YOGA HOSERS

US, 2016, 88 minutes, Colour.
Lily- Rose Depp, Harley Quinn Smith, Johnny Depp, Austin Butler, Justin Long, Tony Hale, Natasha Lyonne, Genesis Rodriguez, Vanessa Paradis, Haley Joel Osment, Stan Lee, Jason Mewes, Kevin Conroy.
Directed by Kevin Smith.

For the last 20 years or more, it is a standard statement in any review of Kevin Smith’s films to say that it is for Kevin Smith fans – and others be alerted or warned. Definitely the case here.

Smith’s film prior to this one was Tusks, a rather grotesque story about grotesques. This is something of a follow-up, taking up some of the characters and their investigations into oddities in human nature. The main proponent is Guy Lapointe, an odd looking old codger with a French- Canadian English accent who lumbers through a whole lot of activities – while many might not recognise that under the make up there is Johnny Depp, as in Tusks, doing yet another of his expert oddball performances.

However, the film opens with two young 14 ½ schoolgirls playing their guitars, singing vigorously with a middle-aged drum player. While some of this is amusing in itself, especially when they go back into the store where they work, and meet a whole lot of strange customers, and then have encounters with their demanding parents, we might wonder where it is all going.

We should have been more alert to one of the customers who goes out from the shop and suddenly is attacked from behind by this miniature soldier and dies. This leads to a number of deaths, including two young Satanists who had invited the girls to the year 12 party, with the girls being arrested and Guy Lapointe coming to investigate.

By this stage, the non-Smith fans might well have given up. The fans can be reassured that it improves, in absurdity of course, from this point on.

The girls go to school where it certainly emerges that they are not the brightest sparks, very much living in the present, no idea of history, absolutely devoted to their phones which they cannot live without and addicted to Instagram (and this is the manner in which all the characters are introduced).

Even if one were to recount the plot, one would get lost in a lot of the details – suffice it to say that we are taken back to Canada’s fascist past during World War II, Nazi infiltration, a rabble rouser with moustache – played, of all people, by Haley Joel Osment – and a sympathiser who is able to cryogenically preserve himself for later generations as well as his giving his blood to choice sausages (yes sausages) who all wake up prematurely and become an army of little fascist military out to destroy everyone (played by Kevin Smith himself). The newly-revived fascist comments on his funny accent and decides to communicate in the voices of Al Pacino, Sylvester Stallone, Arnold Schwarzenegger…

What has Kevin Smith got against Canada? The whole story is set in Winnipeg (with an attitude a bit like the creators of South Park towards Canada). And everybody speaks, highlightedly so, pronouncing the word ‘out’ and all its combinations and variations as ‘oot’, much more emphasised than we ever noticed before.

One other thing that needs to be said that this is a very family affair. The two girls are called Colleen and one is played by Lily- Rose Depp, the daughter of Johnny Depp and singer Vanessa Paradis (who plays the history teacher who opens up the Nazi past for her students). The other Colleen is played by Kevin Smith’s daughter, Harley Quinn Smith (who else could Kevin Smith would call his daughter Harlequinn), with her mother, Jennifer Schwabach, playing a supporting role and being one of the main producers of the film. So, definitely all in the family. (And Lilly-Rose? Depp does make quite an impression).

A number of Kevin Smith’s friends have supporting roles and Marvel Comic guru, Stan Leey, plays a police patrol officer. and, satisfyingly for those who enjoyed all this silly entertainment, there is announcement that the two Colleen’s will appear in a film entitled Moose Jaw.

1. A comedy, touches of the absurd? Spoof and satire?

2. Kevin Smith, his career as a writer, director, local stories, small stories, eccentric characters, interest in comic strips?

3. The film as a family affair, Kevin Smith and his wife and daughter, Johnny Depp, Vanessa Paradis and their daughter and son?

4. The focus on Instagram, each of the characters introduced by an Instagram page, name, photo, characteristics, quotes from serious authors?

5. The Canadian setting, Winnipeg, the spoof of Canada, the emphasis on Canadian pronunciation of about as ‘aboot’, Canada and the US?

6. The town, homes, the store, the band, socials, the result the revolt of the neo-Nazis? The score? The songs?

7. The two Colleens, their age, singing, Canada, anthem, the drummer, the rehearsals? Going back into the store, their customers and interest?

8. The strange character, going out, killed from behind, foreshadowing the Nazis and the killings?

9. The daughters, the relationship with their parents, each family, discipline, reactions? Middle-class?

10. The boys, coming to the store, the invitation to the social, the reaction of the parents, the boys’ return, their plan, satanic rituals – and their deaths? The girls being arrested and interned?

11. School, the classes, the teachers, the interview with the principal, the history course, fascists in Canada, memories of the war? The flashbacks, the rabble rouser, his appearance, portly, moustache, his speeches, the convert, the protests?

12. The role of Guy Lapointe? His appearance, character, the interviews, girls in prison, getting out, in the room, the Bratzis, the man emerging from the cryogenic freezing? His Nazi rant and the variety of movie voices, Al Pacino, Sylvester Stallone, Arnold Schwarzenegger…?

13. The girls, their age, so often dumb, ignorant of essential facts, love of their phones, Instagram? The spoof of modern youngsters?

14. The Nazi, his character, cryogenically preserved, his making the sausages, the characters, his being interrupted? His plan?

15. The Bratzis, their appearance, size, little neo-Nazis, the range of attacks, the number, fighting, dying, multiplying? Guy and the girls and their counter-attack?

16. The film as an episode, very silly, but smart kind of silly with characterisations and dialogue? The prospect of a sequel?

KEEP QUIET

UK/Hungary, 2016, 90 minutes, Colour.
Csanad Szegedi.
Directed by Sam Blair, Joseph Martin.

This is an intriguing documentary.

The setting is Hungary and the production is a British/ Hungarian collaboration.

The film focuses on its central character, Csanad Szegedi, buying a ticket for Auschwitz from a Budapest station and sharing a carriage with an elderly lady, her number on her arm, also travelling to Auschwitz. He begins to explain himself…

Drawing on a great deal of filmed footage and newsreel material, the early part of the film shows the background of the central character, photos of his family, his grandparents and parents, stories about their lives and his upbringing, his schooling where he moved towards a very right wing stance, continuing this after he left school, becoming involved in Hungarian politics, becoming an initial member of Jobblik, a political fascist movement with neo-Nazi and anti-Semitic traits, as well as establishing the Hungarian Guard, later abolished, of active young men and women who become involved in anti-Semitic and right wing protests.

