POINT OF ORIGIN

US, 2002, 86 minutes, Colour.
Ray Liotta, John Leguizamo, Colm Feore, Cliff Curtis, Bai Ling, Illeana Douglas, Ronny Cox.
Directed by Thomas Newton Sigel.

Point of Origin is an HBO television film from the early 2000’s, recreating a story from the 1980s.

American audiences of the time may have remembered the character and the episodes. However, those not in the know will be astonished as the film goes on to find that it is based on actual events and characters and that the hero with whom they could identify is actually the guilty party.

This is a film about arson and many fires in the Los Angeles area during the 1980s. The special effects for the fires and their ferocity make quite an impact.

However, it is the human drama that is important, a focus on John Orr, a seemingly respectable role for Ray Liotta – but not for the extent of the whole film. He is a chief arson expert, giving lectures, giving advice to investigators, a man very much admired. He also has a theory about the suspect and is able to provide witness sketches of him.

As the film progresses, and John Orr is seen writing a novel about arson, the audience realises that he himself is the arsonist and is dramatising his exploits in his novel – many of which are visualised. He is married with a family, rather strict, but is also having an affair with a local policewoman.

The film has a strong supporting cast with John Leguizamo as his support and admirer, Colm Fiore as the Chief Inspector, Ronny Cox as the fire chief, by Ling as his wife, Ilieana Douglas as the policewoman.

John Orr tools tells his squad that ego is the main motivation behind arson is ego – and the whole story illustrates the ego of a mentally disturbed man and the consequences of his action.

1. A true story? The character, his behaviour, fires in California, the 1980s? The credibility of the character and his story?

2. Los Angeles, the various city locations, homes, fire stations, investigation offices, the streets, homes? The musical score?

3. The fires, the special effects for the fires, the devastation, the rescues?

4. The introduction to John Orr, his sober appearance, moustache, credible? His background, as a firefighter, his expertise, lectures, finding the point of origin for each fire? His attendance on the fires, observing, commenting? His contributing to the investigations?

5. Keith, the assistant, earnest, learning from John, supporting him, against criticisms? His being part of the team of investigation? Suspicions of John, his scepticism? Following John, seeing him and his having the affair? Ultimately having to give in? His dismay at what happened?

6. John, at home, his wife and children, devoted to his work? Audience surprise at his having the affair? His double behaviour, declarations to his wife? His writing the novel, the wife discovering it? His reaction?

7. The visualising of the suspect, Keith and John with the witness, John feeding her the description and her saying what they wanted? The sketches? The film visualising the suspect, setting the fire in the shop, observing, rejection by the girl, going to apartment, the assault, setting the fire, her death? His planting the fingerprints for John’s guilt?

8. The extent of the fires, the number, the investigations, checking with people at seminars, crosschecking? The fingerprint and John’s identity?

9. John, continuing his work, consulting? The domestic scenes, his daughter, threatening her boyfriend?

10. The novel, the authorities getting it? John’s theory of arson being a matter of ego? His arrest – and his imagination turning him into a shooting hero with all the corpses? The contents of his kit? The contrast with the reality?

11. Case, the trial, in prison? An extraordinary ego?

TICKET OUT

US, 2012, 90 minutes, Colour.
Ray Liotta, Alexandra Breckenridge, Colin Ford, Ciara Bond, Billy Burke.
Directed by Doug Lodato.

Ticket Out takes on the issue of abusive parents, court decisions, issues of custody, the desperation of mothers, the harm for the children.

The plot focuses on what is called an Underground Railway in which parents are helped by volunteers to hide from their pursuers, to move from safe house to safe house, ultimately moving towards the Canadian border where they can get a flight and take refuge in Canada.

Alexandra Breckenridge is the harassed mother and Billy Burke the vindictive father. Ray Liotta is a sympathetic parent helping with the Underground Railway then later revealed to be an FBI agent collaborating to discover legal aspects of the Underground. He is attracted to the mother and children. There is a crisis at the end of the film where the mother sees him with her husband, clashes with him, the husband pursuing with a melodramatic shootout on the tarmac.

1. A film about domestic situations, crises, parenting, separation, custody? Abusive and violent parents?
2. The American locations, the cities, suburbs, remote towns? The countryside? Courts? The pursuit? The musical score?

