden collapse? Identifying the body, in the morgue, no burial because of the frozen ground, his body being kept frozen in the morgue, Patrick and his reaction?

8. Patrick, his age, seeing him as a young boy, on the boat, fishing, relating well to his father, to his uncle? The news of his father’s death, with the hockey, the fight, the role of the coach, handling the news? Merely glimpsing his father’s body, yet upset that there was no funeral, his body in the freezer? Staying with Lee, the girlfriend, his friends, the conversation after the death? The Star Trek argument? His concern, going to see Sandy, staying with her, the sexual attempts, asking Lee to cover for him? Sandy’s mother, Lee refusing the meals, going in, no conversation, the effect on the mother? Patrick and his moods? The response to the will, the boat, selling his father’s guns to buy a new motor? Working with George?

9. The will, the lawyer, Lee as guardian, Joe providing the cash for Lee and Patrick, the house, Lee and his memories as he listened to the will? Not wanting to be guardian, the delay? Patrick’s reaction? The meal with George and his wife, the discussions about adoption?

10. Randi, tough, love for her children, strong with Lee, ousting his friends, the experience of the fire, in hospital, the death of her children? Leaving Lee, the new partner, the phone call, announcing her pregnancy, wanting to come to the funeral, her presence at the funeral? With the baby? Encountering Lee on the street, want to express her feelings, her love for Lee, Lee unable to listen, leaving?

11. Patrick, the communication with his mother, the phone call and Lee hanging up, the email, the visit, her sprucing herself up, a new partner, the religious background, the meal, saying grace? Table discussions, the edge, her going into the kitchen… Her possibly drinking? The later letter from her partner asking Patrick to go through him, sensitive about his mother?

12. George, the partner with Joe, a good man, on the boat, with Joe at his death, at the hospital, with Patrick, the issue of the motor, Lee and his meal, their agreement about the adoption, their own children?

13. Lee, looking for local jobs, the hostile wife and rejection? His decision to go back to Boston? Getting an apartment, jobs, maintenance, having two rooms, for Patrick to visit?

14. Patrick, the values of having his family, of being loved, his finally weeping, the experience of the funeral? Their visiting the grave, the tombstone?

15. The quiet ending, Lee and Patrick fishing, the prospects for the future?

WALK HARD: THE DEWEY COX STORY

US, 2007, 95 minutes, Colour.
John C. Reilly, Jenna Fischer, Raymond J.Barry, Margo Martindale, Kristin Wiig, Harold Ramis, Frankie Muniz, Ed Helms, Jane Lynch, Simon Helberg, Jackson Browne, Lyle Lovett, Jack Black, Paul Fike, Morgan Fairchild, John Michael Higgins, Jonah Hill, Justin Long, Cheryl Ladd, Paul Rudd.
Directed by Jake Kasdan.

This is a movie spoof but a spoof with a difference. It is better than most.

While watching those funny Leslie Nielsen send-ups of all kinds of genres (Repossessed, Spy Hard…) or the hit and miss, often crass, Scary Movie or Epic Movie series, a nagging question recurs. Would this have been better if the makers took the spoofing more seriously and produced an intelligent parody? And, if they had actors of substance, would that make a difference to the quality of the send-up.

Walk Hard provides the answer: yes.

Of course, it has a solid basis in the biopic of Johnny Cash, Walk the Line. The plot of Walk Hard follows Walk the Line with quite some attention to detail. However, with John C. Reilly as Dewey Cox, the film has a first-rate actor who can do the serious as well as the comic and makes a good fist of the serio-comic, earning himself a Golden Globe nomination for Best Actor in a Comedy or Musical.

The film also has its absurd moments, especially when Dewey cuts his brother in half with a machete and has a heartfelt conversation with the torso. But, the absurdities of the life and career of a country and western star, the women, the drugs, the self-absorption, also get the serio-comic treatment.

Jenna Fischer is the equivalent of June Carter. Raymond J. Barry as Dewey’s unforgiving father and Margo Martindale as his doting mother have good roles.

Reilly did all his own singing, which is also creditable – and the title song also earned a Golden Globe nomination.

Those audiences who wanted a kind of Scary Movie comedy were disappointed – but Walk Hard has something to say as well as something to make us smile.

1. American songs, the range, styles, stories of composers, of performances, of celebrity? Audience interest, knowledge of 20th century composers?

2. The background, the South, the 1930s to the 1950s, pre-rock ‘n’ roll? The parallels with the Johnny Cash story, Walk the Line?

3. A parody, but a serious parody, plate straight? Echoes of Johnny Cash, Ray Charles, the Beatles, the Temptations…? The humour, jokes, irony, spoofs?

