DANGEROUS COMPANY

Canada, 2015, 87 minutes, Colour.
Alicia Leigh Willis, Rick Ravenello, Melissa Marty, Susan Slome, Anne de Salvo.
Directed by Sheldon Larry.

Dangerous Company is an ambiguous title – with reference to a fashion business which is undergoing difficulties and is under threat from takeover by a Chinese company, something which the owner of the American firm does not want. There are pressures, especially from the agent, Anne de Salvo, but support from the assistant and from the owner’s husband.

Alicia Leigh Willis is Pauline, who has inherited her company from her grandmother and mother – but having to look after her mother dying from dementia while her sister backed away, drinking and on drugs. When Pauline begins to make mistakes with dates and times, losing her phone and other property, she worries that she is going the same path as her mother. However, she is continually reassured by her husband.

One suspects that there is foul play and that Pauline is being set up. Halfway through the film, it is revealed, as expected (especially if one has seen films like Gaslight), that the husband and Pauline’s assistant are in league, even setting up a medical situation with an actor confronting Pauline as her husband and substituting her mother’s charts and information.

The film becomes a touch more melodramatic towards the end, especially when the actor starts to blackmail the husband and dies.

This is standard material, even familiar, but it does mean that even familiar material is interesting to see how it works out.

1. Business thriller? Psychological thriller?

2. The familiar story of the successful woman, loving her husband, being hounded by her husband, to madness, dementia, for the takeover of the business? In league with his wife’s assistant?

3. The Los Angeles setting, the city, companies and skyscrapers, offices? Luxury homes? Hospital? City locations, for the struggle and death? The musical score?

4. The title, ambiguity, Pauline and her company, the company of her husband and assistant?

5. The situation, the company, from her grandmother and mother, American production, design? Chinese interests? Sales and takeovers, consequences? Pauline wanting to hold onto the company?

6. The visiting Chinese, his agent and her forthrightness, the translator, the discussions? The threat to disintegrate the company? The pressure from the agent, her visits? The businessman speaking English? The revelation that he had had dealings with Aaron?

7. Pauline, competent at work, Elizabeth as her assistant, confiding in her? Love for her husband, the home sequences? Her forgetting, change of dates for dinners, late for meetings, losing her phone, car keys, the wrong shoes for the concert…?

8. Her mother, having dementia, Pauline looking after her, her dying? Her relationship with her sister, the phone calls, the coolness? Her sister coming to visit, going out to dinner with Aaron, his pressurising her, the memories of her past, not looking after her mother, her drinking, the drugs, her husband, custody of her daughters? Her return, wanting to help Pauline, look after her? Helping with the solution to the issue with the shirt? Staying and helping with design?

9. Pauline, the hospital, the medication, staying at home, Aaron and his care, the pills? Her going to the doctor, the test, the actor coming as her husband, the scene, confirmation by Elizabeth? The scans, the x-rays, Pauline asking to look at them again – the background of the robbery at the hospital, revealed a substitution of her mother’s
x-rays?

10. The revelation about Aaron, giving the money to the actor? The actor taking the photos, wanting more money, the confrontation, his death? The media reports? Pauline seeing it, the man posing as her husband? The issue of his shirt, with blood on it? Pauline going to the office, getting the worker to give his shirt, her threatening Aaron with the shirt?

11. Aaron and Elizabeth, the plans, the deceptions, Elizabeth and her forthrightness, the sexual liaison? Bringing the documents, substituting the power of attorney, getting it witnessed?

12. The board meeting, Aaron urging the sale, the approval? Pauline arriving, the accusations of murder, the shirt, the Chinese man walking out, Elizabeth pulling the gun, the struggle, shooting Aaron?

13. The resolution, Pauline and the previous investigations from Jason, his passing them on to Elizabeth? Getting Ray to do further investigations, contact with other companies? And her sister helping her?

.

THAT DAY WE SANG

UK, 2014, 90 minutes, Colour.
Michael Ball, Imelda Staunton, Jessica Gunning, Daniel Rigby, Malcolm Sinclair, Conleth Hill, Sophie Thompson, Harvey Chaisty, Ian Lavender.
Directed by Victoria Wood.

This is a delightful film made for television, which will charm older audiences especially.

