UNIVERSAL SOLDIER: THE RETURN

US, 1999, 83 minutes, Colour.
Jean- Claude Van Damme, Michael Jai White, Heidi Schanz, Xander Berkely, Daniel von Bargen, Bill Goldberg.
Directed by Mic Rodgers.

Action star, Dolph Lundgren, initiated a series of Universal Soldier action shows in the early 1990s. The basis of the plot was that American technology and arms companies could resurrect soldiers killed in the Vietnam war and in other fields of combat, easily able to recuperate after being wounded, and becoming Unisols, Universal Soldiers. The main candidate was Luke Devereux, played by action star Jean- Claude Van Damme.

This film is the first of the sequels, featuring Luke Devereux, his wife dead, caring for his young daughter, involved in the company that was experimenting with the Universal Soldiers, a program run by Xander Berkely.

The opening sequence has a long tour of the plant, preparing audiences for the plot and launching into a speed boat and military chase, all observed by a computer, played realistically but, in fact, a simulated exercise. One of the main characters, a Universal Soldier who is continually resuscitated, Romeo, is played by wrestler Bill Goldberg.

One of the central characters is, in fact, the highly intelligent computer, named Seth, who instructs Luke’s daughter but who overhears, lipreading, discussions with the head of the project and the general from the Pentagon, Daniel von Bargen, talking about termination of the project. The computer not only reacts, but is violently aggressive, programming the Universal Soldiers to destruction of military and civilians. Devereux has to work out how to close down the computer, tracking down a dirty nerd mad scientist, a visit to a strip club, eventually getting the information to destroy Seth.

Seth is very smart, chooses a hulking body on the advice of the nerd so that Seth can confront everyone, including Devereux. There is a complication when Devereux’s daughter is in hospital and there is split-second timing for her to be healed and extricated.

A pushy reporter is in the facility filming when all this happens. Her cameraman is killed, she stays with Devereux, saving him at times, sharing the dangers.

Ultimately, there is a confrontation between Devereux and Seth, helped by a fellow worker Kelly who seemed to have been turned by Seth but shoots him. The project is exploded.

In many ways, the screenplay has its cake while eating it – a very full-on macho action adventure and various lines of dialogue criticising this kind of research and its dangers.

ANTWONE FISHER

US, 2002, 120 minutes, Colour.
Derek Luke, Denzel Washington, Joy Bryant.
Directed by Denzel Washington.


It is difficult to dramatise goodness. Far easier to deal with conflict and evil - and more absorbing for audiences.

This is very much the case with Antwone Fisher, only a moderate success at the American box-office and looked at with something of disdain by non-Americans who dismissed it as being too 'worthy' or that the ending was too clean-cut for an otherwise stately and thought-provoking movie. Yet, Antwone Fisher survived his past, wrote this screenplay as well as a fuller memoir after the filming. And, perhaps, the ending is not quite as clean as all that because Antwone, while he finds his mother, does not relate lovingly to her and there is no indication that he will return to see her, no matter how much the audience wants this to happen.

Derek Luke was working at the Sony studio's gift shop and by chance met Antwone Fisher. He went for the part, his first, and acquits himself admirably. On screen for virtually the whole film, he takes the audience through the difficulties of his life in the navy, his reluctance to undergo the obligatory psychological sessions, his gradual change, his hesitance in committing himself to a relationship. We share his discovering love. We share the tragedy of his birth, abuse by carers, the death of his best friend. We finally share his discovery of mother and family. It is interesting to see Viola Davis early in her career has Antwone’s mother.

Denzel Washington makes his directorial debut and has a substantial role as the navy psychiatrist. The screenplay gives some substance to Dr Davenport's story outside his office, tensions as he and his wife are unable to have children, his personal edginess, his seeing Antwone as a surrogate son, his own healing by the trust Antwone places in him.

Not exciting or action-packed but a fine portrait of a man and his healing of memories.

1. Based on a true story? The central character writing the screenplay? An authentic feel?

2. American cities, Navy bases, psychiatrist rooms, homes? City of Cleveland, the suburbs? Authentic feel? The musical score?

3. Antwone Fisher and his life, his mother pregnant, giving birth in the prison, his father killed by vengeful girlfriend, his being an orphan, in the orphanage? Mrs Tate as foster mother? The husband, the revival preaching, the singing in church? The other boys in the house, black, mixed race, being whipped by Mrs Tate, humiliated, her racist language? The girl in the house, the sexual abuse of Antwone and its effect on him? His brothers, their lives later? Jesse as his best friend, confiding in him? Antwone spending his childhood and adolescence in this household? The effect?

4. His joining the Navy, the training, learning Japanese, world travel? The significance of his anger, the taunts of the fellow sailors? His attacks, fights? Charges, demotion?

5. His being sent to Jerome Davenport, to deal with his anger, his silence in the room, not answering questions? The demands that he attend, to have three sessions? The encounters with Cheryl outside, shyness, her friendship? His eventually beginning to talk, difficulty with questions, getting Davenport to ask? The cumulative effect of their talking? The flashbacks visualising his past?

6. His self-awareness, the angers because of so many losses in his life? The Jesse story, Antwone being down and out, going to see Jesse, welcomed, going to the store, the robbery, Jesse being shot? Antwone feeling that significant people had abandoned him? His feeling that Davenport would leave him?

7. The character Davenport, Navy psychologist, his easy manner, his quick wits in asking the right questions, seeming casual, drawing out responses? Yet the formality at home, the tensions with his wife, his explanation of their not being able to have children, the effect on each of them? The silences at home? Antwone, coming to visit Davenport, early, meeting his wife, the glass of cider? Davenport’s reaction? Calling him back, the invitation to Thanksgiving dinner? The formality of his dress, introduction to the family, the older generation? Enjoying the meal, the old man and his questions? Antwone upset, leaving the room? Talk with Davenport – offering him the problem that himself and his sense of abandonment?