4. John C Reilly and his presence, at different ages, at home, performing, his talent, singing, his character in the 20th century arc of the lives of many of the contemporaries? Origins, success, ordinary, on the road, success, temptation, relationships and failures, drugs, rehabilitation? Some kind of finale?

5. Home in Alabama, his parents, the hard father, the soft mother? His friendship with his brother, playing with and eight? Nate and his skills? Dewey and fewer skills? Playing, the bonds, the machete, slicing Nate in half and the comedy of the two halves (and later for his father)? The mother and her grief, the father and his reaction, “the wrong kid died�?

6. Dewey at school, with the 14-year-old’s, as played by Riley? Music, the concert, his abilities, the band, his mother supportive? His father scowling?

7. Edith, her age, young, liking Dewey, the bond between them, the marriage, the many children? The touch of caricature? Are always commenting about his not succeeding? More kids, at home, work, Dewey’s absences?

8. Due in his job, cleaning at the club? The singer, the clientele? Dewey and his admiration? The singer, unable to perform, Dewey offering to step in, playing the songs, the reference to Negroes, everybody getting up and dancing? To success?

9. The Jewish scouts, Jewish humour, their presence, their arrangements, appearing later, produces, the records? And one of the sons coming later to combine Dewey songs with rap?

10. The members of the band, Sam, loyalties, yet you are always finding him in a room with the women, the variety of drugs, building up from marijuana to cocaine to heroine, to speed? The other members of the group, working with Dewey, the ultimate clash with him and leaving? Everybody reuniting for the life award?

11. Walk Hard, the lyrics, the melody, the success, the spoof of the adoring fans, the girls? The role of the band?

12. Dewey and his contemporary celebrities, the encounter with Elvis Presley, the later meeting and discussion with the Beatles, The Temptations and others singing at the award night?

13. The pressure on Dewey, his age, Darlene at her arrival, the attraction, the audition, singing, the relationship at her always hesitating before kissing, the tensions for Dewey? The effect on Darlene? At home, his two marriages, Darlene and Edith meeting and their reactions?

14. Dewey’s mother, always supportive, pride, listening on the radio, dancing with husband, tripping, falling and dying? His father seeking him out, his attitude, a possible reconciliation, but Dewey putting his foot in it – the wrong kid died?

15. Dewey, his erratic behaviour, his defences on the drugs, his drug-filled behaviour? Darlene? Is going to rehabilitation, the traumatising and visuals of the effect on cold turkey?

16. His mad period, convinced it should write a masterpiece, his idea, taking so much time, everybody against him, his agent, friendship and support, but warning him against this? Everybody leaving him?

17. Retirement, the encounter with his son, playing catch, the number of kids, multiracial…?

18. Old age, Edith, settling down, retiring with the family, enjoying the family?

19. The news of the tribute, the award? The opening of the film and is thinking about his life and the resumption for the award?

20. Nate reappearing during the film, challenging Dewey, the comparisons?

21. The performance, his mother and father, his brother appearing, the death of his agent and his appearing dead on stage as well?

22. The acclaim, the song, the supporting acts, the tributes, Edith, the children?

23. The information that he died within three minutes?

24. As film experience, plate straight but tongue-in-cheek, of the popular music world in the US during the 20th century?

JACK GOES HOME

US, 2016, 100 minutes, Colour.
Rory Culkin, Daveigh Chase, Lin Shaye, Britt Robertson, Nikki Reed, Natasha Lyonne, Louis Hunter.
Directed by Thomas Dekker.

Now here is a weird and somewhat bewildering film. It is the work of actor Thomas Dekker (who was somewhat weird and bewildering as one of the alien children in the 1995 version of Children of the Damned, and the star of Greg Iraqi’s Kaboom). he has written the screenplay here and has directed.

There is some early warning is Rory Culkin as Jack sits in his office but muses on the universe, the meaning of life and composes poetry. His girlfriend (Britt Robertson) is six months pregnant.

The audience have seen the accident already, Jack’s mother and father on the highway at night, collision with a deer, a crash and the death of the father. Jack receives the news at his office in California and returns home to Colorado.

Touches a weirdness begin as we introduced to his mother, Lin Shaye, star of so many horror and comic films, getting a more substantial, if somewhat similar, role. She does not grieve, her son questioning her, her going into tantrums. The audience has seen Jack sleepwalking and he has nightmares.