He is a capable man, quickly involved in the leadership of the groups, and soon to become elected to the European Parliament as one of the representatives of Jobblik where he gives attacking and inflammatory speeches. A number of journalists and commentators supplied talking head interviews, especially noted journalist Anne Applebaum.

And then the film changes tack. A man emerges who offers background to the central character’s family, revealing that his grandparents were Jewish, that his grandmother had been in Auschwitz, had survived, unlike the rest of her family, had moved back to Hungary, married and established her family, their concealing their Jewish identity to escape further persecution.

Needless to say, this is quite a shock.

What is someone to do who is in the limelight for extreme views and anti-Semitic stances? What he does is to investigate further, talk to his grandmother and discover the truth. Whatever the traits of his personality and his motivation, he switches to becoming a serious Jew. He studies, consults a rabbi in Hungary who then accompanies him on his conversion journey, expressing that the Torah has statements on repentance and regret. As the new convert becomes more immersed in Orthodox Judaism, praise and rituals, kosher food, he attends rallies in Berlin and around Europe.

Just as the audience must be wondering how this conversion could have taken place, psychologically and emotionally, part of the audience at the conferences begin to ask him the same questions, some considering that his conversion is fake, that he has not changed, and, if he has, how is this possible. Answers are supplied – and the film audience does have the background with the rabbi and filmed conversations with him but it is quite understandable how questions about his authenticity can be asked.

Very significant is his visit to Auschwitz with the rabbi, is learning what happened there, talking with the elderly lady from the train who is very persuasive in her memories, photos from the time, explanation of the work, the food, the clothes, as well as the mass executions and the getting rid of the ashes in water so that they would not spread in the air… He had not necessarily been a Holocaust denier, but had underestimated it, comparing it to so many sad events throughout history.

There is a significant episode when he goes to Canada with the rabbi to address a conference, being interrogated by security officials at Montréal airport, kept for three hours, his European Parliamentary passport confiscated and he is told to leave Canada by the end of the next day. This is a shock to him. What he does is to record his speech straight to camera into an empty room, relying on it being broadcast after he leaves.

While there is a little indication of how his fellow extremists react, demonstrating out his outside his house, some boycotting, we leave him with his mission in life to establish himself as a serious Jew and to make some amends for the stances he took in his life. He is supported by his grandmother and her stories – and grieved when she dies some months later.

With the right-wing government in Hungary at the time and with the extremist parties and groups rising up, anti-migration riots throughout Europe, this is a helpful 90 minute glimpse into a leading character and his experiences.

THE CARER

UK, 2016, 89 minutes, Colour.
Brian Cox, Anna Chancellor, Emilia Fox, Coco Konig, Karl Johnson, Roger Moore.
Directed by Janos Edelenyi.

There have been a number of British films in recent years about the elderly and care for the elderly including the Exotic Best Marigold Hotel films, Quartet… It is a moot point whether they entertain the elderly themselves or are designed for those who are about to be elderly and for their potential carers.

Whatever the answer to that question, this film is well worth seeing for the performance of Brian Cox, a prolific Scottish actor whom many will recognise but, perhaps, not be able to name. He has appeared in many British films as well as American films. Here he is Sir Michael Gifford, an actor in his 70s with incipient Parkinson’s. He is a curmudgeon of a man, entirely used to getting his own way, pretty coarse-mouthed although he does redeem himself frequently with wonderful renditions of Shakespeare. He is not in the John Gielgud vein but rather could have taken on the role of Sir in a version of The Dresser, based on Sir Donald Wolfit.

Sir Michael lives in a stately mansion on a country estate but his daughter (Emilia Fox), stubborn like him, is wondering whether he should go to a retirement home or should have his personal carer, despite his proneness to fire potential carers at very short notice.

Enter Dorottya, a young Hungarian woman living in England, going to auditions so that she can enter drama school. in the meantime, she is working at a home for the elderly and responds to the call to be interviewed as Sir Michael’s carer. We know that she is going to succeed but the question is how will you deal with the crusty old man.

Dorottya has a charm but she is also fairly straightforward and deals with Sir Michael accordingly, something that appeals to him and he is also charmed by her. Actually, they form quite a pair as she entertains him, argues the toss, enjoying their reflections on the Shakespeare soliloquy, To Be or not To Be and how it was rendered by Jack Benny in the 1942 film and Mel Brooks’ remake. She takes him out to local pub and he begins to enjoy himself.

The big question is will he be able to go to an awards ceremony, his 23rd, but, as he emphasises, his last. He wants to go on his own and not be wearing any nappies for incontinence. His daughter and the doctor are dead against is going. Guess what!

Also in the picture are Millie (Anna Chancellor) his housekeeper who is absolutely devoted to him, protective of him, and Karl Johnson is Joseph, his assistant 40 years and now his chauffeur.

Brian Cox commands every scene is he is in, physically, vocally, emotionally – and his going to his award ceremony and the bravura of his final speech, very serious, a number of jokes, makes quite an epitaph for a British thespian.

1. The title, a theme of old age, infirmity, the role of carers, expectations?

2. The British film, characters, culture and style? The British theatre, cinema and television?

3. The director, the many Hungarian references during the film? Dorottya from Budapest?

4. The theme of ageing, people in institutions, in people’s homes, the glimpses – especially when Sir Michael did the recital for the residents? Personal ageing, the need for a carer, the role of support, cleaning and bathing? The carer and company, psychological, emotional? Issues of judgement and decision-making?

5. The introduction Dorottya, with the superintendent at the home, Sophie and her manner, the interview, hiring her? The role of the doctor and his advice? Meeting Joseph, driving
her, the stories of 40 years, a perspective on Sir Michael? Millie, a devoted nurse, housekeeper? The decision to give Dorottya a tryout?

6. Sue Michael, the performance by Brian Cox, his screen presence, a curmudgeon, coarse-mouthed, Shakespeare passages and utterances? The perspective on his career, his watching clips? His having Parkinson’s, the effect on him physically, wanting independence, his being dependent, the issue of nappies, incontinence? Joseph with him for 40 years, his appreciation? Millie and her love for him? The difficulty of finding carers, his firing them? A man of bluster, playing to the audience – but with some depths?