8. Davenport encouraging him to go out with Cheryl, her personality, her job, the Navy family? Going out for a drink, talking, having something to eat? Antwone happy, Cheryl giving him a peck on the cheek? Telling Davenport?

9. Their going to his graduation, Davenport telling him that that was the end of the sessions? Antwone upset?

10. Davenport urging him to find his family, to resolve his sense of loss and his angers? Talk with Cheryl, the decision, inviting her to go to Cleveland with him? Love, the sexual encounter and its effect on him? Getting the file, the sympathetic official, the phone book, all the calls to the family? Knowing the name of his father?

11. Finding the family, the joy, taking him to visit his mother, her apartment in the projects, listening, his speech, his kissing her, forgiveness, and not responding – but her tears when he left? His being welcomed into the large family and discovering cousins and relatives?

12. Going back to Davenport, expressing his appreciation, Davenport telling him about his relationship with his wife, thanking him for his help? The father-son relationship?

13. A film of warmth and humanity? A film about adoption and its consequences? Fostering? The possibilities of discovering birth families?

THE CONJURING 2

US, 2016, 134 minutes, Colour.
Patrick Wilson, Vera Farmiga, Frances O' Connor, Madison Wolfe, Simon Mc Burney, Maria Doyle Kennedy, Simon Delaney, Franka Potente.
Directed by James Wan.

The first Conjuring film was a box office success, audiences very interested in the demonic themes and the confrontation of Ed and Lorraine Warren against the Demons. The screenplay was based on actual characters and events, especially with the impact of the Amityville possession in 1976, the role of the Warrens and the subsequent books, feature films and sequels. The Warrens had plenty of stories, and had become media celebrities, a sequel was inevitable. It is, however, a sequel which has received critical praise and box office success.

Ed and Lorraine Warren, played again by Patrick Wilson and Vera Farniga, conducted sessions in a variety of houses over several decades. While they were a couple who had heightened sensitivities and sensibility towards the demonic, they were also officially connected with the Catholic church. They did many of their investigations on behalf of the church, something which is taken up in this film, a priest visiting them and urging them to go to England where there were reports of strange happenings in the outer London area of Enfield.

The film actually opens with some sessions about Amityville. During the sitting, Lorraine has out-of-body experiences, accompanying the killer to the various rooms, her arms doing the shot gun movements, a single lineup of victims, and the sense of the demonic presence. This continues later, after she has seen her husband painting a portrait of a horrific nun, a vision she had seen, and has a further confrontation with the nun and a premonition of Ed’s death. She asks husband not to do any more consultations.

The priest is persuasive and they go to London, meeting the Hodgson family. Peggy Hodgson (Frances O’ Connor) has four children, has been abandoned by her husband, has little money. Suddenly, one of her daughters, Janet (Madison Wolfe) starts to experience what seem to be poltergeist happenings. But, at times she is possessed by a sinister presence, seemingly an old man who had died in an armchair in the downstairs room. When the happenings increase, the police are called, the children have to move in with neighbours, the media become interested as does the psychic who believes in the hauntings, Simon Mc Burney, and an expert who is very sceptical, Franco Potente.

The Warrens are present only for a few days, they share experiences with the family, Lorraine empathising with Janet, Ed getting the trust of the family, even to doing some repair jobs in the house. The film builds up to climactic sequences, the testing of Janet’s voice to see whether she is telling the truth, a surveillance video adding to the scepticism, and the Warrens reluctantly leaving.

However, there is a dramatic development, needless to say, and they return for a final confrontation, Ed in danger of fulfilling his wife’s premonition of death, Lorraine having the name of the Demon and confronting it.

Ever since The Exorcist, that has been a continuous interest in demonic presence and confrontations and exorcism. This film, persuasively acted, with an authentic feel of London in the rain, is a credible addition to the genre – even if many will be sceptical about the credibility of the claims of true stories. (Lorraine Warren and one of the children, Billy Hodgson, acted as technical advisors to the film.)

Director James Wan has quite a list of horror thrillers including Saw, the two Insidious films and now the two Conjuring films.

1. The impact of the original film? A successful sequel? Developing themes and characters?

2. Based on a true story, the records, the photos and tapes in the final credits? How credible the events?

3. Ed and Lorraine Warren, in the first film, establishing their credentials? Their role, Demon hunters, their connection with the Catholic Church, their sensitivities to the demonic? Their role in Amityville? Interviewed on television, radio, sceptics against them?

4. The introduction, the Amityville situation? The setting, the group gathered, Lorraine’s experience, reliving the killings, seeing them, her arm actions with the gun? The lineup of the victims? Her fears? The presence of the Demon? Her later experience at home, with her daughter, the noise in the corridor, seeing the nun, Ed and his painting of the nun, the confrontation, a premonition of Ed’s death with the broken branch? The panic in writing the Demon’s name in the Bible? Ed and her asking him to stop for the time being? The characters of the couple, their trust, love, marriage?

5. The Enfield hauntings and the documentation? UK, London, the ordinary suburbs and streets, ordinary people? The Hodgson household, the absent father and his twins with the other woman, his taking all the records? Four children, Peggy looking after them, harassed, no money? At school, Janet caught smoking with her friend, the principal’s complaint, her mother not believing her? Bill, his stammer, his being bullied at school? The children at home?