At home, the funeral is conducted at which she speaks but his mother wants to go home.He is helped by a childhood friend, Sean D, Dev a Chase, who is in a lesbian relationship with Crystal, Nikki Reed. There is also a touch of weirdness in the young man who lives across the way whom Jack glimpses, one-time naked, other times curious, who offers drugs, talking, listening to Jack’s weird experiences, making some sexual advances, as well as taking him to a club.

The screenplay becomes more complex when Jack goes into the attic, finds audiotapes and videotapes addressed to him, from his dead father, as well as as a dossier about a sexual abuse case. He also discovers that he has a twin, his mother explaining that he has died, although the intention was to drown Jack in the bath because he cried so much.

By this stage, the audience is wondering how much is real, how much is fantasy, what is happening in Jack’s imagination, especially as he relives the accident with his mother.

While Jack goes home, he also goes into his interior psyche, with bewildering results for himself and for the audience.

1. A bizarre psychological story, mystery, touches of horror?

2. California, workplaces, relationships, normal? The sequence of the accident on the road, the deer, the crash? The contrast with Colorado, the family home, interiors, the attic? The countryside? The funeral service? The musical score?

3. Thomas Dekker as writer and director? His personal comments about film-writing enabling expression of the myriad of personalities inside the creative mind?

4. The introduction to Jack, close-up of his eyes, his reflections about life, the cosmos, growth and change? His poetry? His work at the office, the contact with Cleo, her pregnancy, three months before birth? His coworker, the comment about poetry, the use of the term Bro and Jack quibbling about it? Jack and his being articulate, is vocabulary, poetry?

5. The audience seen the accident happen, the road, the deer, the crash?

6. Jack receiving the news? His going home to Colorado? Looking for his mother in the house? The meal and the discussion about expressions of grief? Jack seeming normal, expecting his mother to cry? His saying that he did not cry? His mother’s outburst, her freedom about how she manifested her grief?

7. To build tracing the relationship between mother and son? Moments of tenderness? Moments of anger? Her self-assertion? Going to her room? With the violin? A reaction to the dog? Jack and is going to the vet, the pleasant talk with Nancy, her raising the issue of God in prayer? His mother’s condemnation of her? Bringing the dog back home,
playing around the house, his mother criticising it scratching at the door (and her ultimately killing the dog)?

8. Jack and his friendship with Shonda? Her ability to listen? Knowing each other since children? It her fearing the house was haunted, apprehension about his mother? The two talking together, the funeral, smoking pot together? His support of her, her relationship with Crystal, coming out? Crystal and her criticisms – yet allowing Shonda to support Jack?

9. The preparation for the funeral, the ceremony, outdoors, Jack speech, his mother going to the water, wanting to go home, Shonda driving them?

10. The presence of Duncan across the way, seen through the window, standing naked at the window, making contact with Jack, the discussions, Jack condemning him for pontificating, his apology in the window and the response? Going to the club, doing the drugs? The man at the bar, reading Jack’s palm? Heart and head – and saying that Jack was already dead? Duncan, his personality, the sexual approach, the kisses?

11. Jack, his sleepwalking in the past, his talk about the attic? His nightmares? Going up to the attic, finding the audiotape, playing it, his father talking to him, then finding the videotapes, playing them? The discovery about his twin? Listening to his father? The mystery of the bath and death? Finding the papers, the story of sexual assault, cases? His father’s apology?

12. His mother, telling the story of the twins, Jack always crying, Andrew quiet? The father’s desperation, taking the child to the bath, drowning the child – but drowning Andrew? And was the name for Jack and Chloe’s baby?

13. Jack and the piano, his mother, the music, dancing, taking her to the car, the reliving of the accident? His mother on the ground? Shonda and her arrival, taking him away?

14. When did reality and fantasy begin to blur? For Jack? For the audience? How much of the screenplay was real life? How much dream? How much fantasy created in Jack’s imagination?

WHEN TRUMPETS FADE

US, 1998, 95 minutes, Colour.
Ron Eldard, Zak Orth, Frank Whaley, Dylan Bruno, Dan Futterman, Steven Petrarca, Dwight Yoakam, Martin Donovan, Timothy Oliphant, Jeffrey Donovan, Bobby Cannavale.
Directed by John Irvin.

When Trumpets Fade is a war movie made for television, being released at much the same time as Saving Private Ryan and Terrence Malik’s The Thin Red Line. Though brief, the war scenes and the action in the Ardennes, during the Battle of the Bulge, weapons, flamethrowers, tanks, and many dead stand the test of vivid visualising of war (as was later in Mel Gibson’s Hacksaw Ridge)

As with many war films, the focus is on a small group, Ron Eldard at the beginning carrying Jeffrey Donovan who has been wounded, and attempt to get to safety. When he returns alone, he asks his commanding officer, Martin Donovan, for leave because of mental disability. His request is refused and is put in charge of several missions, sometimes with very young and inexperienced soldiers.

