GUESS WHO

US, 2005, 105 minutes, Colour.
Bernie Mac, Ashton Kutcher, Zoe Saldana, Judith Scott.
Directed by Kevin Rodney Sullivan.

Guess Who’s Coming to Dinner is now something of a classic of the mid 1960s. Audiences watching it now may wonder what all the fuss was about when Katherine Houghton brought her fiancé Sidney Poitier home to meet Spencer Tracy and Katherine Hepburn. Director Stanley Kramer had, almost ten years earlier, defied racial prejudices in the US in the prison escape drama, The Defiant Ones, with Sidney Poitier and Tony Curtis chained to each other. 1963 saw the Civil Rights March on Washington. Integration was moving slowly through many of the states.

So, why a re-make in 2005?

Well, it’s not exactly a re-make. Rather it’s an updated version. What is significant, of course, is that the racial roles are reversed. Zoe Saldana is bringing her fiancée, Ashton Kutcher, to meet Bernie Mac and Judith Scott. This is a comedy intended for the African American audience, a feel-bad at first, feel-good movie that is meant to break through racial stereotypes so that black and white see persons before colour.

The humour is often very broad which has made some white reviewers very self-conscious. The black cast, on the other hand, enter into the spirit of the thing with all kinds of jokes at everyone’s expense, though there is a dinner sequence where white fiancé is urged to tell more and more jokes about blacks, articulating some of the harsh humour which makes everyone both laugh and wince.

A lot of the situations are obviously contrived to make the points. That doesn’t matter unless you are expecting a serious tract on racial equality. It makes its point by highlighting the stupidities in prejudiced attitudes and behaviour. It also highlights how, once people get to know each other as people, colour becomes unimportant.

Bernie Mac is more genial and funny than his usual brash performances. Ashton Kutcher is also more pleasant than usual. No classic like its predecessor but a reminder that racism needs combating at all times and that often ‘laughter is the best medicine’.

1. The title? The original film of 1967 and its themes? This 21st-century variation?

2. The theme of acceptance, the race reversal and playing with this theme, serious, comic? The impact for African- American audiences? White audiences?

3. The introduction to the theme: Percy, Bernie Mac and his comic style, larger than life, presence, at home, success in business, his relationship with Marilyn, 25 years, his trying to write his renewal of vows, the book, the song and Reggie’s advice? His love for Theresa, her prospects? A liberal-minded household?

4. The preparation for the celebration, the planner, his style, tastes, Marilyn describing him as metrosexual, Percy’s idea? His presence, interventions, dresses, the hem on Percy’s trousers? Percy surprised when he turned up at the celebration with the glamorous wife?

5. The introduction to the theme: Simon, Ashton Kutcher and his status on screen and television at this time? At work, his success, principles, clash with the boss, quitting, phoning friends to get a new job? The introduction to Theresa, the audience seeing that she was black? The love between the two, the plans, liberal attitudes?

6. The taxi ride, the observations of the driver, Percy mistaking him, asking Simon to carry the bags, the truth, reactions, recovery? Marilyn and her support?

7. The issue of the truth, open to non-racist attitudes? The secrets, Simon and his talking about NASCAR – and the consequences with Percy knowing the driver, the driving and crashing on the circuit? Percy and his lying to Reggie, about Jamal being an athlete? The consequences?

8. The tensions between the two men, race, Simon and his lies about sport, his job? Going to the hotel, no room? Returning home, the basement, locking the door, the mattress, Percy staying, the jokes about the two at night? Theresa coming to the window – and Simon going out?

9. Percy, the investigation of Simon’s background and discovery trips?

10. The meal, Theresa’s sister arriving? The black jokes, continued, the reactions, tolerance, laughing, the grandfather and his reaction? A joke too far?

11. The truth, Marilyn upset and going away? Theresa, clashing with Simon, also going? The girls’ night and the gossip and support?

12. Simon, his 33 calls? Talking with Percy, helping him with his vows? The bonding between the two?

13. Going to see the women, the apology, Percy and his using Simon’s words? Simon and the decision to go? At the railway station, missing his train, Percy coming and urging him to go back?