3. The title, the importance for Jocelyn and her children to be free of her husband?

4. Domestic violence, the law, lawyers? The issue of spouse and children rescue? The Underground Railway, the teams? Legal and illegal?

5. Jocelyn, the children, in the court, the decision against her, for her husband? Her reliance on her sister? Her parents?

6. The situation, the children going to their father, unwilling? The girl bouncing the ball, breaking the vase, the boy taking responsibility, his being beaten? Jocelyn arriving, the boy with the gun, stabbing his father? Their escape?

7. The father, his character, severe, vindictive against his wife? His punishing the children? going to hospital, his arrogance, the TV interview?

8. Jocelyn and the note, the police going to her sisters, the getting away? Meeting Jim, the contacts, her being desperate, the Rev Appleton and his wife, Levi and his children? Prayer, the meal?

9. The nature of the Underground, Levi having to flee with his children until they were 18? The variety of stops on the way, destination Canada?

10. The FBI, the investigation, to break up the Underground?

11. The little girl going outside, waving to the farmer, his giving information, the police arriving, the guns in the shooting, Levi killed? His children taken into custody?

12. The father, going to the police, hiring the tracker, the cash? His contact with the FBI agents?

13. Jim, genial, his story, family, in prison? The shift in the plot with his being part of the FBI sting, investigating the Underground?

14. The various crises, accommodation, the little girl going to pat the dog, Jocelyn in the shop, the tracker taking the children and Jocelyn, Jim unable to help them? There being in the police precinct, his coming in with the story, helping them escape?

15. The old lady, the plans, the plane to take the family to Canada?

16. Jocelyn, selling her engagement ring, the telescope, seeing Jim with her husband?

17. The husband, his continued pursuit, with the agents?

18. Jim, attracted to Jocelyn, revealing the truth, her pushing him down the whole? Her hurrying to the plane, with the children, the husband preventing the takeoff? Jim emerging, the fight with the husband? On the tarmac, Jocelyn with the gun, her husband with the gun, Jim being shot, the takeoff?

19. An American story – but multiplied around the world with parents employing agents to help abduct their children?

METALHEAD

Iceland, 2013, 97 minutes, Colour.
Ingvar Eggert Siggursson, Porbjorg Helga Porgilsdottir, Sigrun Edda Bjornsdotttir.
Directed by Ragnar Bragason.

Many very interesting films emerged from Iceland in the early years of the 21st century. This is one of them.

The film creates an atmosphere, the Icelandic countryside, the work of the farmers, life in the town, the church. Also important is the musical score and themes of music, the pervading rock music, the bands and compositions.

At the centre of the film is a young girl, grieving the death of her young brother, not getting any consolation from his funeral or religion. There is a new priest in the town who is sympathetic and listens to her. She has perpetually attempted to run away, since childhood, but always remains, her mother and father trying to deal with her. This includes her burning down the church.

She composes music and lyrics, makes a record, which comes to the attention of some young Norwegian producers who arrive, join with her performance in the church – initially to the dismay of the congregation who find this music too loud and want something from Iceland.

One of the by-products of this experience is that the husband-and-wife are able to speak frankly about the grief at the death of their son, respond to the music, and appreciate their daughter more.

1. A film from Iceland? Icelandic characters, situations? Families, deaths? The importance of rock music? Hard metal?

2. The settings, the Icelandic countryside, the farmers and fields, the town, homes, the church? Authentic feel?

3. The importance of rock music? The discussion of a variety of groups and their careers and their impact? The compositions for the film, Hera and her work, her performance, the group, Hera, understanding her, sharing the music, her kissing him, his reaction? Yet his support of her, listening to the music? Hera, her anger with Jesus at her brother’s funeral, the discussions with the priest about Jesus and his being with outcasts? Hera going to the church, tearing up the hymnals, burning the church down? The parish meeting, the discussion, the decision not to blame Hera but to rebuild the church themselves?

4. Hera, her desperation, going into the mountains, the snow? The apparition of her brother?

5. Her return, going to see her friend, his support of her, his father? His later accosting her, explaining that they were friends, yet her using him, his love for her – but her being unable to reciprocate?

6. The arrival of the young men from Norway, liking her music, her explaining it was only a demo, that she did everything herself, their enthusiasm? Participating in the concert, performance, the audience finding it too loud, wanting something from Iceland, Hera turning down the sound, playing the music and a positive response?