6. The film’s gradual buildup, steady intimations of horror, demonic presence? Janet, her experiences, the presence of the old man, his name, explanation of his story, his malevolence? Janet and Margaret sharing the room, the sinister experiences, noises? Johnny, the tent, the truck moving on its own? Sounds and movements, bangings? The effect on the children, on Peggy? Going to the neighbours, Vic and his wife, their kindness, taking the family in? Witness to what was happening? The police arriving, initially wary, their experiences?

7. Peggy, as a character in herself, having to cope, relying on the neighbours, looking after her children? The police arriving, the questions? The media?

8. The media host, the interrogation in the home, Anita Gregory and her scepticism, Maurice and his concern, the death of his daughter, his afterlife hopes? Gathering, the televising of the session, the interrogation of the spirits, reactions? The issue of whether all this was a hoax? Peggy taking advantage of improved accommodation applications?

9. The priest, visiting the Warrens, their commission, the role of the church, investigations, caution about hoaxes?

10. The Warrens agreeing to go to London, meeting Peggy and the family, staying in the house, the room? Lorraine with Janet, the talk on the swing, Lorraine telling stories, Janet responding? Ed, his listening? The visit of Maurice,? Surveillance, Anita Gregory and the video camera, capturing Janet herself smashing the furniture?

11. Ed and the house, fixing things, the experience in the basement?

12. Janet and Peggy alone, in the house, the reuniting with the children? Johnny, his experience, Janet in the cupboard?

13. The cumulative effect, the old man, dying in the chair, his voice, the test with Janet and the water in her mouth, the voices being heard? The Demon? Lorraine and Ed having to leave? Peggy and her dismay?

14. The atmosphere in winter, the rain, Christmas – and Ed singing Elvis’s song?

15. Ed and Lorraine leaving, the sense of dread, in the train, listening to the tapes, combining the tapes, the old man saying he was prevented from leaving, the Demon? Lorraine realising that to name the Demon was to have power over it?

16. The return, being locked out of the house, into getting the basement, coming up through the floor? Lorraine, getting the Bible, finding the name of the Demon? Getting in, the difficulties in the way, the water, the steam, going to the upper room, Janet and Ed leaning on the window, Ed holding, the curtain rails, ready to fall, the lightning and the broken branch, Lorraine and her premonition? Lorraine confronting the nun, the Demon, pinned to the wall, saying the name and saving everyone?

17. The Hodgson family together? Ed and Lorraine, the Elvis song, the dancing? The souvenirs in their museum?

18. The final credits, the photos, the recordings?

19. Horror, demonic, eerie, scary – and truthful or not?

SHAFT

US, 2000, 99 minutes, Colour.
Samuel L. Jackson, Vanessa Williams, Christian Bale, Jeffrey Wright, Busta Rhymes, Tony Collette, Richard Roundtree, Ruben Santiago- Hudson, Josef Sommer, Lynne Thigpen, Philip Bosco, Pat Hingle, Daniel von Bargen, Gordon Parks, Peter Mc Robbie.
Directed by John Singleton.

Shaft was a big box office success in the early 1970s, featuring a black detective played by Richard Roundtree and directed by black director, Gordon Parks. It led to 2 sequels. Probably the best-known feature is the music and song, Oscar-winners, sung by Isaac Hayes.

30 years later it seemed time for a remake and successful director, John Singleton, who made a number of films about African- American issues, Boyz in the Hood, Poetic Justice, co-wrote and directed this sequel – because the original Shaft appears as the new Shaft’s uncle. And the Isaac Hayes music is ever present.

Samuel L. Jackson fits the role of the new Shaft perfectly, streetwise, detective, touch of the vigilante, antiracist, anti-drug, not hesitant to use his fists in difficult situations.

The basic situation concerns a spoilt young man played by Christian Bale, arrogant, racist, confident in his father’s privileged position. Humiliated in a nightclub, he bashes an African- American young man to death and intimidates the witness, Tony Collette, but incurs the wrath of Shaft who punches him – which becomes a basis for his being granted bail and his subsequently leaving the country.

2 years later, he returns, Shaft ready for him. but, the important thing is to track down the witness who has fled and to get her to testify. In the meantime, there are considerable complications with street gangs, drug dealers, especially Peoples played by Jeffrey Wright to whom the spoilt young man comes to make a contract for him to track down the witness and dispose of her.

This means a lot of confrontations, two corrupt policeman, Vanessa Williams as Shaft’s ally, and a confrontation at the law courts which involves the victim’s mother, played by Lynne Thigpen.

There is a lot of violence in the film but the players, especially Jackson, Bale and Wright make the film better than it might’ve been. No sequels.

1. The popularity of the original film? The early 1970s? The period of the Blaxploitation films? Sequels?

2. 30 years for this sequel? The new Shaft? As embodied by Samuel L. Jackson? Introduction of Richard Roundtree, from the original, as his uncle? More than a cameo role? Cameo by Gordon Parks in the bar, the original director? And Isaac Hayes’ music?

3. A New York story, the end of the 20th century? The place of the African- Americans? Shaft as the detective? The other black members of the police force? Racist attitudes?

4. The director, his films, African- American themes? His contribution to the story and script?

5. Shaft, seeing him in action, confrontations with criminals? White and black? Using his fists? The touch of the vigilante? Resigning? The attitude of the authorities? Becoming involved again? His targeting Walter Wade? Over two years? His search for the witness? Encounter with the drug dealers, tough tactics, the woman complaining about her son involved with the dealers, his bashing the dealer? The interactions with Peoples? With his two police colleagues, their being on the take? The buildup to the confrontations, helping Diana, the attack, the shootings? The end and his compassion, taking on the case of the national woman?

