I AM WRATH

US, 2016, 92 minutes, Colour.
John Travolta, Christopher Meloni, Amanda Schull, Sam Trammell, Patrick St. Esprit, Rebecca de Mornay, Asante Jones, Paul Sloan, Luis Da Silva Jr.
Directed by Chuck Russell.

In the past Charles Bronson made a number of films like this one, especially the Death Wish series.

This time it is John Travolta (looking uncomfortable with a two-tightly fitting wig) who suffers the death of his wife, a cameo by Rebecca to Mornay, who is an expert getting information about the feasibility of a pipeline for the city of Columbus, Ohio. He is an engineer without work – but, as revealed, he has a past with Black capped Ops operations.

At first, he thinks it is is part of the cream crime wave in the city which the introduction shows has proliferating with a collage of television news information. The governor says the crime wave is a lessening.

Stanley goes to the police, is interrogated, identifies one of the assailants who had hit him, but the man is let go, the police not seeming to interested. Stanley makes connection with his past partner, Christopher Maloney in a strong performance, and it is clear that the rest of the film will be tracking down the criminals, in quite a complex investigation, confrontations, drug lords, sleazy clubs, martial arts fights, weapons, shootouts, threats to the daughter and her husband, and a build up to a confrontation with the governor himself.

In many ways, the screenplay is one of those which has its cake and eat it – a full on vigil anti-film with violence, the audience emotionally identifying with the grieving husband while dismayed at his methods, and are seen in a church, with a priest, a quotation from the book of Jeremiah where God says “I am wrath�, the story of the forgiveness of the good thief and a confession.

The film is directed by Chuck Russell who made a number of action films in the 1990s and early 20th century including Eraser.

1. A revenge story? Prevalence of crime in American cities? Drug crime? Political crime? Corrupt police?

2. Columbus Ohio, the city, the governor and his mansion, speeches, plans for the pipeline? Homes? Airport, parking area, murder? The drug centres? Clubs? The barbershop – in the private arsenal? The musical score?

3. The introduction, the television news items, the prevalence of crime, brutality? The governor boasting that crime was down? The ultimate irony about his role?

4. Environmental issues, the pipeline, companies? Murder to suppress reports?

5. The title, the quotation from Jeremiah, God says that I am wrath and I will not hold it in…? The priest giving the Bible to Stanley, the Bible flung, open, Stanley reading the text? Motivation? And the tattoo on his back?

6. Stanley’s wife and her research, the report, not in favour with the governor? Meeting stand, his job application, engineering, unemployed? The later revelation of his Black Ops career? In the car park, they’re being accosted, the wife murdered, Stanley injured, recognising the assailant?,

7. The police, the interrogation, treatment of Stanley, the question is, Is recognising the assailant – and then seeing the man set free? The reaction of the police, Stanley saying he left it to the police?

8. Stanley, his grief, the farewell to his wife, in the church, his daughter? The talk with the priest, not wanting to stay for the funeral, his lack of belief – the sympathetic priest, the talk, giving him the Bible and the Rosary? Stanley later returning to the church after some of the killings, his reflection, the priest, the discussion about confession and forgiveness, the story of the good thief offered Paradise, Stanley and his confession?

9. The contact with Dennis, their past career, Dennis and his barbershop, the shave, Stanley having pulled out of the job, Dennis’s reaction, trust? Getting the information about the assailants? Dennis warning Stanley about becoming involved?

10. Stanley, his revenge, confronting the criminals, getting the information about the drug dealer, going to the tattoo parlour, Lars coming, the confrontation, his death, the drugs and taking them? The identification of Charlie? Meeting at the Seoul club? Dennis, surveillance, information, the VP room? Stanley coming in, the confrontation, the people in the club, the bodyguards, the proprietor, the killings? Dennis saving Stanley? The time limit to get the final information?

11. The drug chief, connections with the police, with the governor, the photo of the governor’s son, the blackmail? The drugs and wanting them back?

12. The men confronting Stanley and Dennis, their Black Ops skills and fights? The trashing of the barbershop and the consequent confrontation?

13. Stanley’s daughter, her son, the car pursuing them and shooting, her husband wounded? Confronting her father? Seeing the information and the gun on his desk?

14. The drug chief, coming to the home, the death of the babysitter? Getting the daughter to call her father? His reading the code, contacting Dennis? The confrontation in the house, the deaths?

15. The contact with the police, explaining things away, Stanley putting the detective in the boot of the car, going to the governor’s mansion? The background of the governor, the reports, his socialising, public image, his story about rising from nothing? His ruthlessness with the police?

16. Going into the grounds, Stanley setting the bomb on the car, Gibson being killed? Stanley going to the house, the elimination of the guards, the confrontation with the governor, his rifle, the fight? Going out, his being shot?