14. The reconciliation, the celebration, the renewal of vows, Percy singing, everybody dancing?

15. The humorous outtakes and continuing the story, the comedy and themes?

JUST A KISS

US, 2002, 89 minutes, Colour.
Ron Eldard, Marley Shelton, Marisa Tomei, Kyra Sedgwick, Taye Diggs, Zoe Caldwell, Patrick Breen, Peter Dinklage, Sarita Chowdhury.
Directed by Fisher Stevens.

just a Kiss is a very light romantic comedy, a variation on the Romantic comedy theme whereby characters are introduced, their connection dramatised and progress towards further connections until the audience arrives back at the beginning. In this case, the screenplay begins with a false premise, a what if…? scenario, imagining the consequences of an initial kiss with the realisation at the end that this was not the case.

The film has a very pleasant cast, some at the beginning of their careers, others like Marisa Tomei who had an Oscar by this time. There is an amusing cameo by Peter Dinklage as a dwarf resentful of not getting a role in a commercial.

In many ways, the film has its cake while eating it, dramatising the sexual interactions while revealing at the end that none of this happened…


1. Romantic comedy? For the beginning of the 21st century?

2. The New York settings, apartments, theatre, the streets, restaurants? Brussels and Paris? The musical school?

3. The screenplay, beginning with the kiss, the consequences and the revelation that this is a What if…?

4. Dag, his explanation of his name, the encounter with Rebecca, in Europe, his work as a director, the kiss, the sexual encounter, Rebecca wanting the encounter? The consequences for him when he went home, his relationship with Halley, the restaurant, the revelation of the truth, his try to rectify the situation, apologising to Peter, the encounter with Paula, the later meeting with her?

5. Paula, her job, approach to Dag, later meeting, encounter?

6. Halley, her relationship with Dag, her being upset, the friendship with Peter and Rebecca, the truth, her moving out, Rebecca offering her the apartment, Andre arriving, his relationship with Rebecca, his initial lies, his music, playing the cello, the relationship with Halley?

7. Peter, the actor, the commercials, everybody recognising him as the chicken in the commercials, the attraction, his autograph? At the ballet, the attraction to Rebecca, the comments to her mother, exposing himself with her asking, the invitation to dinner? The relationship with Rebecca? Hearing the truth about Belgium, his being upset?

8. Andre, relationship with Rebecca, cello, with Halley?

9. The cameo from Peter Dinklage before he became well-known?

10. The variety of tangles, the confrontation?

11. The truth, everything back to normal, the encounters with one another, passing Paula in the street, Andre and his playing the cello? All this beginning with just a kiss?

A GOOD YEAR

UK/US, 2006, 117 minutes, Colour.
Russell Crowe, Marion Cotillard, Abbie Cornish, Albert Finney, Didier Bourdon, Freddie Highmore, Rafe Spall, Archie Panjabi, Daniel Mayes, Valeria Tedeschi Bruni, Tom Hollander, Kenneth Cranham.
Directed by Ridley Scott.

This is a rather light drama with touches of comedy and romance. It is not the kind of film where audiences expect to see Russell Crowe. A strong and imposing screen presence, he is usually in heavyweight dramas like Gladiator, Master and Commander and last year’s Cinderella Man.

However, this time he joins with his Gladiator director, Ridley Scott, and tries to interpret his character, Max, in the Cary Grant vein, some serious moments, a pair of glasses, some slapstick pratfalls in a swimming pool, some repartee. It doesn’t quite come off but he does his best very earnestly. (Scott is not the director who immediately comes to mind to direct light romances – but audiences will be glad to know that he and Crowe, along with Denzel Washington, are already filming American Gangster.)

However, the scene is set before the adult Max appears when we see his character as a young boy staying with his Uncle Henry in Provence during the summer holidays. Henry is a genial, rakish man who loves his vineyards and is proud of his wine – and proud of his nephew who seems to be ready to follow in his footsteps.