There is a glimpse of the Germans – who seem to be in much the same situation as the Americans, more interested in the cigarettes from the American that they capture than in action.

There is a cumulative effect of the war scenes, small skirmishes, bigger action, and a final push on a bridge with hand grenades and flamethrowers.

Modest in size and production, with a group of several young actors at the beginning of their careers, this is a substantially successful World War II film. .

1. A very strong war film? 1944, the Battle of the Bulge? The small infantry unit?


2. A film made for television, production values, Hungarian locations, recreation of the war and battle sequences? Guns, tanks, flamethrowers? The dead? The musical score?

3. The title, the issue of patriotism, the issue of survival? Manning and his trying to save Bobby? Bobby’s death? His discussions with Pritchett, the emphasis on saving his own life – and the comment from the medic about saving him?

4. The background of World War II, 1944, the Germans moving back, the battles in the Ardennes, the American troops, the heavy losses, the Germans and their losses – and the taking of the prisoner but wanting his cigarettes…?

5. Setting the tone, the comments about war?

6. Manning, Bobby, Bobby being carried, desperate, Manning’s decision, his death?

7. The focus on Manning, the discussions with Pritchett, his wanting to be relieved because of mental disability, Pritchett’s refusal? Manning being promoted, in charge of the group? His own personality, the experience of war, dealing with the authorities, Lucas, the number of deaths, is trying to save the men? The various missions? His objective attitude, the bespectacled soldier, hiding from the Germans, surviving, but Manning willing for him to be captured or dead? The further missions, his discussions with the authorities? The battles, the flamethrowers, the grenades, taking out the guns? The arrival of the tanks? Manning and his men, his survival?

8. Pritchett, in command, with Manning, refusing his request, promoting him, explaining that this was the situation, the further missions, promising him his dismissal? His own experience of war, coping with the dead, with commands?

9. The authorities, the commands, the desperation, the willingness to risk lives, the number of the dead, the visuals of the number of the dead? Wise decisions? Not?

10. The ordinary men, new recruits, the soldier with the spectacles, fear, going out, surviving with the Germans listening but walking past him? His return? Further participation, men asking him how he felt?

11. The range of men, ordinary men, the introductory, hand-to-hand battle, weapons, continued threats, in the forests? The medic?

12. A portrait of World War II, memories of battles 50 years earlier?

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WHEN TRUMPETS FADE

US, 1998, 95 minutes, Colour.
Ron Elgar, Zak Orth, Frank Whaley, Dylan Bruno, Dan Futterman, Steven Petrarca, Dwight Yoakam, Martin Donovan, Timothy Olyphant, Jeffrey Donovan, Bobby Cannavale.
Directed by John Irvin.

This is a little-known World War II film, made for television by HBO at the end of the 1990s. While it was seen at the time on television, it had no cinema release and not a wide audience.

However, it is well worth seeing.

It is based on an actual battle on the Belgian-German? border before Christmas, 1944. The film opens with extensive footage of the allies entering Paris, the liberation of Paris, the enthusiasm, and the hopes of end of the war before Christmas.

But, then it moves to the battle, alone soldier carrying the wounded soldier on his back, setting him down, the wounded man not wanting to be carried anymore, but wanting his companion to stay as he was dying. Then a shot is heard. The soldier, David Manning (Ron Eldard) reports and wants to be excused from action. The captain, Martin Donovan, refuses and promotes him to be a sergeant, wanting him to lead a small squad of young rookie is in a plan to take a bridge and hold it.

Manning is taunted by some as being a coward because he was the only one to survive, uninjured, and attack. However, he perseveres with the young men, disciplining them, testing them on patrol, not popular with them, still wanting to be relieved.

When the pushes to take the bridge lead to many deaths and injuries, German canon continually firing on the troops, Manning suggests that he takes his squad behind the lines and attack the cannons from the back. On the whole, the strategy works – and is later repeated though with some deadly consequences.

In the film ends as it began, this time the wounded Manning being carried by one of the young soldiers…

The title indicates that there is far more to war than the trumpeting of propaganda and morale and gives some information at the end that historians agree that the casualties of this action or out of all proportion and the military decisions were in error.

1. The title? The enthusiasm of war? Reality? Disillusionment? Self-sacrifice?

2. A World War II film over 50 years after the events? The impact for the end of the century? Memories of war? Acknowledgements of war, self-sacrifice, unnecessary deaths? Tribute?