17. The hospital, his wounds, his protection vest? His daughter giving him the gun? The policeman, the confrontation, the guns, Dennis saving the day?

18. The escape, and the postcard from Brazil?

19. The vengeance film – as well as the religious dimension, justice, forgiveness? But all the criminals presented as unforgivable?

HOLIDAY/ FERIADO

Ecuador, 2014, 82 minutes, Colour.
Juan Arregui, Diego Adres Paredes.
Directed by Diego Aurejo.

Holiday is a brief film from Ecuador, set in a financial crisis at the end of the 20th century, a banker under pressure sends his son to the Andes to relations for holiday.

The bully is rather quiet while his cousins are very boisterous and he finds friendship with a local lad and he saves from attack. They spend some time together, the local boy diving into a waterfall pool and encouraging his new friend.

What happens is that the boy begins to discover something more about his identity, his attractions and feelings, sexuality and his sexual orientation.

While the film explores some of these themes, it does not take them very far, with the boy experiencing rejection.

1. A film from Ecuador? A humane story?

2. The settings, the Andes, the town, the homes, the shops, the countryside, the waterfall and the pool? The musical score?

3. A story of an adolescent, Juan Pablo within his family, his broader family, his shyness, capacity for relationships, his encountering Juano, saving him, the awakening of his affections, the issue of his sexuality and orientation? Isolation, ridicule, rejection?

4. Situation, Juan Pablo going to the family, Anita leaving, his being by himself, the holiday, the uncle and aunt, their care, the boisterous cousins, overbearing for the boy?

5. His father, the bank, failure, financial crisis, trying to cope, his own attitudes? The reaction of the ordinary people, condemnation, losses?

6. The encounter with Juano, the bike rides, the friendship, going to the river, diving and the exhilaration, sunbaking on the rock? The effect on Juan?

7. The boys’ continued meeting, enjoying each other’s company, the different encounters? The Juano and his family, jobs, prospects?

8. Juan Pablo and his approach, the rejection, the effect on him?

9. Going to find Juano, the hut, his opening the door, with the girl, slamming the door in Juan’s face?

10. Juan, the effect of this experience, shaping his future?

11. A sympathetic presentation of an adolescent trying to find himself – and the response of an adolescent audience?

REMEMBER SUNDAY

US, 2013, 96 minutes, Colour.
Alexis Bledel, Zachary Levi, Merritt Weaver, Barry Shabaka Henley, Valerie Azlynn, David Hoffman.
Directed by Jeff Blekner.

Remember Sunday was made for television and for television audience, a wide home audience for its interest and emotional response.

Alexis Bledel was well known for her appearance in the long-running series, The Gilmore Girls. Zachary Levi had been the lead in the television series, Chuck. They both have a telling screen presence.

Audiences will be reminded of Groundhog Day and the repetition of each day – except that in this case Gus, Zachary Levi, has suffered an aneurysm and an effect on the circuitry of his brain so that he has long-term memories before the incident but sleep deletes immediate memories. He has been a top scientist in California and has a love for astronomy but works in a jeweller’s shop, day by day. His sister and his boyhood friend have been very good to him, working at mechanisms by which he can function with cues and notes and recorded conversations which can be listened to as well as transcribed on the computer – although, a power blowout does prevent the continuing of an interrupted process.

Molly works at a restaurant, her life somewhat in disarray, her expecting a substantial inheritance from a great aunt but it has been long delayed. She does some business studies and has a plan to open a flower shop. She has some chance encounters with Gus and is attracted to him. Much of the drama in the film concerns Gus getting the information to help him cope day by day, with meeting with Molly, even though he does not remember her. She has no idea, responds well to him and the way that he copes, cuts him off when he tries to explain the situation to her, being hurt by his seeming neglect but meeting Gus’s sister who explains the situation to her.

Molly is still in love, wants to help Gus, even arranges for him to go to Mount Wilson in California where he worked and the the affirmation of his fellow-workers – which he will not remember.

Audiences may be expecting – and many audiences hoping for – a happy ending and resolution, but it does not come… Audiences would have to imagine what the future for each of them might be.

1. A humane story? Health? Love? And an open-ended finale?

2. New Orleans, the city, the views, the streetcars, homes, shops, cafes? The trip to Mount Wilson and the Observatory? The musical score?

3. Audiences identifying with the plot, Gus and his life, the experience with his brain, the past memories, the loss of immediate memory, his mechanisms for coping? Audiences identifying with Molly, her situation, work, awkwardness, roommate, waiting for her inheritance, the dreams of the flower shop?