7. Themes of grief, overcoming grief, the role of music – and contemporary hard Rock?

BYE, BYE, LOVE

US, 1995, 106 minutes, Colour.
Matthew Modine, Randy Quaid, Paul Reiser, Janeane Garofalo, Amy Brenneman, Eliza Dushku, Rob Reiner, Ed Flanders, Maria Pittillo, Ross Mallinger, Lindsay Crouse, Johnny Whitworth, Wendell Pierce, Jayne Brook, Mae Whitman.
Directed by Sam Weisman.

Bye, Bye Love, is an entertaining comedy with some food for thought from the mid-1990s, reflecting changes in American social situations, especially with divorce, the breakup of the nuclear family, single parents, custody issues and visitation rights.

The screenplay takes its tone from the popular song, Bye, Bye, Love.

The film focuses on three divorced fathers and how they handle their situations. Matthew Modine is a roving eye father, Randy Quaid is a father angry with his ex-wife and trying to do the best for his children, Paul Reiser is still pining for his ex-wife but finding it difficult to communicate with his daughter. There are various crises as the fathers have to deal with the children or with their ex-wives.

There is quite some comedy with the introduction of Janeane Garofalo as a date for Randy Quaid, making all kinds of delays and demands in the restaurant to his exasperation – although, she does finish up on the side of the angels.

There is also a plot strand involving McDonald’s?, where the fathers take their children, and an elderly man, Ed Flanders, going into the geezer program of employment and making friends with one of the youngsters working there, Johnny Whitworth.

There is quite some satiric amusement in the character played by Rob Reiner, who hosts a radio show, promotes himself as a marriage counsellor, has a whole lot to say about divorce – until finally challenged by Randy Quaid who invades his studio, attacks him, but is invited to join in the conversation and finds that he has a flair for this kind of radio talk.

While the film comes from the 1990s, it is still relevant in later decades.

1. The title, the song and its use? The wry comment? The blend of the comic and serious?

2. The end of the 20th century? Issues of marriage, divorce, children, custody, visits? The style of visits, the venues and Mc Donald’s?

3. The American city, homes, Mc Donald’s, the fans, restaurants? Middle-class life that audiences could identify with?

4. The range of the cast, their skills, styles? The songs the musical score?

5. The three husbands, the introduction to each, the actors and their creation of character? The background of the marriages? Present at the wedding and discussing Dave? Relationship with their children, their ex-wives, the tensions?

6. Dave, his wife, her exasperation, his son and daughter, flirtatious man, with younger women, Kim and her living in, his going to the sport and meeting the wives, the kids and their attitudes, wary of him, Kim preparing the meal, the reaction of the boy, the visits of the wives, their bringing food? Kim and her reaction? Dave and his failings?

7. Vic, his hard ex-wife, his relationship with his children, the daughter and her babysitting the younger ones, his aspirations, the driving teacher, with the other men, bonding? The discussions about The Yearling and the family watching and weeping? The arrangement of the date, calling on Lucille, the restaurant and her choices, his exasperation at her responses at the restaurant?

8. Donny, pining for his wife, stalking, the new marriage, his daughter and the relationship, fussy, her graduation, her saying she was forced to visit him, the elaborate preparation of the meal, the argument, her leaving? Going to see Dave’s wife, the sexual attraction? Breaking off? His confession to Dave and the awkward moment?

9. The theme of the older generation, Walter, widower, memories of his wife, the photos at home? The Mc Donald’s program about helping old geezers? His application, the boss, consideration, working with Max, enjoying the work, discussions with Max, the girls flirting with Max, Max unhappy at home, Walter inviting him to live with him? His being persuaded to go to the party, the girls and their flirting, watching Max, his dancing with the unexpected girl, Donny’s daughter and her being hurt, drinking, driving with the friend, crashing?

10. The weekend outings, going to the fair, the men together, the children and their interactions?

11. The DJ, his continued talk about divorce, promoting himself, everyone listening to the program? His irritating the men? Vic finally going, confront him in the studio, the fight, calming down, Vic answering the questions, enjoying the interaction, and his future on the radio program?

12. A year later, relationships, partly mended, tensions remaining, the children, Donny and his daughter and the episode in the tree house, his marrying Dave’s ex-wife, her expecting? Dave and his relationship with Kim?