7. Dorottya arriving, Sir Michael falling in the rose bushes, her hauling him out? Her care, being hired, cleaning and his incontinence, with him, his attraction to her, age, company? Her answering him back? The details of her work? The quotations? The amusement about Jack Benny and To Be or Not To Be, the Mel Brooks reference? The speech? The growing affection, Millie and the touch of envy, Dorottya and Millie talking? Joseph and his memories?

8. Dorottya going to the audition, her accent, improvising, strong and ironic improvisation, the barbs? The phone call, her acceptance? Sir Michael and his connection?

9. Taking Michael out, talking, going to the pub, the pub owner, the drink, no smoking, outside, the return, his fall, laughing?

10. Millie, a character, Michael’s comments, about her figure, love and devotion?

11. Sophie, the doctor, firing Dorottya? Not wanting Michael to go to the award? Dorottya’s response, leaving the money, driven away?

12. Michael, the confrontation with his daughter, the declamation of the speech from King Lear, denouncing his daughter, the collapse, in hospital, the treatment?

13. Dorottya, upset that there was no reply, going to the hospital? The issue of the award, the opinions about him going or not, his not wanting to wear protection for incontinence, his final performance?

14. Sophie, on stage, the recipient? The announcement of the fund? The clip from Sir Roger Moore? Michael going out, dropping his script on purpose, his speech, the serious themes, the comic touches, To Be – Dorottya prompting?

15. Sir Michael walking onto the stage, his carrying off the ceremony, his speech, a life achievement?

WALLANDER: THE TROUBLED MAN

UK, 2015, 89 minutes, Colour.
Kenneth Branagh, Terrence Hardiman, Jeany Spark, Ann Bell, Christopher Fairbank, Kitty Peterkin, Harry Hadden-Paton?.
Directed by Benjamin Caron.

The Troubled Man is the last in the series of novel into television films with Kenneth Branagh. They began in 2008 and concluded in 2015, three films in each of the four series.

This film is significant for the health condition of Wallander, the bouts of dizziness and loss of memory, loss of a sense of place, not recognising people – seen here in several circumstances. The doctor has given a prognosis and, by the end, while Linda seems to be accepting of his condition – with a vision of his father, David Warner reappearing, a reconciliation with his son-in-law and the love of his daughter and granddaughter.

There is a final mystery to be solved, the father of his son-in-law walking out and disappearing, revelations about Soviet submarines in Swedish waters, a Soviet link, issues of betrayal – which involved the father and his wife.

Wallander is his usual self, with his work, but also with his deteriorating condition – a cheerfully sad ending for the series and a dedication to novelist, Henning Mankel, who died in 2015.

1. The last of the series? Audiences and their interest in Wallington, character, detection, variety of cases, Swedish setting? Kenneth Branagh’s presence and performance? Wallander’s personal life? Relationships, father, wife and divorce, women, daughter, granddaughter?

2. The Swedish setting, the city, the coast, homes? The musical score?

3. The introduction of the case,Akan, introduced in the previous film, Linda’s father-in-law, friendship with Kurt, the morning, going out for his walk, disappearing?

4. Wallander himself, getting older, the turns, Alzheimer’s and the onset, his bewilderment, loss of recognition of people? Recovery? The doctor and the prognosis? His having to go to the internal affairs meeting?

5. Linda asking him to go to look for Akan, the interview with Louise, the search of the house, the desk, the tape? The issue of the submarines, the commands, possible traitor? The revelation about the daughter and Kurt’s visits to her? Kurt finding the scrapbook? Implications for Akan, Louise? Louise found hanging?

6. Kurt and the connections, the friend and the discussion about boats, his loyalty to Akan and Louise? The official, the sinister touches, the revelations, the second meeting, the information, for finding Akan, and the scandal?

7. Hans, borrowing money, Kurt and his fierce accusation about stealing?, The concern, and his not knowing about his sister, puzzling about his parents? His devotion to Linda and Clara?

8. Kurt, going to find Akan, the abandoned location, on the boat, Kurt distracted, Akan going into the water, his death?

9. The funeral, the verses and their themes?

10. Curtain hounds, reconciliation, watching Linda and Clara? Curtain of the beach, the vision of his father? Is acceptance of his condition – and happily walking on the beach with Linda and Clara?

11. An appropriate ending to the film and its series? And the dedication to Henning Mankel after his death in 2015?

SHERLOCK: THE ABOMINABLE BRIDE

UK, 2016, 89 minutes, Colour.
Benedict Cumberbatch, Martin Freeman, Rupert Graves, Una Stubbs, Mark Gattis, Catherine Mc Cormack, Tiom Mc Inerney.
Directed by Douglas Mc Kinnon.

After three seasons of Sherlock, television movies where the celebrated detective operates in the contemporary world, this is a special one-off film, released as a special event in cinemas and then on television.

It is a rather complicated affair. it opens with a collage highlighting the principal events and characters in the previous films. There is then a time shift and a return to 1895, Dr John Watson coming back from campaign in Afghanistan, settling into London, meeting a friend and being offered the sharing of digs in 221a Baker Street. They go to meet Sherlock Holmes who is whipping a corpse, experimenting on how long it takes for the blood to stop flowing in a dead body!

There is then a transition to a new case after Dr Watson has published quite a number of stories and they are very popular – although Mrs Hudson, Una Stubbs again, complains that she is not included, as does Dr Watson’s servant.

Holmes, played with style by Benedict Cumberbatch, is being particularly introspective. There is a humorous moment when Mary, Watson’s wife, disguises herself in black as a client, wanting some opportunity to see her husband. Inspector Lestrade, Rupert Graves again, comes in concerned about two killings – by a bride who then shoots herself but appears later shooting her husband.

There are various explorations to puzzle out what happened, visits to the morgue, the head mortician disguised as a man, but not deceiving Watson, interviews with various witnesses – and a particular case where a callous landowner has seen the bride, is terrified, and his wife comes as a client for Holmes to investigate. He and Watson do see the bride who vanishes.

There is a Monty Pythonesque scene where Holmes and Watson go to visit Mycroft, Mark Gattis, one of the originators of the series, disguised in a fat suit and over, over-eating. And we see Mary Watson, employed by Mycroft and doing her own investigations.

Holmes also has an encounter with Moriarty, again Andrew Scott, who seems to be dead, but reappears, continually taunting Holmes, until they fight once again at the Reichenbach Falls, Dr Watson intervening and shooting Moriarty.