6. The situation in the restaurant, the young man bleeding on the sidewalk, the witness of his girlfriend? Shaft listening? The flashbacks as to what had happened? Walter, his self-satisfaction, with his friends, goading the young man? The young man with the Ku Klux Klan cloth? Humiliating Walter? Diana as witness, the blood on her face, her reluctance to answer, escaping? Related testimony, the flashbacks to the crime, Walter, his arrogance, his bashing the young man? Threatening Diana? The blood on her face?

7. The court, the judge, Walter’s father, lawyer, Shaft bashing, being granted bail, his arrogance, leaving the country?

8. His return, self-confidence, wanting to track down Diana and have her eliminated? Shaft punching him, taking him to the cells? His encounter with Peoples? Going to see him later, enlisting his help? Peoples and his associate, warning Shaft, given away by the tattooed hand, Peoples killing him and throwing him out the window? His deals with Peoples, Peoples wanting him to introduce him to new clients, upper-class for drug deals? Walter’s refusal?

9. The police, helping Shaft, turning, accepting the money, the motivations? Following? Carmen, confronting them, their shooting her? Her saying she didn’t have the vest – but she did? Shaft shooting them?

10. Peoples, drug deals, watching Shaft bashing the young men on the sidewalk? Shaft throwing the ball? Peoples coming down, touching Shaft? His being arrested? His gangs, plans, Walter and the request to find Diana? The family jewels? $40,000? The irony of Shaft taking them, hiding them, returning them?

11. Diana, her mother, her brothers, on the run, work with the kids, Shaft catching her? Story, taking the bribe? Telling the truth? Being pursued, the gunshots, her brothers? Her finally going to the court?

12. Carmen, her role as a detective, relationship with Shaft, in the final confrontation?

13. Walter, his coming to court, confidence? Shaft reassuring the victim’s mother? The irony of her shooting Walter?

14. New York police story, African- American story, at the beginning of the 21st century?

AN INSPECTOR CALLS

UK, 2015, 87 minutes, Colour.
David Thewliss, Ken Stott, Miranda Richardson, Sophie Rundle, Chloe Pirrie, Kyle Soller, Finn Cole,
Directed by Aisling Walsh.

An Inspector Calls is a celebrated play by novelist and playwright J. B. Priestley, written in 1945 and a success on the London stage in 1946 as well as being revived to popular success in later decades. There was a film version starring Alastair Sim in 1954.

This BBC television film is one of a series of remakes of classics, including The Go-Between?. It retains the dialogue of the play but opens it out, as did the 1954 version, into a series of flashbacks concerning the interaction of each member of a wealthy family with a girl who has killed herself.

Sophie Rundle appears as the dead girl in a variety of situations. Ken Stott is good as the bluff industrialist and Miranda Richardson is his snobbish and hard-hearted wife. The other characters, confronted by the Inspector of the title, played by David Thewliss, are the son and daughter and a prospective son-in-law.

The film was directed by Aisling Walsh who directed several films including Song For a Raggy Boy and Television Films Including Poet in New York.

1. Version of the celebrated play? The reputation of J. B. Priestley? His social concerns? A 1940s play? Perspective on 1912? A 21st-century perspective?

2. The adaptation of the play? Opened out, the flashbacks? The importance of dialogue and the tension?

3. The interiors of the house, the dining room? The flashbacks of the factory, the dress store, the bar and the flat, the charity work, houses, the beach, hospital, the deckchair and death? The musical score?

4. The title, the tone? The mysterious inspector? Arrival, interrogation? His work, the end and his appearance with the dead girl?

5. The social situation of 1912? Industry and prosperity? Class differences? The working class? The privileges of the upper-class? Knighthood…?

6. Birling, his family, at the meal, the patriarchal father, owning the factory, identifying with the owners, down on the workers, strikers, the ability to fire people, issues of wages? His wanting the knighthood? Magistrate, local connections, building himself up from nothing? The relationship with his wife, his daughter’s engagement, son-in-law, his son? His son working for him? Prosperity and no prospect of war?

7. Sybil, haughty, a snob, class distinctions, treatment of the servants, her relationship with her husband? Dominating her children? Shopping with Sheila, criticisms of the dress and her figure? Eric and his being spoiled, the comments on him drinking? Her son-in-law? Her being on the panel of the charity and dismissing Eva’s request, not believing her?

8. Sheila, the engagement, life, love for Croft? Her reaction to the inspector? The memories of the shop, the jealousy of Eva? Her reaction to her mother? Her complaint to the manager? Her mean behaviour – and her being sorry for it?

9. Croft, his father and his importance, the contacts, his work? The account with Daisy, his going to the bar, drinking, sorry for her, the attraction, her, the flat and his friend, her becoming his mistress, his decision to break the relationship?

10. Sybil, her charity, the photo of the girl, the panel judging her, her plea, turning her down, not believing her? Presuppositions about judging her?

11. Eric, the tensions, not seeing the photo? The memories, meeting the girl, the sexual encounter, his drinking, using her, her pregnancy? She not wanting to destroy his life? His insistence to his mother that she was telling the truth?

12. The character of the inspector, his mysterious arrival, his questions, stern, showing the photo or not, perceiving each of the characters, drawing them out, listening to their reactions?

13. The focus on each of the family, sorry or not? The differing responses?

14. The talk, admitting the truth? The phone call that there was no inspector? That there had been no death? The parents and Croft regressing to their self-acquitting attitudes?