Cut to the present and the London stock exchange and Max has become a ruthless high flyer, tightly controlling his staff to buy and sell for almost obscene profit at just the right moment. We wonder what has happened to the nice boy of those summer holidays (although we remember that he did cheat at chess and his uncle gave him a parable about telling the truth).

Then comes the news that Henry has died and he must go to France to sort out the will. We are taken aback as we wonder if that is all we will see of the uncle (played with gusto by Albert Finney) and young Max (played with expertise by Freddie Highmore who proved his talent in Finding Neverland and being Charlie in Charlie and the Chocolate Factory). Happily, there are quite a lot of flashbacks.

Meanwhile, back in the present, Max has everything under control and plans to sell off the rundown property with the aid of his lawyer friend (Tom Hollander). While on his mobile phone and driving, he does not realise that he has run a local restaurant owner, Fanny Chenal (Marion Cotillard) off the road. His friends who have managed the winery for decades are anxious to stay on.

One does not have to have the gift of prophecy to anticipate what happens, although there is definitely one unforeseen occurrence. Henry’s American daughter (a vivacious Abbie Cornish), whom nobody knew of suddenly turns up. However, it is following through the predictable that is enjoyable.

In the early 1990s there was a spate of films with the theme, if we take the Gospel’s phrasing, ‘what does it profit to gain the whole world and lose one’s soul?’. There was The Doctor, with William Hurt. There was The Fisher King with Jeff Bridges. There was Regarding Henry with Harrison Ford. These were star vehicles for actor’s portraying professional men (doctors, radio personalities, lawyers) who experienced a personal crisis and realised that they had become over-achieving rats in the rat race. They had to examine their consciences and their way of life.

And so Max starts to remember, to allow the influence of his uncle and of the Provence countryside to permeate his whole being, so that there is nothing else to do but to renounce his ambition and greed, embrace the land – and embrace Fanny Chenal.

1. An entertainment? In Provence? The world of wine and vineyards? Romance? Business in London?

2. Ridley Scott, his career, his cast?

3. Location photography, the wine, the vineyards, homes? The contrast with London, the world of business? The musical score?

4. Max, as a boy, going on holidays, the vineyards, his relationship with his uncle? 25 years later? Working in bonds, trade, dubious ethics?

5. Max inheriting the vineyard, his planning the sale? Encounter with Fanny, knocking her off her bike? Going back to London, the issue of fraud, his suspension?

6. Taking the photos of the vineyard, falling into the pool, Fanny and her revenge, filling the pool with water? Max missing his flight? His suspension?

7. The vineyard, the vines, the estate, Francis and his role in the vineyard, the inspectors, his offering a bribe, to say that the soil was bad? His motivation?

8. Christy, arriving from the United States, backpacking, claiming to be Henry’s daughter? Testing the wine, the quality? Max interviewing Christy?

9. Max, London, his ethics, information from Gemma, the advice? Targeting Kenny, his being fired?

10. Character of Fanny, her place in the town, the encounters with Max, his wooing, the sexual encounter, her expectations – of his leaving?

11. Max examining Henry’s notes, Christy leaving, Max putting the note in her book, her return?

12. The tennis match with Francis? The crisis, Max’s discovery about Henry and Francis using illegal vines? Pushing forward the sale?

13. London, the members of the company, their interactions, business? Sir Nigel? His offer? Max and his dislike of Sir Nigel? His art, the copy with Fanny or the original? Max and his decision about his future?

14. The sale, his forging the documents, his experience in forging his uncle’s signature, the photos, settling up in London, settling in Provence? Christy and Francis managing the vineyard? Max and his future with Fanny?

THE HUNT FOR THE WILDERPEOPLE

New Zealand, 2016, 93 minutes, Colour.
Sam Neill, Julian Denison, Rima Te Wiata, Rachel House, Oscar Kightly, Rhys Darby, Taika Waititi.
Directed by Taika Waititi.

Most audiences will enjoy going on this particular hunt. It is a hunt in the mountain wildernesses of New Zealand – and a young boy and his foster uncle are the Wilderpeople being chased around the mountains for months by child welfare authorities, the police and, eventually, Army personnel, just like wildebeests in Africa.

