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.

GOON

US, 2012, 92 minutes, Colour.
Seann William Scott, Jay Baruchel, Alison Pill, Leiv Schreiber, Eugene Levy, Marc- Andre Grandin, Kim Coates, Nicholas Campbell.
Directed by Michael Dowse.

Goon gives the impression of being a very tough title – and, it is.

It is an ice hockey story, in the steps of Slap Shot, the main ice hockey film starring Paul Newman. While there is a lot of sport, there is also a lot of physical combat to prevent opponents making their play.

Seann William Scott, best known for the American Pie film character, Stiffler, plays a benign young man, a bit slow, comparison is made with his doctor father (Eugene Levy) and his gay adoptive brother. But he has strong hands and works as a bouncer. He has a close friend, Jay Baruchel who co-wrote the screenplay with Evan Goldberg, the regular collaborator with Seth Rogen. The friend has his own radio program on hockey.

The coach of the local team sees the young man solve a problem with his fists, offers him a job even though he does not know how to play hockey or to skate. Part of his responsibility is to protect a young player who had been brutally downed by a tough opponent, played surprisingly by Leiv Schreiber, and the confrontation between Scott and Schreiber is inevitable.There is a romantic interest with Alison Pill.

The film mainly of interest for a macho audience, and the fans of ice hockey – and it’s combat.

1. At The audience for this film? Hockey fans, sports fans? Films of tough combat?

2. The setting, the town, family and homes, clubs and bouncers, the streets, ice rinks, hockey clubs, games, dressing rooms? The musical score?

3. The tough tone of the film, explicit language, crunching fights…?

4. The story of a loser finding himself? Doug, his age, experience, somewhat slow, compared with his adoptive father as a doctor, his gay adoptive brother? The strength in his hands? His work as a bouncer, seeing this in action? Yet a kind disposition?

5. And Doug’s family, the father and his medical expectations, the mother, the gay brother?

6. Doug, the problem in the stands, using his fists? The coach, seeing Doug, interested, approaching him, offering him the job?

7. Doug, not skilled in hockey, not skilled in skating? Joining the team? His practice, getting skills? His role in the team? The combat role? The coach deciding whether he would go on or not? The knockout blows?

8. Doug, friends with Pat, Pat and his hockey interests, his radio program, the expletive style, communicating, the fans? His support Doug?

9. The character of Ross Rhea, hockey champion, arrogant, bashing people? The interaction with Xavier, knocking him down, demoralising him? His play for the team, preparation for retirement? Talking with Doug in the diner? The buildup to the fight? The means, dirty tricks, the violence? His having to concede to Doug?

10. Doug, the meeting with Eva, her work, interest in him, the relationship?

11. The fans, his brother coming, supporting him? The fans in the stands and cheering him on?

12. The character of Xavier, his play, Champion, defeated by Ross Rhea? On the outer? His character, Doug protecting him, supporting and encouraging him?

13. Is this the true world of ice hockey?

DEADLY IMPACT

US, 2010, 96 minutes, Colour.
Sean Patrick Flannery, Joe Pantoliano, Carmen Serano, David House, Greg Serano, Julianne Florez.
Directed by Robert Kurtzman.

Deadly Impact is something of a routine FBI thriller, the pursuit of a shrewd and deadly assassin who calls himself simply a thief. it is a star vehicle for Sean Patrick Flannery as an officer who has had to make a decision about killing his wife so that other people could be saved, the consequences and his drowning his sorrows in Mexico.

He is approached by an FBI agent, played by Carmen Serano, who is able to persuade him to come back to Albuquerque where the initial action took place. The criminal is arrogant, clever with disguises, absolutely ruthless in killing people including a hotel explosion killing all the guests. He is played by Joe Pantoliano.

The film shows the working of the FBI, surveillance, clues, analysis of photos, interrogation of associates, lie detectors… There are some twists as the criminal is an assassin and his attempt on a senator was thwarted earlier and he is now wreaking revenge on everyone who stopped him.This includes abducting the daughter of the hero’s associate (Greg Serano, husband of Carmen Serano in real life), leading to a confrontation, the seeming repetition of the opening sequence – but a twist with the defeat of the villain.

1. Police thriller? Personal drama?

2. New Mexico, the city of Albuquerque, Apartments, police precincts, hotels, the streets? Authentic atmosphere? The scenes in Mexico, the dingy bar? The musical score?

3. The title, accurate? The number of deaths? The importance of situations where individuals have to make life and death decisions, accepting that some people must die? The repercussions on the individual?

4. The set up, the Lion, his reputation, Tom Armstrong and his years of pursuing him? Getting close? The Lion and his taking Tom’s wife, tying her up, Tom having to shoot her to stop the explosion, to save everyone else? This happening offscreen? The transition to 8 years later and the effect on Tom, leaving New Mexico, drinking in the bar?

5. The FBI officer, tracking Tom down, talking, asking him to come back, the effect on Tom, his return? Going to the bar? The surveillance?

6. The revelation of the character of the Lion, David Kaplow, age, appearance, calling himself a thief, his being an assassin? Plans, the assassination of the senator, the failure, his wanting revenge on the FBI, on Tom, on the senator?

7. Tom, the explosion, pursuing the criminals, held by the police? The FBI, working with Tom? Working with?

8. The details of the FBI work, detection, surveillance, information, photos, Tom finding the identity of Kaplow?

9. His disguises, pretending to be the worker, the tiles and their being impregnated with explosives? His phone calls, his arrogance? His discussions with Amy, her giving all the information? His taking her father, the threats to her father? The explosion and the deaths in the hotel? His blaming the FBI?