15. Sheila and Eric, a more sincere repentance?

16. Eva, seeing her writing her diary, continuing the diary, in the stories of each of the characters, the strike, speaking plainly to the boss, her being dismissed, in the bar, relating to Croft, the dress shop and her being dismissed, pleading for the charity, the sexual encounter with Eric? Walking on the beach, her neediness, the taking of the photo
and the framing, the deckchair, her suicide? The scene in the hospital, the inspector, her diary?

17. The moralising aspects of the story, moral responsibility, social behaviour?

TEENAGE MUTANT NINJA TURTLES: OUT OF THE SHADOWS

US, 2016, 112 minutes, Colour.
Megan Fox, Will Arnett, Laura Linney, Tyler Perry, Stephen Amell, Brian Tee, Stephen Farrelly, Gary Anthony Williams..
Voices of: Jeremy Howard, Noel Fisher, Pete Ploszek, Alan Ritchson, Peter D. Badalamenti, Tony Shalhoub, Brad Garrett.
Directed by Dave Green.

Audiences around the world have become used to the initially most strange sounding title, each word of which has its own meaning but seem never to have been considered for inclusion as a total: mutants, who are Turtles, who are teenagers and who have ninja skills!

This film is an updated version of the Turtles who first appeared in comic form in the 1980s, with some film versions, including a big-budget 2014 film. The sequel follows immediately, the Turtles themselves still teenagers, seen initially leaping from the Chrysler building in New York City and watching a basketball match from the upper regions of the roofing, letting drop a piece of pizza which has dire results on the game – but audiences will be glad that there is a bit of a resume given on the television, the focus on Vern, Will Arnett, who was the cover to receive all the accolades for what the Turtles had done so successfully in the previous film.

The focus this time is on an arch-villain, Shredder, who is in prison but is being transferred – only for an ambitious, unscrupulous scientist (Tyler Perry) to be preparing ultra-technology to extricate Shredder from a prison van as he is being transferred. April, Megan Fox again, is able to get all this information to the Turtles via a watch they have given her which is able to extract information from computers. This, of course, leads to a huge chase, cars, bikes, vans, and the Turtles’ specially armed truck. He gets away.

Perhaps the filmmakers were anticipating a sequel to Independence Day, but Shredder is in touch with Klang, a monstrous mutant hidden inside a giant robot (!) and they plan to open a portal over New York City (where else?) so that pieces of an destructive weapon can be assembled as a first step to take over the world – somebody suggests the word apocalypse.

Of course, this builds up to a huge climax with the Turtles doing battle with Klang above the skyline of New York City – but, it’s not always easy for the Turtles. They still behave like teenagers at times, too individualistic, needing to develop teamwork, needing to listen to the advice of the sage Splinter (which they do), have April and her new friend, Casey Jones, one of the police escort for Shredder, and developments of technology, including a recording of Shredder, the scientist and their evil plans.

But, there is opposition from the bureau chief of the crime squad played, surprisingly and seriously, by Laura Linney.

It won’t spoil anything to say that the Turtles win at the end and receive medals and gratitude from the city – although continuing to live underground and be ready for the next action instalment.

1. The popularity of the Turtles over 30 years? Comics, television, films? The Turtles as characters, inaction, heroic, yet teenage militant behaviour, individuals and team, saving New York City?

2. The origins of the Turtles, the mutant change? Splinter, the rat, their mentor? The audience accepting this?

3. The title, there being in the shadows, emerging out of the shadows for New York? There being mutants – and their not being accepted in real life?

4. Each of the Turtles, their names, leadership, brains, heart, verve and mischief? The Italian artists? The opening, on the Chrysler building, the basketball, watching, the commentary, dropping the pizza? The television and the resume about Vern as the Falcon and the hero of New York City?

5. The situation, living underground, the development of their home, the laboratory, technical? Splinter and his support? April, the past? Her encounter with the professor, pretending to admire him, her watch, getting the information, changing her clothes to become glamorous, distracting the professor’s assistant, getting the information, transmitting it to the Turtles?

6. Shredder, the past, his crimes, going to jail, the plan for the transfer, the two prisoners in the van and their patter, the plan, the professor is machine, to extricate Shredder? In the van, Casey Jones and the driver? The taunts to the prisoners? The chase, the cars, bikes, the Turtles and the truck, going into action? Mayhem on the streets? Shredder and the transfer?

7. The encounter between Shredder and Klang as the mutant? The plan to take over the world? Shredder and his interactions with Klang, the portal? Conflict? Klang, the opening of the portal, the pieces of the machine coming through, assembling? The Turtles, the confrontation with Klang?

8. Casey Jones, the truck, seascape, his dealing with the bureau chief, and her not believing him? His wanting to be a detective? His mask, seeing April, rescuing her, the fight against those pursuing her, saving her? Suspicion of the Turtles? Friendship, introduction to Splinter, his becoming an ally?

9. The bureau chief, tough? April and Casey Jones, going into the federal building, caught, interrogated? The chief not believing them?

10. The four Turtles, the individualism, the explanations, their squabbles, concealing information? The challenge to work as a team? To overcome their adolescence? The advice
of Splinter?

11. The professor, wanting immortality, achieving everything for Shredder, going to Japan – and to death and obscurity?

12. The two criminals, the escape from the van, going to the bar, Casey Jones and the bar keeper, getting the information? Their being transformed into rhinoceros and warthog? Their jokes, dumb, being on guard, the final chase and Casey Jones outwitting them?

13. The plan, the portal opening, the pieces coming through, being assembled? Showing the video about the plan to the bureau chief? The change of attitude, support?

14. The guard, the Turtles going undercover, going onto the vehicle, the elaborate fights on the weapon? Klang? Saving New York?