4. The title, Gus and his mechanisms to help him remember, the notes, recording conversations, their being transcribed on the computer – and the power blowouts and the difficulties of maintaining the cues for help? His situation, the brain circuitry and the aneurysm, the loss of immediate memory, especially when sleeping? The potential surgery – and its failure with Gus? His past career, his expertise, his research, his doctoral work? His love for astronomy, his telescope, the stars, comets, his explanations to Molly? His working in the jeweller’s shop, the friendliness of the jeweller, the problems with the lost diamond, the insurance, his having to be fired? The devotion of his sister, her daily help, Jerry and their friendship, his continued helping (and exasperation that each day Gus were not remember that he is divorced) and letting Gus know about what was happening?

5. Molly, Baptiste and the work at the restaurant, the encounter with Gus, the flowers, hearing him speak? Using his machine and the message? Going to the jeweller’s shop, her great aunt’s ring – and Gus later finding it, fixing it, giving it back? Gus giving her the $200? Her roommate, the roommate helping her out, urging her on – and the later clashes with Gus and trying to protect her? Going to the studies, the lecturer, his encouragement, her paper on the plan for the flower shop and his praise? Her car breaking down, clamped…?

6. Gus, the friendship with Molly, the notes, the photo, his coping with the dates, the power blowouts and his missing the date, Jerry helping him, buying the flowers, visiting? The variety of dates, walking, meals, looking through the telescope? His wanting to tell Molly the truth, her response, cutting him off, looking at things from her own perspective, not realising his experiences?

7. Gus standing her up, her decision to break with him? The encounter with Gus’s sister, her explanations, the effect on Molly? Her love, wanting to help? Remember Sunday and the trip to California, the Observatory, his hesitation, his colleagues with him, the praise and affirmation, Molly meeting Lauren and the story of their past engagement? The joy for Gus but is not being able to remember it?

8. Molly, the plans for the surgery – and the revelation that Gus had had this and it had failed?

9. The finding of the diamond, Gus getting his job back, giving Molly her ring, Molly and her love – what future for each of them?

10. The strong ending, not easy, the demands on Gus, the demands on Molly? And the emotional response of the audience?

VIRGINIA'S RUN

Canada, 2002, 103 minutes, Colour.
Gabriel Byrne, Joanne Whaley, Lindze Letherman, Rache Skarsten, Kevin Zegers.
Directed by Peter Markle.

Virginia’s Run is a film about a young girl and horses. There has been a long film tradition on these themes and one remembers Elizabeth Taylor in National Velvet.

This is a Canadian production, filmed in Nova Scotia, capitalising on the coast, towns, the rugged countryside.

Lindze Letherman plays Virginia, a young girl whose mother has died in a riding accident and whose grieving father, Gabriel Byrne, forbids her to ride. At the opening of the film, she helps the horse her mother was riding when she died to give birth to a foal. She bonds well with the foal, despite her father forbidding her to see the foal or to ride.

Her father fishes for lobsters but also paints eggs for Easter celebrations, grieving for his dead wife, trying to deal with his teenage daughters, Caroline the older and her wanting to be modern, and her relationship with the son of the owner of a horse training property, a spoiled brat (Kevin Zegers), as well as Virginia.

A trainer comes to work with the horses, Joanne Whaley, who urges the father to let his daughter work with her, encouraging her to ride, and eventually persuading her father to change his mind, his even going to buy back the horse for his daughter.

The buildup is to an endurance ride which the spoiled brat always wins, even though he cheats, and his father and his assistant, a yes-man, gear everything to his favour.

Needless to say, Virginia is going to win, but not after quite a number of difficulties – and the final meal shows the beginnings of a new family.

A film for horse lovers and those who love watching riding.

1. The title, the focus on Virginia, the focus on the horse, on the race?

2. The Nova Scotia settings, the town, the farms, lobster farming, horses and training? The race? The musical score?

3. A film for those who love horses, for those who love to see riding, races, prowess?

4. A film for younger audiences, adult audiences? The special interest for the female audience? The presentation of the men, the hard father mellowing, the worthless spoiled brat, his conniving father, the yes-man assisting him?

5. The plot, familiarity, the horses and young women tradition of films, difficulties, overcoming them, the race and triumph?

6. The opening, the storm, the horse giving birth, Virginia assisting, the bond with the foal, the death of the horse? The memories of the horse, the accident with Virginia’s mother, the death? The effect on Virginia, the effect on her father and his forbidding her to ride?

7. Virginia, bonding with the horse, her father forbidding it, attending the horse, helping with its management? Darrow and his hostility towards the horse? His mocking Virginia? The sale of the horse?

8. Life at home, Virginia and her age, her relationship with her father, upset at his forbidding her to ride? Her love for her sister, the taunts, her dislike of Darrow?

9. Caroline, age, teenage, her relationship with a Darrow, going out, her father being wary? The driving, his speed? The eventual crash? Caroline in hospital, her nose and face, Darrow not calling, going to the dance, his being with the other girl, her punching his nose and feeling better?