It is a project by Victoria Wood, a tribute to Manchester and its history, especially the recording by a children’s choir of the city in 1929 of Henry Purcell’s Nymphs and Shepherd’s. Victoria Wood has written the screenplay as well as directed the film. Very Victoria Wood characters from her plays, television series, very domestic – but, in terms of human nature and experience, transcending the domestic.

The film is a musical and Victoria Wood has composed the music as well as written the lyrics – which are very much in the vein of her practical poetry with its touches of earthiness and niceness of sentiment.

The film takes place in two time zones, in 1969 with the television program celebrating the 40 years of the recording and the bringing together of two middle-age people who were part of the children’s choir. They arrive to give interviews for the making of the television program, go to the house of the pompous host for a screening, go to a dinner at the invitation of the host and his petty and snobbish wife, feel put down (as they are) and together have a cup of tea to reflect on what has happened.

He is Tubby, played with great geniality and the best of niceness by stage star of music theatre, Michael Ball. She is Enid, played by veteran actress in Imelda Staunton (Vera Drake) who has also appeared in musical theatre in the UK. They work exceedingly well together.

In the flashbacks to 1929, Tubby is a thin little boy, Jimmy Baker, played by Harvey Chaisty, his father has left, his mother is embittered, who succeeds in the audition, befriends one of the teachers, Mr Kirkby (Daniel Rigby), a victim of a sniper in World War I, whom Jimmy helps with his walking, their becoming friends, Mr Kirkby then doing his best for Jimmy, despite his mother’s not wanting him to go to the making of the recording.

Tubby appears often in Jimmy’s life, even to helping him to get to the recording.

And there are the songs. Tubby has several for himself, as does Enid. And they have duets (as do Tubby and Jimmy) – one is very imaginative, ‘Life is like a movie’ with Rogers-Astaire? homage. And Enid has a homage to the movies with song and dance routines.

The plot does have some complications, Tubby and his mundane life, his mother just dead. Enid is a secretary in a relationship with her boss. This does lead to some soul-searching, honesty – and love.

A very nice film in the best sense.

1. The tone of the title? Memories, the event, nostalgia, memories of childhood, later regrets, the transition to middle age?

2. The work of Victoria Wood, her writing, direction, songs and her poetry in the lyrics, the music?

3. The success of the film as musical, the real story, 1929, 1969, the children of Manchester, the choir, singing Purcell, Nymphs and Shepherds? The songs for Tubby, for Enid? For Jimmy? The range of duets? The older Tubby with his younger self? Frank and his wife and the restaurant song? The dancing, Tubby and Enid, Enid and her range of routines? Happiness Street? The insertion of the songs – and the revelation of characters and feelings?

4. And the film moving to and fro in time, the effect? And the older Tubby inserted into the past story of his childhood?

5. The opening, 40 years memorial, the television program, due and his reminiscences, weeping? Enid saying it was joyful? Frank, hosting, the invitation to the screening?

6. The party at his house, his wife eating all the biscuits? Anger about the show and his being cut? His wife, and, resignation? The invitation to Tubby and Enid to dinner, the lavish restaurant, the waiters, the stylised aspects, the menu, the variety of courses and their being removed? The irony of Frank and his wife singing and their snobbery about their way of life? Tubby and Enid walking out?

7. Michael Ball as Tubby, his name, appearance, aged 50, genial? Going back to his as a little boy, small and thin, aged 10, his relationship with his mother, at home, his father leaving and his mother’s anger, the man with his gift of the gramophone and the mother’s reaction? Wanting to be in the choir, arriving late for the audition, his being accepted? Enjoying being in the choir? The woman in charge and conducting, her standards? Mr Kirkby, the First World War veteran, Vimy Hill and the sniper, his quoting the Scriptures? Jimmy’s offer to help him, his bad leg, leaning, walking slowly, Jimmy and his cheerfulness? Gift of cake, Jimmy giving it to his mother? Mr Kirkby bringing him home after the concert, asking her to let Jimmy go for the recording? The neighbour and gossip about Mr Kirkby’s visit, Jimmy’s mother’s reaction and her forbidding him to get? Jimmy and the visit from Tubby, singing, open window, Jimmy getting out, his running, going to the side, the balcony, dropping down, Mr Kirkby teaching him, explaining to the conductor sometimes had shellshock and could not remember?