13. The effect of the film as mirroring contemporary marriage and divorce situations, insights?

LOVE THAT BRUTE

US, 1950, 86 minutes, Black and white dot
Paul Douglas, Jean Peters, Cesar Romero, Keenan Wynn, Joan Davis, Arthur Treacher, Peter Price, J C.Flippen.
Directed by Alexander Hall.

Love that Brute is a brief entertaining comedy in the style of the 1940s and 1950s. It is set 20 years earlier in the Chicago of the gangsters, during Prohibition, before the Saint Valentine’s Day Massacre but echoing some of that violence.

Paul Douglas is the brute of the title, seemingly a big gangster power in Chicago, but actually rather a kind phony keeping up his reputation and keeping, in some comfort, in the basement of his home, all the gangsters he is reputed to have killed. Keenan Wynn is his enthusiastic aide.

The real gangster is played by Caesar Romero who introduces real violence but gets his comeuppance.

A lot of the comedy concerns a nanny, played by Jean Peters who has the opportunity to be prim, to sing a song in a club, and, however improbably, to fall in love with Paul Douglas. Peter Price is precocious as the little boy that the gangster hires in order to employ a nanny. Also in the cast are comedienne, Joan Davis, in a more subdued role than usual but also Arthur Treacher, very British and pompous butler in so many films, here doing the same role but actually in cahoots with the gangster and toting a gun!

Lightly entertaining.

1. An entertaining variety on gangster film is a romantic comedy?

2. The Chicago setting, 1928, the era of Prohibition and gangsters? The initial comment about the effect of Prohibition and ex-marking the spot for deaths of gangsters?

3. The cast, their reputations in the 1940s and 50s? The music, Chicago, Charleston, the singing of You Took Advantage of Me?

4. The opening, collecting money for charity, the gangsters, the shop owner, the shootout? Bugs and his putting flowers on the corpses? His alibi? Getting a reputation for Big It?

5. Big Ed, Paul Douglas’s style, trucking, his reputation, the deaths of gangsters? Sitting in the park, with the police? Being hit with the snowballs? Meeting Ruth? Thinking up the plan, organising Bugs to get a little boy to be his son, the interview with Ruth, hiring her? The romantic
touch? But audiences thinking of him as a big time criminal?

6. Ruth, from the small town, actress ambitions, looking after children, the interview, attracted by Harry Jr, controlling his cheekiness? Admiration
for Ed? Finding out the truth, her wanting to leave, taking Harry to the military school? Disappearing? And arranging for the auditions, the story of his selling the club, her song and success, friendship with maybe? The encounter with Pretty Willy, resisting him?

7. Pretty Willy, rivalry, making the agreement with Ed about collaboration? His own thugs?

8. The party, Willie and his thugs, the threat to Ed? Bug and his drinking, Ruth upset, his taking her downstairs, all the criminals being looked after, well fed, no one did? The getting the key, getting out? The effect on Willy and the rest, Mimi and her new husband, her old husband turning up?

9. Willie taking it, to execute him, the two criminals pretending that he was dead, his escape?

10. And, is plan, is funeral, the two criminals accusing Willy? His arrest? It confronting him in the washroom? Willie and his comeuppance?

11. Harry, acting like a thug in military school, going away with Ruth?

12. Bug, is disguise, picking up the criminals, helping Ed?

13. The boat and going back to Michigan, Ruth and Harry, Ed and his late arrival – and a happy ever after?

CONTRACT

Canada, 1999, 90 minutes, Colour.
Johanna Black, Laurent Imbault, Matthew Olver, Billy Dee Williams,
Directed by K. C. Bascombe.

This is a small Canadian film which went straight to video. It focuses on hired assassins, immediately illustrating with an initial hit and the introduction to Luc, an assassin, and Hannah, his associate.

Luc is invited to participate in a killing but declines while Hannah responds online and accepts the job, which leads to a deeper conspiracy, a group of snipers from the Vietnam War and their subsequent careers, having to be eliminated because they know too much about an ambitious senator and his political advancement.

What follows is, more or less, what one might expect from this kind of action thriller.