10. Darrow, spoiled brat, his father, the horses, pride in his son, the race, Darrow cheating and pushing the rider into the water? His presumptions about himself? His father and his control, his yes-man in managing the events?

11. The years passing, Virginia growing older, her grief that Darrow’s father had sold her horse? At home, reading her mother’s diary, the memories and the sadness? The discussions with Caroline, Caroline reading out the diary entry about herself and not being able to ride? The bond between the two girls? Going to the social, their bonnets, the dance, Virginia engineering her father to dance with Jessie?

12. Jessie, Virginia leaping over her car? Her work, the encounter with Ford, a summing up of the situation, inviting Virginia to work, Virginia and her initial comments, Jessie saying she was a know-it-all, letting her ride, her father seeing it? Jessie coming later, the attraction, persuading Ford to let his daughter ride?

13. Ford, the night away, his return, bringing back the horse? Virginia and her joy? Riding, training for the race? The rivalry with Darrow, the race to the railway track, her getting across the line before the train came?

14. The buildup to the race, Darrow stealing the horse? Ford searching for it? Caroline, the boy, flirting, getting the information, pouring the shake on his head? Giving the information to Virginia?

15. Virginia, driving the truck, getting the horse, the management wanting her disqualified, the crowd urging her on, let Virginia ride? The ride, the manager in the horse trough? Darrow, dressed up, the other competitors, Darrow and his cheating, wanting Jessie to curtail the time for the horse to rest? Virginia following, giving her horse a rest? Darrow trying to bump her, pushing her into the water? The horse coming, getting on, her pursuit, Darrow taking the flag? The map, Virginia letting the horse have its sense? The finale, competitive, her winning?

16. The decision that she was disqualified, that Darrow would win, Caroline taking the stolen flag from his pocket, his being shamed? Virginia winning?

17. The meal, the two girls, Ford and Jessie – and a happy future?

THE GOOD NEIGHBOUR

US, 2016, 98 minutes, Colour.
James Caan, Logan Miller, Keir Gilchrist, Laura Innes, Edwin Hodge.
Directed by Kasra Farahani

This is a film about two teenagers, good friends, a certain mutual dependence, one of whom has a project to film a man over a period of six weeks, interfere in his life, suggest that he is being haunted, to see the effect on him. Later in the film it is revealed that the boy has a resentment towards this man, associating him with the leaving of his father and his mother’s reaction. The other boy has a talent for IT, buying equipment, setting it up in the neighbour’s house, cameras, recordings, devices to suggest haunting.

The target of the project is the neighbour, Harold Grainey, played by James Caan, mostly observed during the film from the point of view of the boys.

As the project goes on, some of their girlfriends participate in the observation, a mother not knowing the exact detail of the experiment, one of the boys becomes more daring, the other more wary, leading to the daring boy going into the house, into the mysterious basement, and a confrontation with guns on the part of Mr Grainey and the boy, leading to an unexpected conclusion.

Inserted throughout the film are several court sequences, the boys accused of harm to Mr Grainey.

Overall, an odd kind of experience watching the two boys, their target, hearing their discussions – and then seeing the consequences, the finale of the film showing that the neighbour was a good man.

1. The title – initial irony, the clear meaning at the end?

2. The American city, homes, families, police? The ordinary background? The musical score?

3. The initial information about studies and the effect on people thinking they were being observed, small influences, the changing – and the revelation that nothing was done but the psychological effect on those being observed?

4. The teenagers, Ethan and Sean, as characters, their age, friendship, mutual dependence? Their plan? The execution? The consequences?

5. Inviting their girlfriends to be present, watching, the discussions? And the girls moving away from the boys after the court sequence?

6. The captions throughout the film, the terms and conditions of the project, the installation…? The effect of this kind of information and audience observing?

7. The equipment, going to the store, buying the gear, the video camera and the talking to camera? The nature of the project? The investigation, six weeks, a documentary, the intended audience? Working in the home – and the mother not aware of the details of the project?

8. The target, Harold Grainey, James Caan as the character? Seen from the point of view of the boys? Their explanation of his background? His age, living alone, their installing cameras in his house, audio surveillance? His staying at home, the mysterious going to the basement? Nodding off? Meals? Lights, fear, the policeman and the scream, not inviting him in?

9. The observations over the six weeks? Filming? The setups to disturb him, as if the house is being haunted? Noises, lights going on and off? The report to the police and the policeman arriving, not welcome inside the house?

10. The audience hostile to Mr Grainey?

11. The sudden insertion of the court sequences, the boys as defendants, the prosecutor, the interrogations, the mother as a witness, the boys giving testimony? The audience not knowing what happened to Mr Grainey?

12. Ethan, his background, his father leaving, the effect on him, resentment? The background of Mr Grainey having the conversation with his mother? Ethan’s hostile interpretation – and aggression towards Mr Grainey?