15. Their being awarded the medal, Vern as being the cover for the reputation? Casey Jones and April? And the audience prepared for more Turtle adventures?

GOLDSTONE

Australia, 2016, 110 minutes, Colour.
Aaron Pedersen, Alex Russell, Jacki Weaver, David Wenham, Tom E. Lewis, Pei Pei Cheng, Michelle Lilm Davidson, Kate Beahan, Max Cullen.
Directed by Ivan Senn.

The police thriller, Mystery Road, made quite some impact when it was released in 2013. Set in outback Queensland, it was a detective story, missing persons, aboriginal themes, financial interests and conflicts. These ingredients are substantial and they are incorporated into this new police thriller, Goldstone, the name of the town, or settlement near a gold mine, that is location for this film, also shot in outback Queensland.

Much of the impact from Mystery Road came from the casting of Aaron Pedersen as an aboriginal detective working on missing persons and uncovering many dark secrets. At the opening of this film, he’s driving drunk along the Queensland roads, pulled up by the young police officer in Goldstone, Alex Russell, and finding himself in a prison cell. However, when he is recognised as the detective, he begins his search for a Chinese woman who has disappeared.

Aaron Peterson’s Jay is like a number of the detectives and private eyes of fiction and thriller films, down on his luck, on his self-esteem, experiencing death and grief, relying too much on drink. He is a strong-minded man, however, challenges the young policeman who has thoughts of what he might have been instead of being stuck in this small and avaricious community. He finds clues about the missing woman, interviewing a travelling prostitute in her van, Pinky (Kate Beahan), learning that Chinese prostitutes are flown in, their passports taken, no visas acquired, and are kept as virtual prisoners at the local bar/club.

And there are even more complications, especially with the goldmine (and an impressive shot as Jay watches a huge excavation explosion). The boss of the mine is played by David Wenham, working on legislation to extend permits, trying to deal with the local aboriginal community, the leader who is in favour of development (Tom E. Lewis) and the tribal elder, played by the archetypal David Goulpilil, who is not.

The mayor of the town should be mentioned, more than mentioned. She is played by Jacki Weaver, touches of sweetness and light and apple pie (literally) on the surface, but as she explains to Jay, hard as nails like her father and grandfather, looking out for number 1. She gathers information, wants the young policeman to keep her informed, puts pressure on the aborigines. Altogether a tough piece of work.

Ivan Senn wrote the screenplay, directed and edited the film (and also composed the musical score). In his films, Beyond Clouds, Toomelah, he has presented aboriginal themes and, as he did in Mystery Road, blends them with contemporary Australian issues, country town problems, mining and the environment, deals with aboriginal communities, financial coverups, and the presence of illegal workers and visa problems as well as sex trafficking.

Audiences will be involved in the life of the town, the variety of characters, the tensions and challenges.

It is worth noting that prior to the opening credits there is an impressive succession of photographs of colonial times, of pioneering, of the old towns, of aborigines, of the Chinese – while, at the end, Jay goes bush and explores aboriginal cave paintings.

1. An interesting police drama, thriller, detection, social comment? Piece of Australiana?

2. The establishing of the character of Jay in Mystery Road? Continuing his story? His depression, alcoholism, the loner, aboriginal identity, experiences of racism…?

3. The Queensland locations, the town of Middleton and Winton, the desert, the mines, the arid landscapes? The mining huts, the stores, the caravans? The bar? The musical score?

4. Aaron Pederson and his role as Jay? His character, his back story, his work as a detective? The development of his character?

5. The opening credits, the range of photos, the background to Australian development in the 19th and 20th centuries? Aborigines, the Chinese, the opening up of towns, work, the mines? The photos giving a tone to the film?

6. Jay driving, drunk, Josh and his pursuit, arresting him, Jay collapsing in the cell, sleeping it off? Josh getting the information? Jay going to the motel? His job and assignment? The missing Chinese girl? The mystery? His search, the discussions with Maria and the finding of various clues, the old man giving him the passport, tracking where the girl had gone, pieces of clothing, jewellery, finding her corpse? Closing the case?

7. The town, the settlement, the goldmine? The site, security and fences, the guards, John as the boss? His interview with Josh, offering him the bribe? John’s attitude towards the aborigines? The deals with Tommy? The visuals of the mine at work, the huge explosion? The old prospector and the fool’s gold? The change in legislation, extending the rights of the mine, prosperity?

8. Josh, the young policeman, his assignment in the town? Finding Jay? Talking to John, the offer of the bribe? In the diner, talking with the mayor, her wanting information, her wanting his support for the legislation? An eye on the aborigines? The gift of the apple pie? Josh and his work, his being challenged by Jay? The concern about the prostitutes, going to the bar, interviewing the girls, their silence? His going to the girl in the room, getting an impression of what had happened? His becoming more involved? The death of Jimmy? The pressure from the mayor? His going to see her after Tommy’s confession and statement? The buildup to his being taken by the security guards, the digging of the grave, the shootout? His reflections on his growing up in the country, not achieving what he might have been, wanting more, putting in a request for a transfer to the ocean?

9. The mayor, Jacki Weaver, appearance, dress style, her home, cooking? Knowing everything? Information? Warning Josh? A relationship with John? Issues of money and bribes? Knowledge about what was going on with the illegal prostitutes? Threats, Jimmy and his refusing to sign the document? Her interview with Jay, talking about her life, her husband’s, her parents, hard, being number one? John breaking off with her? Josh coming, his having the information? The disappearance?

10. The security, the gates, no photos, the men drinking, and in the cell? The strong arm tactics by the security men? The shooting assault on the caravan? Chasing Jay and the crash? Josh, the threat of death, digging his grave? The deaths in the shootout? Josh and Jay going to the camp, the attack, deaths?