1. A straight to video violent entertainment? Hired assassins? Political conspiracies?

2. The American city setting, apartments, hotels, political offices, press conferences, the police? The musical score?

3. The initial hit? The introduction to Luc? To Hannah? Their expertise? Back home? The relationship between the two? The Internet contacts for killings? Luc and the Three Little Pigs, his refusal? Hannah and her decision to act? Her going to the hotel, the shootings, the assistant seeing her, informing the hitman, Luc saving her?

4. Hannah and her relationship with James, his being an artist, struggling? The thugs pursuing her, the overthrowing everything in the apartment? In the street, the hold-up by the thugs pretending to be police, the shootings, James and his saving and by shooting? His bewilderment?

5. Luc, on the job, his being killed?

6. The Senator, press conferences, saving America? The background in Vietnam, the Special Ops, the snipers and assassins, the Senator’s political ambitions, needing to get rid of all the snipers?

7. Hannah, going to see her old friend, his support, with James? Her story? His information, the photo of the Vietnam veterans, the identities?

8. Hannah tracking down Bob, his warning Luc, not knowing about his death, his going with Hannah, to confront the Senator and his thugs?

9. The Senator, his assistants, GPS, locating the car, confronting Hannah, the explanations? Shooting her friend? The gun on James? Hannah using her wits? The fights?

10. The Senator, his escape, going to his car? The detonation?

11. Hannah and her future? James? His going into writing graphic novels and comics?

12. The background of the film, conspiracies, political ambitions, Vietnam veterans, their being used, hit men – and the moral/amoral aspects of the film?

MOJAVE

US, 2015, 93 minutes, Colour.

Garrett Hedlund, Oscar Isaac, Mark Wahlberg, Walton Goggins.
Directed by William Monahan.

Mojave is a strange film, a mixture of thriller and philosophical rumination. It was written directed by William Monahan who wrote the screenplay for The Departed.

Garrett Hedlund portrays a film producer in moments of despair, going out into the Mojave Desert to find himself. He encounters a wandering man, played by Oscar Isaac, seemingly friendly but then antagonism arises between the two. While in a cave, the producer seems to see a threatening silhouette and shoots – but it is a policeman and the producer covers his tracks.

The producer returns to his work, his casual relationships, and some antagonism with another producer, Mark Wahlberg.

In the meantime, the other man returns, cuts his hair, shaves his beard, encounters a gay man and kills him, going to his mansion and enjoying the style before going to confront the producer. They have an emotional conflict, a physical conflict, and ideological conflict and discuss the respective views on art and the meaning of life.

Audiences may find it very interesting in dialogue, the portrait of the characters – but many may find it sometimes too artsy or too pretentious.

1. The title, the desert, real, and the desert of souls?

2. The emptiness of the desert, sand, the mountains? The visuals? Emotional? The contrast with Los Angeles, homes, mansions? The musical score?

3. The title, in relation to Tom and Jack, in the desert, the events, discussions and reflections, death, concealment, the consequences? Tom as the focus, his age, in himself, getting out of bed, the woman, driving into the desert, supplies, the camp? Jack approaching, suspicions, tense, defensive? Their talk, the philosophical conversation, the classical quotes? The gun? Ousting Jack? The cave, glare, the policeman at the entrance, Tom shooting him, disposing of the body? Concealing what he had done? His return to Los Angeles?

4. Jack, his look, in the desert, finding the camp, the request, talking, his cultured background, philosophical? The attack and his going? Reappearance? The intimidation of Tom, his knowing what happened, his motivation?

5. Tom, his life, women, his wife and’s child in England, involved in the movies, creative, discussions with his agent, hiding the gun in the television, the interactions with Norman?

6. The variety of characters in the industry, produces and production? The agent, Norman and his world?

7. Jack, the return to LA, wanting lifts, not getting them? His haircut, emerging as a new man, the interaction with the gay man, going home with him, killing him, enjoying his luxury life?

8. The attitude to Tom, getting the gun, his appearance, the confrontation, the discussions with the classical philosophical overtones, issues of moral responsibility? Jack’s blackmail? Two stances?

9. Tom going to the trailer, the interior, the books? Jack and his superiority? The weapons? The accord? Tom shooting him and Jack’s reaction?

10. The framework of the thriller but with existential rumination, classics, the arts, moralising in the 21st century?

DEEP WATER

Australia, 2016, 200 minutes, Colour.
Noah Taylor, Yael Stone, Jeremy Lindsay Taylor, Danielle Cormack, Ben Oxenbould, Dan Spielman, Craig Mc Lachlan, William McInnes?, John Brumpton, Simon Burke, Paul Capsis, Lynette Curran, Paul Goddard, Justin Holborow, Deborah Kennedy.
Directed by Shawn Seet.