13. The audience seeing some flashbacks, Mr Grainey, the visit of the women, his wife? The later revelation of her cancer, his caring for her, the mementos in the basement, his sadness, living with this for 12 years? The witness in the court explaining how she was booking a place for him in a retirement home?

14. The boys, Ethan becoming more daring, Sean and his wariness? Ethan going into the house, into the basement, Sean observing? Mr Grainey, the gun, going to the basement, Ethan with a gun from his father’s box? Audience anticipating the shooting? The shock of Mr Grainey killing himself?

15. The sadness about Mr Grainey, a good man, his sadness, a good neighbour?

16. The judge, the comments on the boys, responsibility, being the occasion of a death and therefore guilt? The sentence? Community service? In the final image of the hostile crowd?

SING

US, 2016, 108 minutes, Colour.
Matthew Mc Conaughey, Reese Witherspoon, Seth Mc Farlane, Scarlett Johansson, John C. Reilly, Taron Egerton, Tori Kelly, Jennifer Saunders, Jennifer Hudson, Garth Jennings, Nick Offerman, Rhea Perlman, Laraine Newman, Peter Serafinowicz, Leslie Jones, Nick Kroll..
Directed by Garth Edwards.

Here is a cheerful show, something for the children with all the animals, something for the adults with the memories of “the show must go on� movies of the past.

The film was written and directed by Garth Jennings (Son of Rambow), who also voices the intriguing character of the secretary, Miss Crawley, very effectively and supplying other voices.

The setting is an American city, familiar to Americans and to moviegoers, a touch of San Francisco. However, it is populated by animals, no humans in sight, the animals going about their daily business, an enormous range of animals: baboons as criminals, rhinoceroses as police… This, in itself, is entertaining, a bright city, brightly coloured characters, everything sunny.

But not quite for the central character, Buster Moon, voiced with extreme energy by Matthew Mc Conaughey, and, of all things, a koala with no Australian explanation, obviously an expatriate who has absorbed American culture! He plays a failed entrepreneur, is trying to live up to his father’s reputation, the banks ready to take over his theatre, getting the brainwave to put on a singing competition – but Miss Crawley puts extra zeros inadvertently on the publicity, a prize of $100,000 – and crowds wanting to audition.

The selection that Moon makes is rather puzzling, their talent not immediately perceived by the audience. What is important is their performances, their self-confidence or lack of it, rehearsals, Moon encouraging them, their eventually succeeding – and, of course, despite the young elephant stomping around the stage and bringing the house down (literally), the final rock concert draws the crowds and is a huge success!

A great deal of the enjoyment is looking at the particular animals and listening to the star voices: Rosita, a pig with an extra large family, a talent for dancing, Reese Witherspoon; a mouse who is exceedingly vein, a gambler, but singing very well, Seth Mc Farlane; a British baboon whose father is a robber forcing his son to be a getaway driver, with a talent for piano and singing, Taron Egerton; Gunter, a self-confident dancing pig, Nick Kroll; a hedgehog, teenage, who composes her own songs, Scarlett Johansson; Meena, an extraordinarily shy young elephant, Tori Kelly.

John C Reilly is a sheep, Moon’s best friend, and Jennifer Saunders is the former diva grandmother, a performance which, of course, is absolutely fabulous.

So, what’s not to enjoy!

1. An entertaining animation film? Design, situations, characters, comedy, song?

2. The show must go on tradition? Despite disasters? And the show succeeds?

3. A world familiar to humans peopled only with animals? The wide range of animals? The population of the city? Going about their business? Families? Show business? Ambitions and dreams? Folks and robberies? Police and helicopters? Demolition and rebuilding?

4. The focus on Buster Moon? An American koala! Matthew Mc Conaughey’s voice, intonations, his father and his memories and achievement, trying to measure up to his father, the theatre, the failures, the bank wanting to take over, his work with his secretary, Miss Crawley, the idea of the competition? Miss Crawley and the extra zeros? The notices throughout the city, everybody wanting to audition, the auditions and selection? His friendship with Ed? With Ed’s grandmother? Going to see her to get backing, her rejection? His relationship with the various candidates, encouraging them? Performance, rehearsals?

5. Miss Crawley, the director voicing her, the comedy, her look, her disappearing eye? The mistakes in the office, the extra zeros on the notice? The various accidents? Yet her continued support of Moon?

6. Eddie, the sheep, friend, with money, the meetings with Moon, diffident, going to see his Nana, helping with the rebuilding, taking on the work of stage manager, successes and failures? A good friend?

7. Nana, seeing her in the past at the theatre, her achievement? Old age, her haughty manner, Jennifer Saunders’ voice? Her grandson, criticising him, seeing through Moon? Her refusal of patronage? The decision to go, in the box, the collapse of the theatre? Her change of heart, her memories of the theatre?