8. The doorman, helping Tubby the ladder, Tubby recognising him? Helping Enid with his name, and her joy in realising who Jimmy was?

9. Tubby working in insurance, his mother’s, not liking music, her death, loneliness, Roger setting the table, his meals? The pleasure of encountering Enid? The invitation to come to the office, meet Pauline and the boss and his snub? Pauline urging on Enid, the discussions, lunch in the square, tentative conversation, the imaginative song, if Life were a Movie…, Costumes, Rogers and Astaire, the dancing? The discussions, the yoghurt? Enid explaining she was seeing someone? Pauline intervening, the pasty and chat? Enid deciding to tell Tubby the truth, Tubby’s reaction, the issue of deception, responsibility, the children?

10. Enid coming to the house, getting the address from Frank? Plain spoken? Not expecting more from Tubby? His relenting, apology, going to see the boss, with the gift of the cactus? The boss in a meeting, Pauline and the intercom, Tubby and his challenging the boss, the boss and his insulting Enid, everything heard about him through the intercom and about his affair?

11. Tubby and his reaction, leaving, Enid deciding to leave despite the boss’s plea? The gift for Pauline?

12. Enid, her life, her sister, work, Pauline and solidarity, even in diet? The affair, her boss, his using her, never going to leave his wife? Telling Tubby, hurt by him, her decision to leave?

13. Pauline, nice, married, fat, the diets, secretary, liking Tubby, urging Enid, the final gift?

14. Mr Kirkby, World War I, the sniper, his injury, stern, quoting scripture, discipline? His being touched by Jimmy’s friendship, walking home, relying on him, encouraging him, the gift of the cake, discussions with his mother?

15. The choir, the children, the exhilaration, the teacher and her instructions? The conductor, his prestige, announcing the record, conducting – and his memories of World War I?

16. A Manchester story, tribute – and a story of British joyfulness?

ROGUE ONE


US, 2016, 133 minutes, Colour.
Felicity Jones, Diego Luna, Alan Tudyk, Donnie Yen, Wen Jiang, Ben Mendelssohn, Guy Henry, Forest Whitaker, Riz Ahmed, Mads Mickelson, Jimmy Smits, Genevieve O'Reilly, Ben Daniels. Voices of James Earl Jones, Anthony Daniels. Computer mastered: Peter Cushing, Carrie Fisher.
Directed by Gareth Edwards.

Star Was has been powerful in the consciousness of audiences all around the world for almost 40 years – and, for those who have not seen it or the succeeding films, there is a general awareness of the mythology, the heroes and heroics, and, of course, The Force.

Rogue One is billed as a stand alone story – but not quite. Throughout the film there are quite a number of connections, especially with the first film, which is now the fourth chapter, A New Hope. Darth Vader appears in two scenes (and still with the voice of James Earl Jones). At the end, he appears with a laser sword. There is a glimpse of R2-D2? and 3CPIO. One of the extraordinary features of the film (though, perhaps, not necessary) is that an actor portrays Lord Tarkin from the earlier films, played by Peter Cushing, but has digitally imposed Peter Cushing and Peter Cushing’s voice on his performance. At the end, there is also a moment of a digitally-produced Princess Leia.

While there is a new score for the film, it does incorporate at different times, some of the original John Williams themes.

There are still battles in the galaxy, the film showing quite a number of planets with different terrains, planets and moons, deserts, dark forbidding battlement planets, strange moons, and a climax on the moon which has a very tropical, even Florida-look, palm trees and all – and the credits inform us that locations used were in Iceland, Jordan and, for the tropics, the Maldives.

The Empire is still dominating and there are rebels. With glimpses of the Emperor, the role of Lord Tarkin, the main representative of the Empire is Orson Krennic (Ben Mendelssohn). The Empire plans to build a Death Star for its continuing conquering ventures, engineered by Galen (Mads Mickelson) whose wife has been killed and his daughter disappeared.

It is now 15 years later, the daughter, Jyn (Felicity Jones) who has been cared for by a most strange extreme rebel (Forest Whitaker), is now sprung from prison and has her opportunity to join the rebels, her contact being a very serious hero, Cassian (Diego Luna).