How did it come to this?

The film opens with child welfare authorities bringing 12 year old Ricky Baker to stay with a foster family. The tough officer, Paula (Rachel House), along with her deadpan sidekick, Andy, explains why Ricky Baker is a wild boy, a very humorous collage of his misbehaving. Ricky does a circle of the house and gets back into the car, only to be told that this is his last chance, otherwise juvenile hall. His foster aunt, Bella, is a most genial and loving woman (Rima Tae we are to) but his uncle, Hec, (Sam Neill) is a pretty gruff old character only putting up with a foster boy for his wife’s sake.

It must be said immediately that Julian Denison is completely believable as Ricky Baker, likeable despite his carry on at times, Denison being able to deliver humorous lines with excellent timing. Audiences who saw Paper Planes in 2015 may well remember him as the hero’s best friend. And Sam Neill, returning to home ground, plays very well off Julian Denison.

Something sad happens at the farm and Ricky really doesn’t want to be with his foster uncle, so makes off into the mountains, getting lost, feeling hungry (he is a rotund young fellow) and finally being found by his uncle. Hec want some time off so they go into the mountains. But authorities think something has gone wrong. There are notices out for their capture, eventually a reward.

When they are found by some hunters, Ricky tries to explain and this gives the film some edge as what he says sounds ambiguous and the hunters and the authorities presume that Hec has perverted designs on the boy. There is a hue and cry in the media – although it gets onside when they help a Ranger who has had a diabetes collapse.

The film is enjoyable as we watch the old man and the young boy working together, becoming friends, the boy learning some wisdom (to counteract his propensity for gangster ideas and talk). At one stage, Hec injures his leg and Ricky finds some people living in the bush, a young girl who talks incessantly but pleasantly and her father who is preoccupied with getting some selfies with Ricky.

There is also a funny funeral preaching scene featuring the director, Taika Waititi, who directed Boy and the vampire parody, What we do in the Shadows.

Despite being away for months and in the winter, they eventually get caught, a climax being Ricky driving a car through the bush, crashing through, making the car leap over a road, eventually smashing into a car junkyard.

The final scenes are not as sweetness and light as we might have expected, but, eventually, Ricky goes to the old people’s home where Hec is learning to read, which he couldn’t in the past, and they find somewhere to stay – and go out into the bush to search for a rare bird that Ricky had glimpsed.

This film should entertain New Zealanders, audiences beyond New Zealand – and those who have discovered that they have New Zealand ancestors like this reviewer!

1. New Zealand story? New Zealand atmosphere, characters, accents? The feel of the country and its people? Locations?

2. The film based on a novel, highlighting the different chapters and epilogue? The director, his career and comic flair?

3. The title, the explanation about the wildebeests? The motif of hunting? The forest, the mountains, lakes and rivers? Winter and the snow?

4. The humane story, child welfare, foster parents, relationships? The grandfather figure, called Uncle, and his relationship with the young boy? The film having an extra edge with the theme of molestation?

5. Julian Denison as Ricky Baker, his appearance, manner of speaking, comic timing? Paula and Andy pursuing him, their explaining him, the humorous collage of all his mischief? Somewhat overweight? Bella and her enthusiasm, his walking around the house, getting back in the car, being ordered out, the threat of juvenile detention? Bella and the welcome, Hec and his being standoffish? Going to the house, the meal, going to bed, the impact of the hot water bottle, running away, only 200 metres? Bella bringing him back for breakfast?

6. Bella and her character, warm, motherly, chatting, the fat jokes, fostering, sharing with Ricky, her love for Hec? Hec wanting to be alone? Happy birthday, the cake and the candles, his only birthday, the gift of the dog? Names – Zag, what about Zig? Tupac?

7. Bella’s collapse, Hector weeping, the shock? The funeral, the comic turn from the director as the Minister, his talking about two doors, confectionery, another door, finding Jesus? Hec’s reaction? The ashes in the box – and Bella’s explaining that she came from the high mountains and wanted to finish there? Maori mythology?