8. Ash, voiced by Scarlett Johansson, her partner in performance, playing, singing? His dumping her for another hedgehog? Her being upset, creating her song, Moon appreciating it, her performance, the spikes going out on everybody – including Judith, the bank representative, trying to take over? The teenage audience and response? Her boyfriend seeing it, the new girlfriend despising her and walking out?

9. Mike, the mouse, Seth Mc Farlane’s voice, vanity, able to sing? Looking down (up) on the others? His gambling, cheating? His girlfriend on the phone and his hanging up? The pursuit by the Eastern European Bears? His escape, hiding, the challenge to return, vanity, performance, applause? The Bears in pursuit, his girlfriend picking him up?

10. Rosita, the huge family of pigs, her absent-minded husband? Her singing and dancing? Reese Witherspoon’s voice? Going to the audition, with Gunter, meeting the pages to remember her moves? Her diffidence, the family? Dancing in the supermarket, the applause, her confidence? The final performance with Gunter, the whole family coming to see, the husband bewildered, the glamorous singing and dancing, his finally kissing her?

11. Moon and his schemes for the betterment of the theatre, stealing the water, despite Meena’s caution, going to the aquarium, the special effects with the luminous creatures – and the vast disaster with the water surging over everything and everyone?

12. Meena, the shy elephant, her family and encouragement, always in the background, working in stage management? Moon encouraging her? The philosophy of performance and self-confidence? Moon hearing her singing? The performance, confidence, stomping, and causing the theatre to fall down? Her final performance, the grand finale?

13. Gunter, Germanic, self-confident, dancing, with Rosita, achievement?

14. The joke about the Japanese little girls and their wanting to audition, Moon finally speaking, his Japanese and their slapping his face?

15. Johnny, British, the family gang, the robberies, Johnny and the getaway car? The audition? Singing, playing the piano, Miss Crawley coaching him? His father’s reliance on him, the getaway car in 37 minutes, going to the rehearsal, hurrying back, the traffic jam? The gang imprisoned? The father disowning his son, rejecting Johnny as he visited him in prison – and the show on television, his father hearing him, proud, escaping from jail, racing through the city, the helicopters in pursuit, embracing his son and affirming him?

16. Nana and her support, the speeded up camera work for the rebuilding of the open-air theatre?

17. The television, the compere, ridiculing Moon – but enjoying the show? More and more animals turning up, the rock concert atmosphere, the range of the increasing audience?

18. Sing 2 a probability?

11 MINUTES

Poland, 2015, 81 minutes, Colour.
Richard Dormer, Paulina Chapko, Woiciech Mecwaldowski.
Directed by Jerzy Skolomowski.

11 minutes is a rare film from Polish writer-director Jerzy Skolimoswski who had a significant career over many decades, in his native Poland, making films outside Poland like Deep End in the 1970s and his portrait of Solidarity, Moonlighting in 1980s.

The 11 minutes of the film take place around 5 o’clock in afternoon in busy Warsaw, the film introducing a range of characters, brief sketches, then intercutting them as time moves forward, as they have chance encounters with one another or simply pass one another in the streets.

Thus, the film is able to show a jealous husband and his actress wife and her visit to a sleazy film director, men and women having affairs including a window cleaner, a courier dealing in drugs and his ex-con father selling hotdogs in the street to passers-by including a woman who has custody of a pet dog and four nuns on a day out. There is also a paramedic team trying to get people to hospital on time.

The film and the characters stay in the memory, quite significant for such a brief running time for the film.

1. The title, the 11 minutes around 5 o'clock in the afternoon, for a range of people in Warsaw, ordinary people, cross-section?

2. The climax of the 11 minutes, disaster, deaths? Drama and melodrama?

3. The Warsaw settings, the streets, homes, hotels and corridors, the vendor and the park, building cleaners…? The musical score?

4. The structure of the film, the introduction to each of the characters – as if being filmed on video? The development of their stories? The intercutting of the stories, time going backwards and forwards, characters passing on the streets, coincidences?

5. 11 minutes and fate, interconnections, incidents and accidents?

6. Audience interest in the characters, their stories, sympathies – within the space of 11 minutes of their lives?

7. The jealous husband, the attack on the man who touched his wife, the injury to his eye, the police, the interrogation, his being free? The approach to his wife, her staying with him? Love? His wife’s appointment, the audition and the film? His going to the hotel, kept waiting, going upstairs, in the corridor, the various guests and their trays, the security? His patience, impatience, bashing in the door, seeing his wife, grabbing the director, trying to hold his wife, the security holding him, his having to let go, watching her fall?