Deep Water was made by the SBS network in Australia, screened as a mini-series.

The screenplay is based on actual events, especially homophobic attacks on young men during the late 1980s and early 1990s. The location is cliffs between Bondi Beach and Brontë Beach in Sydney – with the film showing very attractive shots of these locations.

The basic plot is police investigation into killings in 2015 which leads back into the investigations of the original period. Yael Stone is the protagonist, an ambitious young policewoman whose brother disappeared in the earlier period, a gay man, his father in denial. One of the sympathetic characters is his then-lover who becomes involved in the investigation. The other detective is played by Noah Taylor, a taciturn and earnest man, sometimes clashing with his younger partner but, ultimately, helping her in finding the solution to the mystery.

While the film is set in the present with the investigation, there are many flashbacks to the past, the gangs of young men and women who prowled the beats, sometimes bashing the gay men, sometimes throwing them over the cliffs. This begins to happen again with the killing of a young man of middle eastern background, his family in denial, and accusation against his partner, originally from Iran.

However, what is uncovered is a continuation of the “poofter-bashing� of the earlier times, some of the offenders getting out of prison, becoming involved in drug deals, managing gay bars, saving reputations of those under attack in the past, especially a sports personality, who is also murdered.

The film has a very strong supporting cast of top Australian actors including William Mc as the police chief in Bondi, John Brompton as a homophobic neighbour, Jeremy Lindsay Taylor as the gay friend, Danielle Cormack as a collaborative forensic investigator, Simon Burke as a lawyer.

1. The film based on a true story? The 1980s and 1990s? Crime, the police, bad and careless policing, gay bashings, deaths? The characters based on real-life characters? The families?

2. Bondi beach setting, the continued views, the beach, the ocean, the cliffs and the rocks, homes, parks and beats? Police precincts? Homes and flats? The different suburbs? The musical score?

3. The title, a metaphor, the images of water? Deadly? Tori and her swimming? The lifesavers? Swimming and drowning?

4. The style of the film as a miniseries? The information given about time and place? Characters, issues and their development?

5. Nick and Tori, as partners, 21st-century Sydney police, detective work, their boss? Their ages, personalities, the masculine style, the feminine style? Working together, the clashes, the developing of their friendship and collaboration?

6. Tori, her dead brother, the photos, the background story, her father, his work on the beach, discussions with him, his denial about his son being gay? Tori and her son, home, her care for him, concern and fears? Home scenes? Her past, as a child teasing her brother? The effect of his disappearance? Concern? The lack of information in 1989? Her pursuing the case, emotional involvement? Her friendship with Oscar, discussions with him, the revelation of his love for her brother?

7. The discovery of the murdered man, interviewing the boxing coach downstairs, his homophobic attitudes? The dead body, investigations, his partner, the computer and the gay program? Going to his family, there are upset, the mother in denial?

8. The gay computer program, contact online, images, dating, the killer using the service?

9. Tori going to the former policeman, his memories of the past, leaving the force, his criticism of policing the time, the stick and his giving it to Tori? The discussion about Chris Toohey, her meeting him, the threats? Hammer, the brothers and the gay bar, drug dealing? The increase in the number of deaths? Interviews, the death of the artist, the artist’s lawyer? Truth emerging?

10. Nick, no private life, his work, relationship with the boss, partnership with Tori, their discussions, agreements and disagreements? On the beach, the man with the knife, his shooting him? The subsequent investigations, the appeal to Tori’s loyalty, her answers to the enquiry? Nick with the family of the dead man? The decision to talk to the journalist, the boss realising what it happened, not wanting to be lied to? The discussions with Chris Toohey, the deal, his being caught with the gay man, his explanations? His death?