Once again, as in The Force Awakens, the action is led by a woman, this time Felicity Jones. and the president of the rebel Council is also a woman.

While Cassian and Jyn at the centre of adventures, especially to try to get the plans of the Death Star and transmit them to the rebels, there are also a number of spectacular battle in space scenes, the gung ho enthusiasm of the rebels attacking the Empire.

The film has been directed by Englishman Gareth Edwards who made an impact with his small-budget monster-thriller, Monsters, and was then invited to direct the re-boot of Godzilla.

And The Force? Seen in the action is a blind Jedi, Chirrut Imwe, played by Donnie Yen, who is committed to the cause and is also heroic, along with his associate, Baze Malbus (Wen Jiang),

The film has proven very popular – and is a satisfying Star Was experience until the release of Chapter 8.

1. The continuing Star Wars sagas? 40 years after the event? World popularity? Myths, adventure, space, battles, characters, the creatures? The fight between good and evil?

2. The title, and the spaceship, the irony of the ship belonging to the Empire, taken by the rebels and renamed?

3. The story as a standalone, though the presence of Darth Vader, R2-D2? and 3CPO, Princess Leia, the laser swords?

4. The opening, long ago, far away, at the time of episode four? The vastness of space, the effect of many planets and moons, the variety of terrains? Desert? Battlements? In the final palm tree tropic setting? Locations in Iceland, Jordan, the mall dives?

5. The effect of the new score, and incorporating the old themes?

6. The background of the Empire, expansion, the emperor, Lord Tarkin and, Orson Krennic, the death Star, the plans, the rebels against the Empire? Attack and heroics?

7. The female perspective, Jyn and her leadership?

8. The situation, Jyn’s father, his engineering skills, working for the Empire, unwillingly? His escape, Orson Krennic finding him, the wife and daughter trying to escape, the return of the wife, her death? The confrontation, engineer going, his daughter escaping?

9. The story of her rescue, Saw Gerrero and his guardianship, her getting away from him? His being a rebel, extreme, information about the pilots, participation in the plans, the Council thinking him too reckless? His involvement in the plot?

10. 15 years passing, Jyn and her stances, imprisoned, the heroic rescue, her suspicions, wary of Cassian? Going to the Council, the commander, the variety of views, action? Her seeing her father and his message on the hologram? The motivations?

11. The rebels, the council, the members, the president and the feminine perspective? The various senators, the arguments? The possibility of the rescue of her father, the plan for his death by Cassian, Cassian and his rounding up the loyal supporters, the attack?

12. The introduction of the new droid, K, his intelligence, abstract, lack of emotion, ability to analyse, his vocabulary, artificial personality making an impression? Taking sides, wanting a gun, interactions with Cassian, with Jyn and her suspicions, his becoming involved, the action? An interesting Star Wars character?

13. Cassian, a young warrior in childhood, stern, undercover, the information from the spy, the spacecraft? Presentation to the board, clashes with Jyn?

14. The engineer, his plans, incorporating sabotage, his urging his daughter on?

15. Expedition, the pilot, his being taken, his craft, put in charge, his information and skill, naming the craft Rogue One? Landing, the issue of the transmission of the code? His participation, getting the connections to reach, and fire?

16. Cassian and initial attack, his having the engineer in the firing line, not able to hear what was going on, not killing him?

17. Cassian and Jyn, landing, infiltrating, their plan, contact with the pilot, the plan for the transmission, different connections, the danger, the threats, the final achievement?

18. Chirrut Imwe, the Jedi, blind, his consciousness of the Force? The other Chinese, support, participation in the attack? Having the Force after his colleague’s death?

19. The Empire, Lord Tarkiin and, his role (and the effect of seeing Peter Cushing resuscitated)? His role in the plan and the defence?

20. Orson Krennic, the Lord, his white cloak, the touch of the ruthless, the confrontation with the engineer, with Jyn, the sabotage of his plans, the explosives? Visiting the president, his being controlled? Supervising, the discovery of the infiltration, going to the tower, the pursuit, Cassian and Jyn, the conflict, his losing?