8. The director, in the hotel, pretence, phone calls, sleazy, the no disturb sign, receiving the woman, his approach, personal, discussions about the film, the role, prostitution, nudity, the woman’s response, her caution, wariness, needing air, her collapse, the director holding her, the husband barging in, falling out the window, the director falling to his death, hitting the stand with the cleaner, their both falling? The wife, holding on, her husband having to let go, her fall and her expression?

9. The window cleaner, his time off, the sexual encounter with the woman, waving at the bus stop? Being hit by the director and falling to his death?

10. The vendor, formerly in prison, selling hotdogs, the nuns buying them, chatting, his serving them up, other customers, the woman with the dog? Talking about his son’s marriage? Wanting to meet his son? The son, the affair with a woman, getting out before the husband returned? His courier work? Drug deliveries? Going into the building, upstairs? Meeting his father? The bus, the accident and his death?

11. The young man, the note for his mother, going for the robbery, getting into the store, seeing the man hanging, his backing out? At the river, the painter and his work and the blot? In the bus, communicating? The bus accident and their deaths?

12. The woman with the dog, the breakup with her partner, her wandering the streets, the hotdogs? Her death?

13. The nuns, the outing, the hotdogs, in the bus, accident victims?

14. The paramedic team, the doctor, her arrival, the assistants, the man obstructing them, having to clear away the doors on the staircase, getting into the room, the pregnant woman, the old man, the ambulance hurrying, involved in the crash?

15. The amount of characterisation and meaning in just 80 minutes?

OFFICE CHRISTMAS PARTY

US, 2016, 105 minutes, Colour.
Jason Bateman, Olivia Munn, T.J.Miller, Jennifer Aniston, Kate Mc Kinnon, Courtney B. Vance, Jillian Bell, Rob Cordrry, Vanessa Bayer, Karan Soni, Abbey Lee.
Directed by Josh Gordon, Will Speck.

Just before the release of this film, Radio National’s Law Report featured a discussion about office Christmas parties, the behaviour at the parties, the drinking, possible drugtaking, the ever present possibilities for sexual harassment – and various participants ending up in the courts.

While there is this kind of behaviour apparent in the film, it is not quite the crass and raucous comedy that the trailer would lead audiences to believe. Yes, it is raucous and crass at times and no credit to a lot of the participants in this kind of let-things-go party. However, for those who want something a little more serious with the raucous, there is actually something of a plot and characters responding to the plot. Bloggers who just wanted the raucous and crass objected to the plot, finding it unfunny. For those who have been overwhelmed and, at the same time, underwhelmed, by films like Dirty Grandpa, Bad Neighbours and silly and sorted hijinks, the plot is needed.

The film is set just before Christmas, of course, and introduces us to a range of people who work in an IT company, the very serious Josh (Jason Bateman), just getting a divorce, trying to be supportive of the CEO, Clay, (T. J .Miller), with plenty of money, and a mixture of good sense and bad sense, attracted to Tracy (Olivia Munn) who is working on a breakthrough project.

Then Carol turns up, Clay’s martinet sister (Jennifer Aniston doing a severer audition piece for a new Horrible Bosses), no humour, more than a little jealous of her brother, wanting to be CEO of the whole company, threatening closure, cutbacks… She is momentarily tempted by the fact that they want to do a deal with an executive played by Courtney B. Vance. The solution: a Christmas party to end all parties, expensive, alcohol, and DJ…

Also in the picture is Mary, Kate Mc Kinnon, the Human Resources officer, more than than a little prim (on the surface) and Rob Cordrry, doing his familiar style, in no way prim.

What happens is a mixture of the earnest, trying to do a deal with the executive and a lot of things getting out of hand, getting more out of hand, getting most out of hand. and, of course, Carol’s flight is delayed by a snowstorm and she turns up disapprovingly.

One of the complications is that a nice young department chief boasts of having a girlfriend but actually phones for an escort, Savannah (Abbey Lee) who comes along with her pimp, Jillian Bell, who gives quite funny variation on this kind of character. By accident, the executive gets a face full of cocaine rather than snow from the snow machine and lets loose.

With the climax, Savannah taking Clay to her pimp’s club, the rest of the main cast in pursuit through the snowy streets of Chicago, building up to a confrontation with Jennifer Aniston showing some martial arts moves, and clay attempting to drive over one of those Chicago bridges as it opens.

Since this is a Christmas story, there are moments of disaster when the lights of Chicago and all Internet connection go out, and then the fairy tale with Tracy’s invention getting everybody back online, the future of the company saved, no jobs lost – but, on their return to the office, wastefully trashed, there is a big cleanup job in store…

What might have been just another of those Bad… Comedies, is somewhat better because of some plot and themes and professional performances.

DR SEUSS’ HOW THE GRINCH STOLE CHRISTMAS

US, 2000, 104 minutes, Colour.
Jim Carrey, Taylor Momsen, Jeffrey Tambor, Christine Baranski, Bill Irwin, Molly Shannon, Clint Howard, Mindi Sterling.
Directed by Ron Howard.