11. The police chief, in the past, his being there in the 1980s, 1990s, not going into action, blaming himself?

12. The role of the ex-policeman, his evidence? The discussions with Tori?

13. The introduction to Haris, dead, his partner, the family, in denial, the CCTV, the partner’s activity, filmed – and the explanation, phone calls, interaction, leaving? The dead man’s brother, information, the mother at the morgue? Finding the partner, his running onto the beach, caught, the interviews, his past and prison sentences, love, his escape, hiding, the phone call to Tori, in the cave, going to the beach, the police threats, drawing the knife, Nick shooting him?
14. Hammer, the club, the gay clientele, in the past, his gang, the bashings? The jail sentences? The bar, the drugs, the threats, especially to Tori? The photo of the gang – and hammers influence on the killer?

15. The character Oscar, with the surfboards, gay, open, friendship with Tori and her family, admission of his love for her brother, the interactions with her father, is putting himself in danger, the online service, the attacks and the violence, recovery?

16. The families of the victims, their stories, the investigations, wanting closure?

17. The killings in the past? The resumption of killings in the present? Haris, the art dealer, the connections, Chris Toohey and his sporting reputation, the media, his family, sex partners, with his lawyer, the past and catching up with him? His death?

18. The police staff, Brenda, her work in collaboration, DNA, the evidence – and supporting Tori with the sisterhood?

19. The visit to Sally, her past, her concern about her son, the thugs arriving in the street, the threats, the interview and confession?

20. The revelation of the killer, getting out of jail, his relationship with his mother, part of the gang, the interviews, the photo, Hammer, his hiding in the brothel, the final confrontation?

21. An insight into Sydney, society, the police, gay Sydney, the ethos, Mardi Gras et cetera? The bashings? The homophobia of the past – and into the present?

4 KINGS

Germany, 2015, 98 minutes, Colour.
Jella Haase, Paula Beer, Jannis Niewhoner, Moritz Leu, Clemens Schick.
Directed by Theresa von Eltz.

4 Kings is a glimpse of mental health amongst young adults, for people in an institution in Germany. There is a sympathetic psychiatrist who has methods which are not approved of by the authorities, getting the four into a group, some sharing rooms, all enabled to interact with each other for better or for worse.

With some of the group, there are glimpses of the parents, especially the two young women, one of whom has an absent father and a neurotic mother, the other who has a dominating mother and a passive father. Of the two young men, one is violently angry against his father, especially during a pre-Christmas visit, dismissing him as a weakling. The fourth member of the group has a very low self-image and attempts to kill himself.

While the psychiatrist is sympathetic, one of the nurses is a stickler for rules and regulations which has a harsh effect on the four.

The reference to 4 Kings is to a group of young children putting on a Christmas play and the arrival of the Magi.

1. A serious look at mental health of young adults? German? Universal?

2. The title, the reference to the Magi, the addition of King Alphonso? The reference to the four young adults, the children naming them the Kings, their wearing the crowns? Working with the young children, the discussions about the Kings, the making of the crowns?

3. Lyrics of the opening song, with reference to the behaviour of young people? The song during the final credits?

4. The setting of the institution, the wards, the rooms, shower block, corridors? The office of Dr Wolfe? The exteriors, the woods, the lake? The Christmas setting? The weather? Snow?

5. The prologue, Lara and the interview about Christmas, what she missed, her memories? The later taking up of this video?

6. The introduction to Alexandra, her neurotic mother, her father getting her for Christmas, her indecision, her mother as passive-aggressive and weeping, the father taking her? Seeing her with the injury, neck brace? Her explanation that she jumped out of the moving car?

7. Introduction to Fedja, from Georgia, quiet, passive? The story of his being bullied at school? Standing like a victim?

8. The introduction to Timo, his coming from the secure wing?

9. Dr Wolfe, his place in the institution, his theories, more permissive? Nurse Simone, her strict attitudes, defying Dr Wolfe? The treatment of the four? Hostility towards T-Mobile?

10. The meetings, the discussion group, Dr Wolfe taking them outside, their interactions?

11. Fedja, upset at Timo, sharing the room with him, the shower, the wounds on his back, his sitting down, Timo’s comment, his going to the window, jumping? Breaking his arm? His return? The talks with Timo, Timo urging him to stand up for himself?

12. Timo, perpetually angry, his rage, outbursts? The visit of his father, accusing his father of passivity? The father’s gift, his breaking it? Dr Wolfe finding it at the end? His interest in Alexandra, walking with her, talking? At Christmas, touches of kindness, the walk, wearing the crown?
Drinking? At the lake? Diving in to save Lara? Unhappy at the prank? His defence of Dr Wolfe, the attack on Simone, breaking her nose? His being confined, going to the secure wing?