There is a return to the 21st century and it seems that Holmes has been withdrawing into himself, fantasising about Moriarty, rejoining Mycroft, John and Mary, taking drugs, cautioned by Watson, but returning the past to try to solve the mystery – which includes digging up the corpse of the abominable bride.

Mycroft had warned that the enemy had to be lost to – and, when the solution comes, it is a plot by women suffragettes, including the widow of the frightened aristocrat, who has theatrically engineered the killings – with the bride herself, suffering from consumption, doing the killing but then sacrificing herself as a witness to the cause. In his introspection, Holmes also imagines that Moriarty is behind the plot.

Return to the present, case solved, but still the prospect of Moriarty in future films.

1. The popularity of the television series? Of the contemporary setting? On the reliance on Conan Doyle stories? 21st-century adaptations? Benedict Cumberbatch and his stylish Sherlock? Martin Freeman and his style Has John Watson?

2. This film as a one-off event for cinema and television? A special story?

3. The introduction, the collage of events and characters from the previous series? And then the time shift to 1895?

4. The 1895 settings, the streets of London, Baker Street, the rooms, costumes and decor? The encounter with Mycroft at his club? The country mansions and the estates? Action in London, the streets, Limehouse?

5. The contrast with the 21st-century settings, with which the audience was familiar, the planes, Baker Street, costumes and decor in contrast? The musical score?

6. The opening with Watson coming from Afghanistan, his war experience, meeting his friend on the street, the accommodation, Holmes and his experiment with whipping the corpse to test blood-flow? Watson settling in, writing the stories, people commenting on their popularity? Mrs Hudson wanting to know why she was not in the stories? Watson and his wife disguised in black in order to see him? At home, the maid and her wondering why she wasn’t in the stories?

7. Holmes, brooding, the drugs? Playing the violin? Feeling that he should go inside himself? Discovering Moriarty, the confrontations with Moriarty, the Reichenbach Falls, Moriarty with the wound of the black blood at the back of his head? The confrontation, Watson shooting him, the fall? As a creation from Holmes’ psyche?

8. The case of the bride, shooting people, killing herself? The reappearance, the death of her husband in Limehouse?

9. Inspector Lestrade, concern, fear, the drink, involving Holmes in the investigation? Going to the morgue, verifying the body?

10. Holmes, his study, solving the case, the explanation of what had happened? The fake suicide, the blood? The corpse of similar appearance, substitution?

11. The country estate, the wife coming for help, the husband, provisions, the seeds in the mail, seeing the bride? Holmes and Watson going to the estate, keeping guard, seeing the bride, the shattered glass?

12. The visit Mycroft, Mark Gattis the fat-suit? Overeating in Pythonesque style? The challenge to his brother, an enemy that had to be submitted to? His engaging Mary Watson to help?

13. The solution, the women and the gathering, and the veils of suffragettes? The bride and her illness, dying as a witness to the cause? The doctor at the morgue – and her disguise?

14. The hypothesis of Holmes going inside his own psyche, the different time movements, solving cases and his obsessions, the role of Moriarty?

15. Moriarty and the anticipation of further cases?

TRAIN TO BUSAN/BUSANHAENG

Korea, 2016, 118 minutes, Colour.
Directed by Sang-ho Yeon.


The title makes it sound like one of those old thrillers, where all kinds of things happen on the trains like that of the Orient express. This train, however, is on a one-hour-long journey from the capital of Korea, Seoul, to the city of Busan. What happens is certainly disaster but not so much in the vein of those old disaster movies.

What distinguishes this film is not that it is a zombie film but that it is a Korean zombie film.

It opens in the familiar way, a truck driver on the highway being stopped by masked military, told that there has been an accident at the local plant, he grumbling about threats to his crops, and then hitting a deer on the road which rises up with zombie eyes.

So, the scene having been set, we are introduced to the characters who will be on the train, most explicitly a father who has his daughter living with him but tends to neglect her, is separated from his wife, is caught up in his job as a fund manager, making some ruthless decisions. Urged by his mother, and it being the little girl’s birthday and his giving her a lavish present which he has given to her on a previous occasion, he decides to take her to see her mother.

At the platform, there is a sports team, there are two elderly sisters, and on the train there is a large worker guarding the toilet for his pregnant wife.

Pretty soon it is clear that the zombie effect is all the rage, zombies on the platform storming the train, causing mayhem – and observers have noted that Koreans, unlike Americans in similar situations, don’t carry guns so combat is either with fists or baseball bats. When the passengers think they have arrived safely at the station, more zombies have taken over and they have to flee back to the train, some in a compartment, some in a toilet who have to be rescued by the father, the worker, a rather wild man who first alerted people to the zombies and one of the sports team – the pregnant wife, the daughter and one of the old ladies are trapped in a toilet.

A lot of the action takes place as the rescuing group tries to get through the zombie-filled compartments, distracting, crawling along the luggage racks and relying on tunnels because zombies cannot see in the dark. There is further complication when a self-centred businessman does not want the rescuers to come in for fear they are infected and, when they do get in, the crowd relegate them to isolation.

The zombie special effects are quite effective, faces infected, angular contortions – and there are a lot of scenes with crowds of zombies, at one stage massing against the glass wall and crashing and falling through, leaping onto trains and, finally, being dragged en masse by an engine through the railyard.

One of the main points is self-sacrifice, exemplified by the little girl but all the men characters, the rescuers, have to face up, and do, to the challenge of saving others through self-sacrifice.

This is certainly one of the better zombie films.

1. The popularity of zombie films? The genre, the now familiar conventions? From American films?

2. A Korean zombie film? Budget, style, the importance of the visuals, the musical score?

3. The locations, the capital, the train, the scenery of the countryside, the cities and destinations? The highways, the train stations and train lines?

4. Audiences identifying with a real situation, passengers taking the train, ordinary people, the reaction to the situation?

5. The opening, the truck driver, his being stopped by military with masks, his comment about his crops and losses, his hitting the deer – and the deer with the zombie eyes?

6. American conventions, using them, variations – especially with the people having no guns, no shooting of zombies? Reliance on physical strength, baseball bats?

7. Introduction to the father and daughter? His hard work, supervising funds, personal ruthlessness, his assistant and the warnings? The daughter living with him, his being too busy for her, the phone calls to her mother, his mother looking after the girl? The mother urging him to take his daughter to see her mother? The gift, elaborate, already having it? The decision to take her? Later phoning and his mother infected?