3. The tone of the opening, the footage of the liberation of Paris? The enthusiasm? The songs? The troops, the people? The hopes for the end of the war by Christmas?

4. The events based on an actual historical episode? The battle of Hurtgen Forest? Christmas 1944?

5. The tone of the first sequence with David Manning, carrying Bob, Bob dying, suffering, on the ground, not wanting to be carried further, but not wanting Dave to leave, the plea, David his gun? His arriving back at headquarters? The loss of all the other men? His survival? Talbot and his continuing to needle Dave, yellow streak, cowardice?

6. Dave wanting out, the discussions with Captain Pritchett, the promotion, his refusal, the arguments between them? His being made sergeant, going out to his new squad of
men, their being rookies?

7. Dave and his friendship with the medic, their discussions, help, in the field, under fire, the rescues, the injured and dead? The medic overhearing Dave wanting to opt out? His comment about putting life at risk?

8. The authorities, the Lieutenant and his strong attitudes, the discussions with Dave, willingness to help, the lieutenant under the bridge, under the bombardment, the dogtags of all his massacred troops, his attack on the commander?

9. The range of authorities, the strategies, the plan to take the bridge, the number of pushes, the casualties? The final information and the criticism of such unnecessary deaths?

10. Dave, with the young men, their talking amongst themselves, their Christian names and surnames, Warren and his spectacles, Baxter and his being cheeky, the going off on the
mission, beyond enemy lines, Warren set on patrol, hiding from the Germans, his return, Baxter calling out, Dave slapping him? The effect of the experience? Dave explaining that they had experience?

11. The pushes, the bombardment from the tanks and cannons? The authorities demanding the taking and occupying of the bridge?

12. Pritchett and his wanting to leave, the interview, his being commanded to continue? The attack, the effect on him, the authorities seeing him as wounded, sending him away? The issue of the deal he had done for Dave and his getting out? Talbot telling Dave the news of Pritchett’s injuries?

13. Dave and his idea, Pritchett approving, taking the young men, going behind the lines, the attack from behind, shooting, the flamethrowers? The deaths?

14. The sense of disaster, the authorities demanding the holding of the bridge? The tank reinforcements? Dave, the young men going again, not within orders? The attack, the trucks with the ammunition, the explosions? German shooting? The deaths? Dave being wounded?

15. The repetition of the opening, Warren carrying Dave, Dave dying on his back?

16. A retrospective perspective on battles in World War II?

TARGET EARTH

US, 1998, 95 minutes, Colour.
Christopher Meloni, Marcia Cross, John C.Mc Ginley, Dabney Coleman.
Directed by Peter Markle.

Target Earth is something of a footnote in the history of science fiction films and encounters with aliens. It is brief, was made for television, has some interesting ideas akin to so many other films but in its presentation is rather routine.

Coming at the end of the 1990s, it is somewhat lost in the tradition of the films of the 1970s, perhaps something of a throwback to the small-budget features of the 1950s.

The setting is Ohio, a small neighbourhood where a woman having her house fixed by electricians is overwhelmed by a huge spacecraft which sets off explosions. In the meantime, there is a fugitive in the woods who then takes a little girl and communicates alien codes to her. In the meantime, there is a detective played by Christopher Maloney, who is involved in a number of cases, but finds a little girl and restores her to her mother, Marcy a Cross.

There is something wrong with the little girl and, it eventually emerges, that they have have been many abductions over the years (and a revelation, of course, that Christopher Maloney’s wife had been abducted and had disappeared). There is an FBI investigation to find the man in the woods, led by John C McGinley?, Bald, and with the word in the back of his neck – and not too difficult to realise that he is one of the alien victims, who have all been injected and are serving as sleepers until awakened.

The aliens do want to take over the world though their chief, Chad Lowe, is intrigued by his experiences of listening to Mozart!

With plot complications, the detective and the mother and their child are pursued by police, detective shooting his partner who is also one of the victims, the pseudo-FBI. They find refuge with a group of high-tech rebels who have recovered from being injected and are trying to find the location for the telemetry port for the forthcoming spacecraft.

There is some political and military complications, especially with the deal done by the aliens with a senator, the detective’s uncle, played by Dabney Coleman.

It all comes to a head when the building for the telemetry port is found, the detective confronting the false FBI agent, fighting, and the hero being able to detonate explosives in the nick of time to destroy the heliport – with signals in the sky that the spacecraft cannot land and has to return to space.

Happy ending, the detective, the mother and daughter sitting on the porch of the lady who had experienced the spacecraft, reported to the detective who had not believed her.