Dr Seuss wrote a children's story about a hairy green creature, The Grinch, who lived in a cave outside Whoville. The inhabitants of Whoville were a happy lot, especially at Christmas time, where gifts meant a lot. The Grinch had been spurned by the inhabitants, especially the ambitious mayor, ever since he was a child. Embittered, he wants to spoil Christmas. But a sweet little girl (future singer Taylor Momsen) keeps trying to draw him into the festivities and... Well, you have to see the rest.

Whoville is a self-contained sweet land, a bit like a section of a theme park. The inhabitants all have snub noses and wear eccentric clothes. Ron Howard's film creates this world and makes us believe in it. But it is Jim Carrey, hidden behind the Grinch make-up, who remembers that he was The Mask and Ace Ventura and so lets rip with his versatile mugging, clowning and face-pulling plus a range of anti-Christmas sayings.

The moral of the story is, of course, that goodness comes from within and that is a gift in itself. Who could argue with that?


1. The popularity of Dr Seuss stories? The story of the Grinch? The poem, the verse? Screen animated versions?

2. The visualising of Whoville, in the icicle, the star, through the clouds, the snow in the mountains, the small village? The buildings, colour? People, the snub noses? People in their work, the postman? The sales for Christmas, the crushes in the shop, hurrying to the post office, sending the goods, the wrapping area? The square, the Christmas tree, the presents?

3. The contrast with the Grinch, on top of the mountain, his cave, the company of his dog? His appearance, green and furry?

4. The story told about his origin, all the babies arriving, the old ladies receiving the Grinch, his appearance, ugly, yet their doting on him? At school? The children and their taunts, his hairiness, the attempted shave? Martha May and her liking him? His fleeing the town, growing up in the mountain?

5. The atmosphere of Christmas, the spirit of Christmas? For the ordinary people, the postman and his wife? For Cindy Lou? The ambitious mayor, wanting control, re-election? The attraction to Martha May, the ring and the proposal? His yes-man assistant?

6. The Grinch and his malevolence, the boys climbing the mountain and his frightening them, the Mayor keeping quiet so there would be no story of the Grinch for Christmas? His breathing green breath on people? The encounter with Cindy Lou and wrapping her up like a present? His sayings – anti-Christmas, anti-human, anti-sentiment? His behaviour, with his dog, tormenting the people, frightening them?

7. Cindy Lou, with her parents, her kindness, the meeting with the Grinch, his rejecting her, trying to frighten her? Her continuing to appeal to him? Her nominating him for the award? The people’s reaction? The Mayor?

8. The Grinch, hearing the news, debating, deciding to accept? His delay, the arrival, wanting a cheque? The award? The reaction of the people? The burning of the Christmas tree and the gifts? The alternate tree?

9. The Grinch and his attitude towards presents, his various devices for swooping them up, the huge bundle, at the top of the mountain? Cindy Lou on the bundle, the Grinch pulling it back to safety, holding it aloft?

10. The reaction of the mayor, the gift of the clippers – and the Grinch clipping the Mayor’s hair? The postman and his pride in his daughter, her mother?

11. The Grinch, the decision to return the gifts, everybody happy, the spirit of Christmas?

12. Martha May, involvement of the goings-on, the sexy touch, refusing the Mayor, kissing the Grinch?

13. A Christmas story for children, entertainment for adults?

DUMB AND DUMBERER: WHEN HARRY MET LLOYD

US, 2003, 85 minutes, Colour.
Derek Richardson, Eric Christian Olsen, Mimi Rogers, Lewis Guzman, Rachel Nichols, Eldon Henson, Eugene Levy.
Directed by Troy Miller.

It's not a lot of people who will be immediately attracted by this title. Yes, it is a fairly dumb film. No, it is not quite as dumb as so many others in this seemingly proliferating genre. For example, My Boss's Daughter is dumberer.

What is of movie lore interest is that this is a prequel to the Farrelly Brothers' 1994 hit, Dumb and Dumber, a star vehicle for Jim Carrey in his early days and for Jeff Daniels. The challenge for this film was to find young lookalikes for Carrey and Daniels and coax them to act in ways that the stars did. On the whole, they have succeeded with Eric Christian Olsen the Carrey character and Derek Richardson for Jeff Daniels.

There are some funny moments among the silly ones, bodily function jokes and lots of slapstick (after all the classic movie diarrhoea involved Jeff Daniels in Dumb and Dumber; this time the joke is on chocolate). When Harry and Lloyd go to school, they become friends although jealousy arises when they are both attracted to the school's most glamorous student who just happens to be the paper's investigator researching some dishonest goings on with the school principal (Eugene Levy skilfully funny as usual). Of course, it will be funny only if you feel in a dumb