8. The passengers getting on the train, the team, the young men, the girlfriends? The two elderly sisters? The pregnant woman in the toilet, her worker husband? The businessman? The train staff?

9. The presence of the wild man, getting on the train, his being there throughout the film, his having witnessed people dying – his help and his ultimate self-sacrifice?

10. The theme of self-sacrifice, the little girl and her beliefs, giving her seat up to the old lady, wanting to help? The wild man? The large workingman, the young sportsman and his girlfriend, the father – all learning how to save others and give up on themselves?

11. Alarm, the people on the platform, trying to get on the train, the invasion of the train, the number of zombies?

12. The visuals of the zombies, facial disfigurements, limb contortion? The faces and the infection, the eyes? The groups of zombies jumping onto the train, from the train? The group behind the glass and the falling through it? The heaps of zombies being dragged by the engine?

13. The staff, trying to contain the situation, their becoming victims? The dangers on the train, arriving at the station, everybody getting out, the father and his phone information and trying to go on alternate route, the number of zombies attacking, the dangers, people hurrying back to the train, getting into the different compartments?

14. The group saving themselves in the toilet? The others in the carriage? The men, the clash between the fund manager and the worker, the concern about the daughter, the concern about the pregnant wife? The pregnant wife and her initiatives, strong character? The decision to go through the carriages, the links, binding the arms, the dangers, the timing, the importance of zombies not able to see in the dark, using the tunnels? The rescue, the return? The husband sacrificing himself? The strategies, avoiding noise, crawling along the luggage racks?

15. The group that was in safety, the businessman and his domination, his fears, locking the door and preventing the others returning, the bashing down of the door, the decision to expel the newcomers and isolate them?

16. The older sister, the younger sister, her being infected by what was happening? The younger sister opening the door and letting the zombies in? The mayhem, the businessman and the driver saving themselves, the businessman pushing out the driver, his being infected, the businessman running?

17. Getting into the station, the group trying to get to another train, the driver and his finding another train, avoiding the zombies? The overturned carriages, the fire? The rescue? The pregnant woman and the daughter on the engine? The businessman and the fight with the father, biting him, the father sacrificing himself? His farewell to his daughter?

18. The pregnant woman and the girl, walking to safety, the ruins, through the tunnel, the military seeing them, the decision that they should be shot, hearing the little girl sing – and
their being saved?

19. One of the more entertaining and interesting zombie films?

LIFE ON THE ROAD/ DAVID BRENT: LIFE ON THE ROAD

UK, 2016, 90 minutes, Colour.
Ricky Gervais, Ben Bailey Smith, Tom Bennett.
Directed by Ricky Gervais.

If you are a fan of Ricky Gervais’ very successful British television series, The Office, you would remember immediately that David Brent is the central character. Whether you have been wondering what happened to David Brent after The Office may not be a demanding or immediate question – but here is the answer.

Ricky Gervais has many fans who have enjoyed his television series, The Office as well as the contrived interviews in Extras, and have seen him in many film. He is also compared the Golden Globe Awards several times. One of the difficulties in assessing Ricky Gervais and David Brent is that while David Brent can be stupidity personified, Ricky Gervais has a lot of the appearance and mannerisms of Brent when he compares the Golden Globes. Who is the real Ricky Gervais? Who is the real David Brent?

David Brent has dreamt of being a rock and roll star going out onto a but is somewhat stuck in his Rep job for a laundry products company. We see him on the road, already manifesting quite some insensitivity to those he is dealing with. He is even worse back in the office, most workers cringing in his presence though there is a receptionist who is rather sympathetic, one of the women working there who is a touch in love with him and Nigel, a somewhat idiotic co-worker who plays along with his jokes and performance (and played by Tom Bennett who was the rather simple landowner in Love & Friendship).

The device of the film is a documentary being made about David Brent, his ambitions, his rounding up a rock group, his going on tour – and while they have a lot of footage of him in action, the camera always seems to be around when he is talking off the record, picking up so many of his insensitive remarks and highlighting his complete self-deception.

He imagines himself as a young rock star but he is definitely not, despite his clothes, despite his singing, despite his gyrating while singing, despite his being one of the boys with the band. By and large they find him very difficult and do not communicate with him unless they agree to be paid £25 an hour to sit and have a drink with him. One bright spot in his life is Dom, Ben Bailey Smith, of West Indian background who sings some rap while David Brent is singing, something which he finds often excruciating, but stays pretty loyal to Brent throughout the ill-fated tour. His manager finds him exasperating but relents a little at the end and allows David an indulgence with an absurd song about Christmas and having snow falling during the performance.

David Brent comes from Slough which is filmed and about which there is a song with lyrics representing contemporary Britain and Brits. In the meantime, David is insensitive in his lyrics, a cringe-making song about Native Americans, a song about the disabled and the aforementioned Christmas song about a boy going blind and not able to see Santa!

There are a number of amusing scenes and Ricky Gervais’ fans will be appreciative – for others, it may be a take it or leave it but with admiration for Gervais who can perform this obtuse character but is skilful enough in writing the obtuse character with clever insights.

1. A Ricky Gervais film? Writer, director, singing, star?

2. David Brent as a character, as the key character in TV’s The Office? Several years later, his life as a Rep? His dreams, rock ‘n’ roll star, touring? In reality, David Brent’s age, loner, his job, self-image, self-deception? His insensitivities, racial, to the disabled, women? Touches of stupidity? The jokes in the office, the staff reactions? The band and their not liking him? Failure of audience response?

3. The making of the documentary, David Brent talking to camera? Their catching him talking privately and the revelations?

4. Slough, its look, the song and its lyrics, symbolic of England? The comment on contemporary Britain and the British?

5. Brent at work, the Rep, the range of clients, his interactions with them, insensitive? The reaction of his bosses, the other members of the staff, laughing at him, Nigel and his support, Pauline and her defence of him? The Indian receptionist?

6. The band, Foregone Conclusion, the manager, the musicians, the importance of Dom, friendship, standing by David, singing the rap, his reactions, advice?

7. The audience, the clubs, moving in and out? Lack of response to Brent? Response to Dom?

8. David Brent, his mannerisms, his giggle, his wheeze, clothes, gyrating while singing, dancing, his wisecracks,

9. Lyrics of songs, e.g. the Native Americans, the Disabled, the Christmas song – and the falling of the snow?

10. The character of Dom, his comments, race background, rap, onstage with David, sharing with him, the link with the band, the drinks night, his being dressed up as the Native American and not going on? The approach by the talent scouts? His recording?