13. Alexandra, gradually brought out of herself, going for the run with Dr Wolfe, leaping and shouting, venting anger at her mother? The friendship with Lara? The lake?

14. Lara, the visit of her parents, her dominating and critical mother, the kindly father? The gift of the book because it was the mother’s favourite? Her wanting to go home? The mother having so many guests at Christmas? The videos, Fedja interviewing her about Christmas? The interview with Simone and Simone having no life outside the institution? Alexandra and her wanting Christmas Day to have everything nice?

15. Dr Wolfe, his personal background, seeing him at work, his concern about the four? The criticism of Simone, reporting him to the director? The sitting, the director’s critique, curbing his stances, his slamming the door? His friendship with some of the staff? The final interaction with the four, with Timo?

16. The background of life in an institution, the mental health the young people, possibilities for rehabilitation?

THE SAMARITAN

Canada, 2012, 116 minutes, Colour.
Samuel L. Jackson, Luke Kirby, Ruth Negga, Gil Bellows, Deborah Kara Unger, Tom Wilkinson.
Directed by David Weaver.

The Samaritan has no reference to the gospel parable but is the name of a sting, a grift, a con in order to inveigle someone out of a great deal of money.

This is a Canadian production with Samuel L. Jackson as one of the producers, and opportunity for him to play a man who spent 25 years in prison for the murder of his partner, forced on him by a criminal gang. He tries to reconstruct his life, meeting old associates who want nothing to do with him, but getting the attention of the son of the murdered man who has plans for him to participate in a sting.

Initially, the film moves rather slowly, gradually building up to some plot developments, a revelation about Jackson’s character, Foley, and his relationship with a young woman, Iris, Ruth Negga. Unexpected implications mean that the young man is able to blackmail Foley into participating in the sting. The target is played by Tom Wilkinson with a rather over-the-top accent and performance. Deborah Kara Unger plays a woman who is to participate in the sting.

This is an ugly world, savage violence taken for granted, the film inviting the audience into it, to try to understand something of the motivations of criminals as well as of the ambiguous central character.

1. A crime thriller? Character study?

2. Canadian production, settings, the prison, the city, apartments, parole officers, bars, mansions of the wealthy? Musical score?

3. The title, the name of the sting by the grifters?

4. Samuel L. Jackson as Foley, in prison and his ruminations, getting out, parole officer, trying to get employment, going to see old associates and their not wanting anything to do with him, meeting Ethan, the son of the man he killed? The flashback to the forced execution? Going to the bar, Iris and the attempted rape and his hitting the assailant? His age, experience?

5. Ethan, son of his father, resenting the death of his father, his background in crime, son of his father? The story of his mother, her new boyfriend, the attack? His control over Foley, over Iris? The contact with Xavier? His wanting to force Foley into helping him with the sting? The blackmail, the pressure? Setting him up with Iris? Sabotaging his job on the worksite? The revelation about his daughter, Foley’s reaction? The pressure on Foley and the threats to Iris? Foley reluctantly agreeing?

6. Iris, drugs, prostitution, the approach to Foley, in the bar, his rescuing her from the rape attempt? The encounters, talking, the sexual attraction, setting up house, the mutual love, the confidences? Ethan and the revelation that Iris was Foley’s daughter? Foley’s reaction, wanting to protect Iris? His urging her to go away? Her going with Ethan? Becoming part of the plot?

7. Foley, the relationship with Iris, the revelation of the truth, its effect, his wanting to protect Iris? Ethan’s blackmail? The encounter with the thug, the fight, his death, putting him in the boot of the car?

8. Agreement about the sting, the plan with Helena, the meeting, discussions, the wife and the money routine, her response to Ethan, to Foley, her hanging herself?

9. Iris coming in on the plan, posing as Foley’s daughter? Putting herself in the situation with Xavier? Phone call, the plan, the execution of the plan? Iris denouncing it, telling the truth, knowing about being Foley’s daughter? The shootings? Ethan shot, his shooting at Foley and Iris? Ethan,
the confrontation with Xavier, Xavier wanting to do all the money laundering deals? Foley killing him?

10. Foley’s friend, doing surgical work, the blood transfusion, Foley willing, giving his life for Iris?

11. The film immersing the audience in a seedy and ugly world?