10. The build up to the climax? His store room, Isabel going to look at the room, Kaplow and his disguise and his taking her? Hostage? Tying her up as he had Tom’s wife?

11. The FBI trying to get out of the building, the snipers, the interrogation of one of the snipers? The smokescreen, the FBI chief being wounded?

12. Tom, having the address, driving to the site, the confrontation with Kaplow, the fight? Kaplow winning, wanting the vest? The time limit, Tom getting free from the cuffs, his phone call to Kaplow? The irony of the vest in the explosion?

13. The assassination of the senator, Tom’s friend, the betrayal for his daughter? His death?

14. Popular ingredients for police and FBI thriller?

MARILYN HOTCHKISS' BALLROOM DANCING & CHARM SCHOOL

US, 2006, 104 minutes, Colour.
Robert Carlyle, John Goodman, Marisa Tomei, Mary Steenburgen, Eldon Henson, Sean Aston, Danny DeVito?, Cameron Mannheim, Octavia Spencer,
Directed by Randall Miller.

Ballroom dancing films are cropping up more frequently.

In the Strictly Ballroom tradition, there have been the documentary Mad Hot Ballroom about teaching primary school children dancing as a way of increasing their self-esteem and social skills. Then there was the feature film based on this story, but making the children seniors in school, with Antonio Banderas in Take the Lead. After that, Step Up. In the meantime, what has Marilyn Hotchkiss to teach us?

Marilyn Hotchkiss ran a small dance school in the early 1960s in Pasadena. Earnest mothers sent their 12 year olds to her lessons so that their children could become better-mannered and learn, as Marilyn Hotchkiss put it in the title of her school, some ‘charm’.

We actually learn this from a dying man. John Goodman portrays Steve Mills whom we first see overtaking a bread delivery van (driven by Frank Keane, played by Robert Carlyle) in the mountains. He crashes and the ambulance people tell Frank to keep Steve conscious by talking with him. Steve confides that he is on his way to keep an appointment from forty years earlier, that he will meet Lisa Gobar at the school on 5-05-05.

The film’s action keeps moving backwards and forwards. It visualises the kids in 1962, playing British Bulldog as they chased and bashed into each other, their transformation through the dance classes and Steve’s growing infatuation with Lisa. It also shows us Frank standing in for Steve and searching for Lisa at the school now run by Marianne Hotchkiss (a very gracefully dancing Mary Steenburgen), Marilyn’s daughter.

The classes are run very formally but Frank finds a new home, a sympathetic partner, Meredith (Marisa Tomei) who is chaperoned rather possessively (and violently) by her stepbrother, Randall (Donnie Wahlburg).

It should be said that Frank, while being a fine baker, is a rather inarticulate widower who attends group sessions of similarly grieving men (with some amusing and poignant scenes of their discussions).

Frank’s life is transformed. He gradually lets go of his obsessive grieving, discovers how light he is on his feet, appreciates his growth in both ballroom dancing and charm.

What makes our response to the characters more complex is that Frank continually remembers his conversation with Steve and we see Steve’s childhood memories as he tells Frank his story.

Where audiences will enjoy the film, not only with the frequent dance sequences, is with the range of characters who turn up week after week for their lessons. After Randall acts violently towards Frank, he is forbidden to come to the school. He explains that this weekly class is the happiest time in his life, that this is his world. While we don’t get to know all the characters, we see the school as their haven. As might be expected, the widowers all follow Frank’s example and the dance seems better therapy than all the talk.

This is not a great film. Rather it is a nice one. It emphasises how much grief there is in the world and how, as the dying Steve reminisces, we take wrong turns, left when we should have gone right (and there is a bit of a twist at the end when we learn who Steve really is). It also reminds us that there is some decency in everyone if only they had the opportunity to show it.

There is a fate (which we would call providence) insofar as Frank is at the scene of Steve’s crash and his simple act of ringing for the ambulance and travelling in it, listening and asking questions, is the means of transforming his life.

This is a film for older audiences and the old-fashioned, whatever their age.

1. A pleasing drama? Humane film? Dance film? The focus on the title?

2. The Los Angeles settings, the locations, streets and homes, the baker? The ballroom and the interiors? The musical score, the dance music?

3. The focus on Frank, the death of his wife, his work as a baker, the effect of the death, depression? The car accident, the encounter with Steve? Steve asking him to contact the friend? Going to the ballroom? The friend not there?

4. Steve’s story, the accident, his friend, plot going back to his childhood? The building up of his character?

5. The strong cast, the many prestige supporting players? Mary Steenburgen and the title of the film?

6. Frank, his meeting Meredith, thinking Randall her boyfriend, Randall as a bully, the rivalry? Randall as Meredith’s step brother? Frank, liking the music and the dancing, his therapy group? The therapy helping him to make a stance?

7. The range of different members of the group? Their characters, interactions? Coming to the ballroom, participation?

8. The audience finding out more and more about Frank, the death of his wife, the suicide, his feeling guilty?

9. Frank and Meredith, her explaining Randall, the violent father? The bond between the two? The dancing, the relationship?

10. The issue of the ashes, Frank seeking out Steve’s friend, the seeming indifference to receiving the ashes – but the glimpse of the tear?

11. Frank, as a character, his development, coming out of himself, Meredith, the relationships? A nice film?