11. David, the attempts to be with women, two large women and picking them up, eating him out of house and home, staying the night, his denials?

12. The battle of the bands, singing first, the song, Dom and his rap?

13. The manager, patience with David, not liking him, something of a change of heart, the important talk, and his paying for the snow?

14. David back to the office, being laughed at, Nigel and his support, the receptionist saying nice things about him, Pauline throwing the water at the main critic, going out to coffee with him?

BEN HUR

US, 2016, 123 minutes, Colour.
Jack Huston, Toby Kebble, Rodrigo Santoro, Nazanin Boniadi, Ayelet Zurer, Pilou Asbaek, Sofia Black- D'Elia, Moises Arias, James Cosmo, Morgan Freeman.
Directed by Timur Bekmambetov.

A production team would have to feel very self-confident in taking on a remake of Ben Hur. The immediate comparison is the 1959 version, directed by William Wyler, starring a rather iconic Charlton Heston (who had already impressed as Moses in The 10 Commandments), winner of 11 Academy Awards, running for over three hours… This version was itself a remake of a 1925 epic, chariot race, Jesus scenes and all but able to be superseded in the 1950s by sound and colour. (For those who subscribe to Foxtel, the TCM channel regularly screens both versions.)

Unfortunately, this version has not found favour with film critics which seems to have had some dire effects on its box office success. A pity because many audiences would enjoy it, not as much as the 1959 version, but many interesting aspects nonetheless.

A major difference is that the daring Russian director, Timur Bekmambetov (action films like Wanted) has opted for a spectacular film. This makes us realise that the aims of the 1959 version were to make an Epic. if so, this version is spectacular but not epic.

For a Christian audience, the 1959 version kept the subtitle from General Lew Wallace’s novel, “A Tale of the Christ”. This film omits that subtitle. Nevertheless, there are a few more sequences with Jesus in this version than in the previous film, some original version, the two water scenes a variation on what appeared in 1959. That version had the advantage – or disadvantage – of the times, permitting the audience to see only Jesus’ arm, Jesus’ hand giving the water, or Jesus filmed from behind staring at the Centurion. This time, a recognisable actor appears as Jesus who also speaks. He is played by Brazilian actor, Rodrigo Santoro. He is a strong presence, tall, seen working as a carpenter, but not as intrinsically empathetic as one might like, rather stern and serious.

Jesus is first seen in Jerusalem, working as a carpenter, speaking about love and forgiveness to Ben Hur and Esther.He makes an impact on Esther who becomes a disciple.He is also seen rescuing a man who is being stoned, covering the man with his body and being pelted with stones himself. There is an arrest in the garden of Gethsemane with Peter wielding his sword. in the 1959 version, Jesus gives water to Ben Hur during his march through Nazareth with Ben Hur reciprocating during the Way of the Cross, recognising Jesus as he did so. This time, the action is in Jerusalem, Ben Hur arrested, being marched through the streets with a wooden yolk on his neck, falling and Jesus, defying the soldiers, giving him water. When Jesus is making his way to Calvary, the cross on his back, Ben Hur recognises him and gives him the water. There is also a crucifixion scene with Jesus speaking out his forgiveness, followed by rain, Ben Hur kneeling and praying, his mother and sister healed of their leprosy this moment.

But, of course, the popular audience has gone to see the action spectacle, opening with a glimpse of the final chariot race and the antagonism between Judah Ben Hur and Massala, his adopted brother, and flashbacks to their riding through the desert, Judah having an accident, thrown from his horse, and Massala carrying him home. Actually, the scenes in Jerusalem itself quite interesting, establishing the family as well has the activities of the zealots. Massala, attracted to Judah’s sister but disliked by her mother, goes off to war in Germany and, in Persia, encountering Pontius Pilate who then is his patron when he returns to Jerusalem.

The incident which leads to Judah’s imprisonment and the capture of his mother and sister is not the dropping of a stone accidentally but a separate firing an arrow at Pontius Pilate.

The galley scenes are quite powerful, the slavery for five years, as well as the naval battles and the ramming of the ship, Judah getting loose, surviving on planks and washed ashore.

Those expecting the story of the Roman commander, Arius, will be disappointed as he is omitted as is Judah’s time in Rome. He is immediately rescued by the African horse and chariot dealer, Ilderim (Morgan Freeman and his powerful voice – though some of the dialogue has the touch of lameness and Freeman himself says twice okay, okay.)

This means that Ilderim and Judah go straight to Jerusalem, with a build up to the chariot race – which, is on a par with the previous versions, 10 minutes of visual excitement.

There is more than a touch of unexpected sentiment at the end – hope rather than grimness or despair.

Apart from Morgan Freeman, the cast is not well-known and Jack Huston does not try to vie with Charlton Heston but makes a sufficiently strong screen presence for this version as does Toby Kebbel as Massala.

Older audiences may still pine for Charlton Heston although the film has been readily available for all for over 50 years. Younger audiences may not have this particular background and be interested in this version for itself.

1. The popularity of the 1959 classic film? Other versions? The significance of the novel? The Roman Empire, Judaea, a Tale of the Christ?

2. The impact of the version of the 20s, its continued availability? 1959, the epic status, the Oscars? The animated versions?

3. The issue of a remake, older audiences and their memories and comparisons, new audiences and their awareness of 1959 or not?

4. The Russian director, his action films, the emphasis on spectacle? His treatment of the Christ story and incorporation into the action?

5. The locations, Italian location photography, Palestine, Jerusalem, the desert and countryside? The sea and the galleys? Rome, slave and free? The training for the chariot races, the coast and the horses, the African caravan? The chariot race? The musical score?

6. A tale of the Christ, Rodrigo Santoro as Jesus? The scene of the carpentry, his words about forgiveness, his being stoned and saving the man being stoned, giving Ben Hur the water, the reversal and Ben Hur giving him the water? The arrest? The crucifixion and his forgiveness?

7. The cast, the central character’s not being well known name figures?

8. The stunts, the special effects, the galleys, the sea battles, the chariot race?

9. The introduction to the tale, Ben Hur and Massala riding, the horses? The family, patrician, Ben Hur and Massala as brothers, his being a Roman? Contrast with the Jewish household? The statue and praying to his gods? Massala and his love for Thirsa? Esther and her father, servants in the house, the celebrations?