8. The prospect, Hec looking after Ricky, Hec not able to? Ricky and his background of gangsters, Scarface, ideals and language? His decision to burn his clothes and figure, the whole hut burning down? Ricky lost, hungry, seeing the bird? His being found? Hec wandering the bush, his explanation of the knack of how to find their way? The insults, Hec falling, injuring his leg, Ricky helping?

9. Wandering the bush, the dogs, camping, managing? Paula and Andy in pursuit, the military coming in, their armour, helicopters, the search? Posting of the reward?

10. The hut, the hunters, knowing who Hec and Ricky were? Ricky and his explanation about Hec’s behaviour – and the misinterpretation, the men thinking Hec as a pervert? This reputation going around? The reaction, the guns, the fight – and the hunters building up their heroism?

11. The media, the headlines, television, the interviews, the commentators and Ricky and Hec becoming celebrities, helping the Ranger with diabetes, that helping their reputations?

12. Hec, his leg, Ricky walking to find help, the house, the young girl, the talking, singing, the sausage, his going to sleep? Her father and all the selfies?

13. Ricky using his wits, to find Hec, going to higher ground and finding water? The knack? The scenes with the boars?

14. The encounter with Psycho Sam, the man and the bush, his hut, posters, conspiracy theories, helmets against the rays, his not having a basement? Giving them the truck?

15. Ricky driving, reckless, the pursuit, the Army site, the manoeuvres with the car, crashing through the fence, the junkyard?

16. Paula and Andy, their characters, in pursuit? Paula and child welfare and always getting the child? Ricky having the gun, Hec giving up, Ricky referring to him as a molester? The hunter, the shots, Hec being wounded? Andy arresting the hunter? Paula catching Ricky? Hec arrested?

17. Ricky in court, his welfare, the young girl and her father accepting him?

18. The year passing, Hec getting out of prison, his past in prison, not being able to read, his vocabulary like majestical, learning to read in prison? At the old people’s home? Ricky arriving, apologising about molesterer, their welcoming Hec – and he and Ricky going out to find the bird?

THE MEDDLER

US, 2015, 100 minutes, Colour.
Susan Sarandon, Rose Byrne, J. K. Simmons, Michael Mc Kean, Jason Ritter, Laura del Giacomo, Harry Hamlin.
Directed by Lorene Scafaria.

‘Meddler’ is a rather negative word and not quite appropriate to the vibrant character portrayed by Susan Sarandon in this film. Admittedly, she does meddle in her daughter’s life, always ringing, sometimes barging into her apartment, concerned about her relationships, not picking up her daughter’s vibes in terms of leaving her alone – the daughter is played effectively by Rose Byrne.

But, really, Marnie, the 60+ widow played by Susan Sarandon is always ready and willing to help and though she helps those helped do not feel it as if she is meddling in their lives. Her husband Joe has been dead for two years and, beginning humbly, built himself a business and has left his widow very comfortably off. While she does sometimes spend on herself, she seems much happier giving the money to people who need it and not just giving it, becoming part of their lives.

Se is into iPhones and other gadgets and the young man who helps her at the store gets good advice from her about study – and she drives him to classes and back and does a bit of study as backup to help him. She goes to a baby shower and gives the expectant mother an iPad. And she offers to babysit, finding that the mother had a civil ceremony but would like a proper marriage with her ex navel partner, a same-sex marriage, money for her is $13,000, and later buys the wedding dress, rents an expensive yacht as the venue and enjoys doing all of this. She also volunteers at the hospital, finding an old lady who is unable to speak, visiting her, and eventually getting a phone and calling her son who does not know she is in hospital. This is meddling in the best sense.

This is a wonderful part for Susan Sarandon and she brings verve and vitality and complete conviction to her role. For more than 40 years she has been a top-billing star, with roles as different from The Rocky Horror Picture Show to Thelma and Louise to her Oscar-winning portrayal of Sister Helen Prejean in Dead Man Walking.