21. The council, the attack, the creature control the plane, the pilot? The variety of pilots, the fighting and the tactics, the barrier? The gung ho attitude?

22. Chirrut Imwe and his decision, walking through the guns, the Force with him, achieving his aim? His death?

23. The dangers on the tower, the action, the falling, Jyn being saved? Transmitting the information?

24. The engineer, his death? His plan to deceive the Empire fulfilled?

25. The role of Darth Vader, memories of the past, is intervention about the death Star, the final appearance with the laser sword?

26. Rebels, reinforced by the information about the Death Star? The presence of a R2-D2? and 3 CPO, The vision of Princess Leia and her talking about hope? The transition to the main
episodes?

THE OTHER SIDE OF THE DOOR

UK/US/India, 2016, 96 minutes, Colour.
Sarah Wayne Callies, Jeremy Sisto, Sofia Rosinsky, Logan Creran, Suchitra Pillai.
Directed by Johannes Roberts.

There is an exotic feature of this horror/ghost film, the Mumbai settings, the views of the city in the 21st century, the coast, the water, the affluent areas, the poorer areas, business areas. Then there is the contrast, after a train ride, to the mysterious countryside and the ruined temple.

Sarah Wayne Callies and Jeremy Sisto are a happy couple living in Mumbai, deciding to settle there, the husband doing his business in the city. They have two children but, it is later revealed, that one has died in drowning while his mother had made the option to save his sister. The mother is in continued grief.

However, the woman looking after the house who has lost her own daughter, tells the wife about a temple, ritual, the sacred men appearing, going into the temple and having a sense of the presence of the dead. The wife does this, hears the voice of her son but has been warned not to open the door otherwise the ritual is ruined and there are dire consequences. And this is what the audience sees, the young boy becoming a malevolent spirit presence, the effect on his sister, on his mother and, ultimately, on his father.

At the end, the ritual is going to be repeated by the father wanting to see his dead wife once again.

Probably more effective if seen in the cinema and for an ordinary audience rather than those who are expert in horror films and expect much more horror and gore.

1. The title, as shown during the story? Religious rituals? Life after death? Horror dimensions?

2. The Mumbai setting, the views of the city, the coast, the beaches, the high-rise, the streets, affluent homes, poorer business sections? Going to the countryside, the train ride? The remote jungle, the ruined temple, its interiors? Musical score?

3. Maria and Michael, in India, liking it, Michael’s work, the romantic atmosphere, the decision to live there? Six years passing? The photo of the family, two children? Only one in the house – and then the flashback, Maria in the car with the children, their drowning, her decision to save Lucy rather than Oliver? Her grief, people helping?

4. Michael, a good man, kind, his work, love for his daughter, care for Maria, her attacking him on the bed, her being upset, apologies? His wanting to get her help?

5. Lucy, with her mother, happy, the meals, reading the stories?

6. Piki, working in the house, her Hindu background? Her wanting to help? Her daughter’s death? Her story about the temple, the door? Arranging for Maria to go, the train travel, Maria in the jungle, going alone, discovering the temple? Piki’s warning not to open the door no matter what? In the temple, the darkness, the candles? The sense of presence? The voice behind the door, Olivers, the pleading, Maria and her doubts, eventually opening the door, the consequences? Her seeing the men, the paint, they’re being sacred – but also the images of corpses and debt?

7. Her return home, her being calmer? Michael reassured? Lucy and her experiences, talking about Oliver’s return, Lucy’s sense of his presence, the bite on her shoulder? Not telling her father?

8. Piki, reacting to what had happened, the bird dying, the goldfish, the plants dying, the garden? Her confronting Maria? The decision to burn every relic of Oliver? Collecting the items, in the garbage bags, trying to light the fire, her daughter, the ribbon, Michael C her dead in the pool?

9. Michael, his reaction, trying to save Oliver’s book? Maria, explaining the presence of Oliver? Asking Lucy – and her denials?

10. Oliver taking possession of Lucy, the facial appearance? The knife, stabbing her father?

11. Maria, desperate, the men appearing, her offering herself, her being inhabited by Oliver? The knife, her death? Michael in his desperation?

12. The ending, Michael within the temple, Maria outside, urging him to open, – and his opening the door? The consequences?

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?