10. The opening, the riding, the chariot race, talk of death? The flashbacks, Judah hurt in the accident, falling from his horse, Massala carrying him home? The mother and her dislike of Massala, protective of Thirsa? His leaving, going to the military, Judah his reaction, the fighting scenes in Germany, in Persia, the encounter with Pontius Pilate?

11. Massala returning to Jerusalem, the friendship of Pontius Pilate? The commander, his hostility to Massala? His position, reuniting with the family? His urging Judah to expose the zealots?

12. Dismas, the zealots, Thirsa shielding them, Judah healing him, his hiding – but his firing the arrow at Pontius Pilate?

13. Pontius Pilate, the entry, the arrow, going into the house, killing the servant, tying the family up, Judah confessing to save his family, holding the centurion with the knife (and this man later leading Judah to his mother and sister), his being condemned, Massala and his stance?

14. The insertion of the Jesus story, carpentry, forgiveness, the water, stopping the stoning, the arrest, Peter and his sword in Gethsemane, the way of the cross and Ben Hur and the water, on the cross, forgiveness, the rain? Judah praying and the healing of his family?

15. Judah condemned to the galley, the vivid scenes of the slaves, rowing, chained, five years, the battles, the ramming of the ship, Judah and his escape, in the water, floating, on land?

16. Ilderim, saving Judah, his African background, caravans, his wealth, appearance, Ilderim and his manner and speech? Judah and the horse, healing it, the nature of the cure? His training the horses, the horses bolting with the charioteer? Ilderim and his support? The decision to go to Jerusalem?

17. The return, visiting Esther, her warning about Massala, the decision to confront him? His being taken to his mother and sister? The riding, the training, the various hints for strategies during the chariot race?

18. Ilderim going to Pontius Pilate, the discussion, the bet?

19. The chariot race, the various competitors, the race. The special effects, editing? The destruction of chariots, the deaths of the riders, the horses? Judah holding back, Massala and his arrogance, whipping? His crash and being injured? Judah falling off the chariot, being dragged, winning? The reaction of the crowd, supporting him? The stance of Pontius Pilate?

20. The mother and daughter healed, Judah and Massala, Massala and his injuries, the reconciliation, brothers? The riding together – and Ilderim urging them to their life ahead?

PUBLIC ENEMIES

US, 2009, 140 minutes, Colour.
Johnny Depp, Christian Bale, Marion Cotillard, Jason Clarke, Stephen Graham, David Wenham, Stephen Dorff, Cary Mulligan, James Russo, Giovanni Rubisi, Stephen Lang, Channing Tatum, rory Cochrane, Branka Katic, Billy Crudup, Shawn Hartosy, Lili Taylor.
Directed by Michael Mann.

There is a tradition of wildness, even of savagery, in US history. Wars, the west, mobs and crime... And these savage societies have been dramatised and explored in films for a hundred years. A question often arose as to whether the movies glamourised criminals and violence. This was a concern in the 1930s with Scarface, Little Caesar, Public Enemy and other films about Al Capone and contemporary gangsters. Towards the end of the 1940s, writers and studios realised that so many westerns had demonised the native American Indians and began to portray more sympathetic portraits. War in the movies has been patriotised as well as being made to serve as a critique of the conduct of some wars. In recent years a spate of films about the war in Iraq have not been popular box-office draws despite the topicality of the films. Which means, perhaps, that films reflect society more than influence it.

All this is a prelude to a review of Michael Mann's latest film. Mann has been interested in a range of topics for his films, from Manhunter (the first of the Hannibal Lecter films, with Brian Cox) to his biography of Muhammed Ali, Ali, with Will Smith, from The Last of the Mohicans to his thriller, Collateral. And, of course, Miami Vice.

Mann now gives his full attention to the Depression era, recreating it with impressive detail, even a gritty epic style with a solemn orchestrated score and those creations of the Depression, the bank-robbing petty gangsters. Both Pretty Boy Floyd and Baby Face Nelson appear in this film as does Chicago enforcer, Frank Nitti. But the focus is on Public Enemy Number One, the robber John Dillinger. He has been played by many actors like Lawrence Tierney, Ralph Meeker, Warren Oates, Mark Harmon in films about himself as well as appearing as a supporting character in films about Nelson and Floyd and about the exploits of the G-Men? and Melvin Purvis. For film fans he is not an unknown personality.

Now he is Johnny Depp. Does having Depp play him glamourise him or his memory? Obviously, Dilligner had to have had charm to have influenced the people he did, to work on prison escapes with which the film opens as well as the robberies – and Depp displays the charm. However, Dillinger was also ruthless and a murderer and Depp is given plenty to do to reinforce this aspect of his character – as well as his being gunned down after seeing the 1934 gangster film with Clark Gable, Manhattan Melodrama.

On the side of the law is the famous G-Man?, Melvin Purvis. He is played by Christian Bale in another square-jawed performance, struggling to use his skills with often poorly trained agents. The screenplay gives quite a deal of attention to the workings of the newly instituted Federal Bureau of Investigation with a strong cameo performance by Billy Crudup as J. Edgar Hoover, forcing his ideas on his agents and on government (though not well heard by a senate hearing). Stephen Lang stands out as a veteran and shrewd agent.

The other star is Marion Cotillard after her Oscar-winning performance as Edith Piaf. She is good as the coat-check girl who seems to bewitch Dillinger but who has a mind of her own, willing to be violently treated by the FBI interrogators and to go to prison for him.

Some of the distinguished cast have very little screen time, David Wenham, Stephen Dorff, Giovanni Ribisi, Lelee Sobieski.

What Mann has done with his sweeping style and his cast is to immerse his audience in the era and offer them different perspectives on these, at the time, popular criminal figures.

1. Memories of the 1930s, the gangsters the role and the media publicity during the Depression, the ethos, the bank robberies, the role of the law, the FBI, the G men?

2. The presentation of the outlaws on screen – as villains, as heroes? The issue of glorifying them?

3. The director, his films, the focus on crime, reconstruction of a period?

4. Strong cast, Johnny Depp as John Dillinger, Christian Bale as Melvin Purvis? The strong supporting cast? A range of characters – but little background development?