11. Jimmy, the old aborigine, his being played by David Gulpilil, his interactions with Jay, the aboriginal traditions? His refusing to sign the document? Walking off? Jay giving him the lift, their talk? His being hanged? His later appearing to Tommy, on the road, appearing to Jay and indicating the aboriginal paintings?

12. Tommy, his role in the aboriginal community? The aborigines, the settlement, homes? Maria and her information? The assembly for the signing of the document? John and the presentation? Tommy and his signing? The payoffs, the mayor urging him to look to the future and moving on? Jimmy’s death? Tommy being haunted, giving his statement to Josh?

13. The interlude with Pinky, her trailer, the travelling prostitute, a character, discussions with Jay, indicating the lifestyle at the settlement?

14. The plane, the Chinese, Mrs Lao, the girls arriving, her pep talk, taking their passports, the continued threats, their being shamed at home? In the bar, ratings for the customers? The girls, in themselves?

15. The girls trapped, complying, in themselves, the girl with the coffee at the fence and the threats? The temptation to take the keys and escape? May talking with Josh? The background to the dead girl and her attempt to escape?

16. Jay, depressed, deaths in his family, drinking, observing, collecting the clues, visiting the mine, the question of the girls? Their being taken to the mining camp? Hidden in the laundry? Jay and his interactions with Josh, changing him for the better? With the mayor?

17. The buildup to the climax, Jay in the hills, shooting? His driving along the tarmac, the crash, the plane taking off, John and his running to escape in the plane?

18. The change in Jay, his leaving the town, canoeing along the river and the cliffs, the aboriginal paintings, Jimmy pointing them out? The final close-up of his face?

19. From the photos of pioneering days to the aboriginal paintings?

FINDING DORY

US, 2016, 103 minutes, Colour.
Voices of: Ellen de Generes, Albert Brooks, Diane Keaton, Eugene Levy, Ed O’Neill?, Idris Elba, Dominic West, Andrew Stanton, Austin Pendleton, Stephen Root, Alison Janney, Vicki Lewis, John Ratzenburger, Angus Mc Lane.
Directed by Andrew Stanton and Angus Mc Clane.

Actually, it is not really Dory who is lost in this film but since Finding Nemo was such a fine title, this story of Dory uses ‘Finding’ in the title although the plot really concerns Dory trying to find her parents.

Old audiences might find it hard to believe that it is already 13 years since Finding Nemo made such an impact with audiences all over the world – and won an Oscar for Best Animated Feature. It means that children were seven at the time and enjoyed Nemo are now 20. It might mean that they can slip into see this film with the younger brothers and sisters.

It is important to say that Nemo and his father, Marlin, are back and are significant characters in this story. Marlin still has the voice of Albert Brooks. But, as we remember, Dory made a great impression as she helped in the quest for finding Nemo. She was a bright, chatty, quipping blue tang fish, sounding just like Ellen de Generes. But, she had no immediate memory. And this is to the point in Dory’s story now.

To help us all appreciate Dory more, there are some scenes when she is a little blue tang, still chatty and quipping, still with no memory, a devoted mother and father caring for her, trying to help her remember, but very sad when she unexpectedly disappears.

The older Dory helps out with Ray and his classes to eager young fish. But, there is a compulsion in her to try to find her mother and father. She teams up again with Marlin and Nemo and they make their way to the Marine Centre in California. Here she teams up with a lively octopus, Hank (voiced by Ed O’Neill) who is desperate to get to a centre in Cleveland, trying all kinds of ruses to get to the departing truck, able to disguise himself with all kinds of shapes colours.

Dory also encounters a friend from childhood, the whale, Destiny (who has blurred eyesight and has a propensity for banging into walls) and her friend, a Beluga whale, who has heightened sonar talents which become very important for the final climax. We hear Sigourney Weaver at the Marine Centre giving information about looking after fish, especially rescue.

There are quite a lot of new characters the most amusing of which are two sea lions who lazily sunbake on a rock, offer a sympathetic ear to Dory, but turn aggressively against another sea lion who wants to get their spot (and a warning not to rush out of the credits because there are several jokes after the credits, including some with the sea lions).

The scene where Dory asks herself what she would do in Dory’s place and she is under water, pining for her parents, but sees a path of shells, offers quite some pathos and feeling for Dory and her parents.

But, pathos is not the goal of the end of the film with a frantic truck episode on a freeway, plenty of cars, plenty of smashes and a vehicle careening over the guard rail into the sea. This does mean that, despite all the adventures and dangers, Dory is truly found.

1. Finding Nemo as a classic? Awards? Popularity? The story of a father seeking his son, the search? Emotions? The background for this sequel?

2. The return of characters, their voices? Dory’s story, her parents, getting lost? Marlin and Nemo and their friendship with Dory and their gratitude towards her? The return of other characters like Ray?

3. The visuals, the style of animation, the look, the characters, the sea, surface and underwater? Sequences on land, in the Marine Centre, on the highway? The human characters and their behaviour? And the parallels between the fish and the humans? The musical score and song?

4. The new characters, especially the sea lions, the tangs, the variety of fish? Destiny, the Beluga whale?

5. Dory in the first film, nice, no memory, her patter, helping Marlin and retrieving Nemo?

6. Dory’s story, going back to her when young, her short-term memory loss, her parents and their, talking with her, the forgetting, wanting to go and play? Her leaving, getting lost, growing up? The search for her parents? The help of others? The pathos at the end, Dory alone, seeing the path of the shells, and her finding her parents? Dory, her manner, Ellen de Generes and her style, even the facial look, the smart quips?