5. The focus on Dillinger, Johnny Depp’s presence, Dillinger’s reputation, his living in the moment, his motivation for the robberies, his friends and collaborators, his taunting authorities? Alvin Karpis and the friends advising him about robberies? The domestic sequences? His base? In prison, freed? Going underground? Tactics of the gang freeing him? Relaxing after the event? The range of contemporary criminals, known to the public, glimpses rather than characters? His relationships? The encounter with Billie, not knowing who he was, falling in love, Bye, Bye, Blackbird? Their time together? Socialising, the clubs, at home?

6. Christian Bale as Melvin Purvis, the serious G-man, with J. Edgar Hoover, the organisation, Winstead and the other agents, their working with him, the training, seeing them in action, failures and successes?

7. Hoover, in himself, at the Senate hearing, asked whether he had arrested anyone personally? His role, ambition, the organisation of the FBI, the use of the G men?

8. The women in Chicago, the migrants, the pimps, prostitution? Anna Sage, the younger women? Life with Dillinger? Susceptible to the G men and their threats? Purvis threatening And her with deportation, her agreement, the set up, the younger girl and going to the movie?

9. Billie, background, meeting Dillinger, not knowing who he was, falling in love with him? The arrest, the interrogation, the bullying policeman and his slapping her – and his being reprimanded? Her endurance, her love, the news of Dillinger’s death, Winstead coming to see her, the final message of Bye, Bye, Blackbird?

10. Scenes of crime, the banks, the plans, those collaborating, the managers, customers, the robberies, the shootings, the daring, the amount of cash?

11. The focus on going to see Manhattan Melodrama, the extensive use of the scenes in this film? Dillinger, going to watch? Clark Gable’s character, a gangster in film – and Dillinger later the central character in so many films?

12. The plan, the preparation, Winstead and his knowing where Dillinger would go, Purvis and the group on surveillance, the girl on the street, watching for Dillinger, the end, lighting the cigar, the pursuit in the street, the shooting, his last words, his death?

13. The reconstruction of an era? Figures in American history for good or for ill?

KUBO AND THE TWO STRINGS

US, 2016, 102 minutes, Colour.
Voices of: Charlize Theron, Matthew Mc Conaughey, Brenda Vaccaro, Art Parkinson, Rooney Mara, Ralph Fiennes, George Takei, Cary- Hiroyuki Tagawa.
Directed by Travis Knight.
Kubo and the Two Strings is an entertaining animated feature which should appeal to younger audiences as well as families.

It is not surprising to see a Japanese story and animation these days with so many films coming from Japan itself and, especially, the Ghibli Studios. But, this is an American production, writers and director as well as voice cast.

The filmmakers show great sensitivity towards Japan as well sensibility about its characters, history, culture, mythmaking, rituals as well as the beauty of its locations.

During the final credits, there is a focus on the making of the puppets, especially the Cockroach, which are used in the film – an insight into the type of animation that is present. The landscapes are quite vivid, the characters well drawn, there is a great deal of action and special effects.

The film opens with Kubo and his mother caught up in a huge storm at sea but finally landing on the beach and becoming resident on high rock above the village. Kubo is active but his mother has long periods of distraction, not being aware of where she is, but at night, cautioning Kubo not to stay out after dusk. In the meantime, he goes down into the village, well-received, with his strings, plucking them and narrating heroic stories. He also has an extraordinary origami talent, creating creatures, especially a small origami warrior, and many others in action.

One afternoon, he follows the crowd to a cemetery, sees a girl invoking her grandmother and decides to pray and call on his father – to no avail. But he is caught in the cemetery after dark and suddenly dark and sinister creatures swoop down on him and the village, two sisters, his aunts who are vengeful about their other sister, his mother, who set out on a quest to destroy a Lord but fell in love with him, married him and had Kubo. The father, the Moon King, has urged them to seek out this sister, Kubo and destroy them.

What follows are adventures at sea, in an origami boat, with a warrior beetle turning up, a bit slow on the uptake but genial, who protects Kubo and his mother who has been transformed magically into the form of a monkey toy that the boy had. Once again there are storms, with the Cockroach, Kubo diving into the sea to find a suit of armour, the Beetle having to rescue him, their arriving on land and, of course, a final battle confrontation with the Moon King who can transform himself into a dragon and the avenging sisters.

The characters are much more interesting than in many an American animation film and there is plenty of good dialogue and, certainly, plenty of action sequences.

Art Parkinson voices Kubo while Charlize Theron is his mother. Rooney Mara voices the sisters and Ralph Fiennes their father. But, many times, Matthew Mc Conaughey steals the show as the Beetle.

1. An entertaining story? Creative animation? The Japanese setting, characters, sensibility – from an American perspective? Japanese action and traditions?

2. The American makers, open to Japanese sensibilities and stories, creating the characters, the dialogue, the interactions? Using Japanese legends and customs?

3. The animation, the puppets – the final credits indicating the making of the puppets? Settings, action, the effects, especially the origami creations and beyond? The music, the chords, the visualising of the stories?

4. The voice cast, an American production?

5. The opening, the sea, the mother and son, the high waves, the voice-over telling the story, listeners being attentive? Arrival on land, their dwelling on the high rock, the house, the sad mother, and not being present in mind? Kubo, his care, looking at the village, going down, telling his stories, the encouragement from the old lady, the various members of the audience? His not to be out after dusk, the threat of destruction? His not finishing the stories? The origami, creating the warrior, the duck, special effects, action? The repetition of the stories? His mother’s evening consciousness, her warnings?

6. The old lady, the fireworks, going to the cemetery, the child wanting to communicate with her grandmother, Kubo praying, not getting an answer, the dark coming down? The arrival of the vengeful sisters, the darkness and cloud, the dust, overwhelming, destroying the village and the people? Kubo’s mother, exercising her magic – and enlivening his toy monkey?

7. The warrior coming alive, the Beetle, his character, human, slow-witted, with the origami warrior?

8. The action, cockroach, the fights, destruction?

9. The monkey, his mother, her care, his making the boat, on the sea, the storm, destruction?

10. The two sisters, their story, their relationship with the mother as there are other sister, her mission from her father to destroy the warrior, falling in love, changing? The birth of her son?
The family anger, the quest against them? The death of her husband?

11. Undersea, the restoration of the boat, finding the suit and Kubo putting it on? The danger in the sea, Kubo mesmerised by the eyes, the Beetle diving and saving him?

12. On land, the helmet, the drawing about the action? His mother and father? The moon grandfather, the sisters? The battles, the old king turning into a dragon, the swordplay, destruction?

13. The reconciliation, the people from the village, Kubo and his mother and father, the happy ending?