7. Dory and her quest, helping Ray at his school, finding Marlin and Nemo? The meeting, their help, California, the Marine Centre?

8. The character of Hank, the octopus, his aim is to get to Cleveland, losing an arm and becoming a septopus? Meeting Dory, the interactions, helping, Dory dependent on him?

9. Meeting Destiny again, the Beluga whale friend, the pool, the exhibitions, the public, Sigourney Weaver and her explanation of life, especially rescue? Destiny, her poor sight, banging into the walls? The Beluga whale and his sonar talents? Their helping Dory?

10. The range of fish, in the cases, to be transported, the loading of the trucks, the human characters? The trucks on the road? Dory and the others trying to stop the truck?

11. Dory when alone, asking what Dory would do? The thinking, some skills, the focus on the shells and being reunited? The truck, Hank and the truck, Dory and Marlin and Nemo and their hopping from glass case to case? Trapped in the truck? Ousting the humans, Hank driving, Dory guiding, chaotic scenes on the road, the crash, going into the sea?

12. The happy reuniting? Dory in the class, with her parents, with Marlin, going to contemplate the view and remembering what had happened? And the singing of Unforgettable?

13. The amusing credits – and audiences needing to stay until the end to see the jokes, especially with the sea lions?

I CAPTURE THE CASTLE

UK, 2003, 113 minutes, Colour.
Bill Nighy, Romola Garia, Rose Byrne, Henry Thomas, Mark Blucas, Tara Fitzgerald, Henry Cavill, James Faulkner.
Directed by Tim Fywell.

Dodie Smith was famous for having written One Hundred and One Dalmatians. However, she wrote I Capture the Castle in the 1940s, a memoir of coming of age in the 1930s in country England. It takes the form of a diary of a seventeen year old younger sister who records the difficulties of living with the writer-father and his writer's block, of their being impoverished and of the plans for her sister, Rose, to marry well and save the family. She also records her emotional journey and her falling in love.

Bill Nighy is very good as the depressed father with his one-off success, his dreams of being creative but his moroseness and his violent outbursts. Romola Garai is able to communicate to us the details of daily life as well as the big sweep of events which overtake the family when the American lord of the manor arrives and is smitten by Rose. Henry Thomas is the lord and Rose Byrne is Rose.

After scenes of poverty where the family live in the ruins of a property, we are transported to a world of wealthy society, of fashion and the arts and the fulfilment of romantic girls' dreams. In the meantime, there are many emotional crises as arranged love versus true love with quite an amount of self-sacrifice. Re-creating its period with a great sense of detail, it might have been stronger with better performances from some of the younger cast.

1. A 1930 story? The reputation of the author, Dodie Smith? A memoir? An era of class distinctions, family, relationships? UK aspects? American aspects?

2. The title, the literal castle? Symbolic meaning?

3. The locations of the period, costumes and decor, castle, interiors, the status of castles?

4. A family story? Going back into the past, the father, author, his relationship with his wife, her death, his daughters? His successful novel? One-off? His changing?

5. The focus on the girls, the younger brother? The introduction to each? Their growing up?

6. Their father, marrying again? Topaz, the change in him, yet producing a novel, buying the castle, coping, its poor condition, the Americans and the lease?

7. Topaz, a personality, of the 30s, interest in arts, freedom, relationship with the girls, with her husband?

8. Cassandra focus, at age 17? Her character, relationship with her father, romantic aspects? A relationship with Rose? Her brother? The arrival of the Americans? Simon, Neil? Interactions – possibilities of love? Tensions? The place of Stephen Colley?

9. The Americans, Simon, his personality, Neil? Americans in England? The 1930s? Ownership, the lease? Simon and interactions with Rose? Love? With Cassandra?

10. Rose, her age, the place of the family? Pleasant? Living in the castle? Her attitude towards Simon, liking him, falling in love? The tensions?

11. Conflicts, English perspectives, American perspectives? The resolution?

BACHELORETTE

US, 2012, 87 minutes, Colour.
Kirsten Dunst, Isla Fisher, Lilzzy Kaplan, Rebel Wilson, James Marsden, Adam Scott.
Directed by Leslye Headland.

All the reviewers and many of the bloggers have been talking about women behaving badly (and they are certainly not wrong) and the influence of The Hangover and Bridesmaids (although in fact, Bachelorette was a play written some years before the release of Bridesmaids). Women reviewers have been more benign in their estimates of the humour and the vulgarity of Bachelorette.

Raucous is one of the common denominator words to describe the screenplay. It is a useful word, indicating loud, boisterous and crude. It usually indicates a screenplay that is full of sexual references and innuendo, but also of quite explicit and frank treatment of sexual behaviour. And that is true here.

The ugly duckling (Rebel Wilson doing her comic large girl comedy routines but with far more pathos and sympathy than her bridesmaids) is about to be married (unbelievably to her friends) to a tall, dark, handsome and rich fiancé. This brings out the worst in them, even as they enviously celebrate: hens’ night, stripper, club, destroying the wedding dress and desperately trying to repair and clean it in time.

They are very unlikeable. Kristen Dunst (apparently breaking free from her more serious roles) is snobby and bitter. Isla Fisher gives new meaning to ditzy. Lizzy Caplan is a promiscuous, drug-taking type, with some of the more salacious dialogue, is actually the most interesting and sympathetic of the three. And then, the boyfriends are men behaving badly and stupidly.

There are some funny moments, but, overall, there is some bitterness in the harsh portrait of the bridesmaids and a question whether they can better themselves or are in their own created ruts.