J. K. Simmons turns up in an amiable role, Zipper, an ex-policeman, who serves as a security guard on a film set that Marnie stumbles onto and get some work an extra. He is a former policeman, who raises chickens, is alienated from one of his daughters (and Marnie, of course, urges him to phone her). There is a very entertaining sequence when Marnie, with some of Zipper’s eggs, makes Toad in the Hole, eagerly cooking as the dance theme from Zorba the Greek plays, and faster and faster as she eats the meal with ever rapid zest and enjoyment.

This is not a film with an intrinsic dynamic, like the action films that Marnie enjoys watching. Rather, it is a series of episodes, many comic, mostly engaging, some with a touch of the serious.

Probably the target audience is grandmothers 60 and over – but, grandmothers are always eager to share their experiences and so we can all go and enjoy The Meddler. (If any readers are familiar with the Enneagram and the Myers Briggs Type Indicator they may be thinking Enneagram 2 and MBTI ESFJ!)

1. The title? Too much of a negative description for the central character? A much more benign and kind woman? Audience response to meddling?

2. Los Angeles and the range of locations, the city, the malls, the Grove, the warm weather…? The contrast with New York City, streets, apartments, television filming set? Comfortable United States, affluent? The world of business and inheritance?

3. Marnie and her meddling, in the shops, the young man and his studies, driving him to class and back, doing some studies to help him, the lift for his brother? The mother, the babysitting, the money for the wedding, hiring the yacht, paying for the dress? Visiting the hospital, the old lady, the phone, her son coming to visit her?

4. Susan Sarandon in the central role, one of her best? Inhabiting the character and bringing her to full life?

5. Marnie’s story, her first love, meeting Joe, marrying after six months, the years of marriage, happiness, having Lori, grief at his death, the issue of his ashes, sad but comfortable? The money, her use of the money, the car, its being stolen, driving Joe’s car? A concern about Lori, Jacob and the relationship? Phoning, the meals, the meetings, the baby shower and the gift of the iPad, enjoying everything, babysitting, the lesbians and paying for the wedding, organising it, lavish, the wedding dress? Wandering onto the film set and enjoying the experience? The encounter with Zipper, talking, driving, the visit, the chickens, her caution about relationship with him, the reaction at the socials with the man from Brooklyn who grew up on the same block? Hitting him? Eating the marijuana to save the brother, out of it and listening to the police stories?

6. Visiting New York, happy, Joe’s family, the table, the stories and reminiscences? Lori and hopes of Ben, talking with him, his showing the ring? Being on the set, Lori’s plot being like the story, Harry Hamlin looking like Joe?

7. Lori, anxious, getting older, her writing, her grief for her absent father, finding her mother trying, the phone calls, her mother barging in, the meal, the drive to the airport? The visit to New York? The pregnancy tests, the humorous situation in buying the ovulation tests? Her not been pregnant?

8. Marnie’s return to Los Angeles, talking about her daughter shooting the pilot at the airport! The issue of the ashes, taking them to the water, her being arrested, the bail, Zipper bailing her out? The gift of the music for the chickens? Meeting again, the kiss, bonding? Her driving into her future?

9. Looking after Lori’s dogs, the grand dogs? Her enjoyment of sharing in other people’s lives? The lavish wedding, the old lady on the phone?

10. Lori, her moods, her mother smothering her, the episodes with Jacob, his girlfriend, still in love with him? The relationship with Ben not followed through?

11. Zipper, his experience, Marnie urging him to ring his daughter? A good man?

12. The student story, the lesbians’ story, the hospital story – all examples of Marnie and her good meddling?

THE ANGRY BIRDS MOVIE

US, 2016, 97 minutes, Colour.
Voices of: Jason Sudeikis, Peter Dinklage, Bill Hader, Keegan- Michael Key, Maya Rudolph, Danny Mc Bride, Josh Gad, Sean Penn, Ike Barinholz, Gillian Bell, Tony Hale.
Directed by Clay Kaytes and Fergall Reilly.

Is it an advantage to know beforehand that this animation film is based on video game? For older reviewers this comes as something of a surprise, not part of their area of expertise. for younger audiences, they probably take it for granted and have been looking forward to a full-length feature film of the game.

It has been said that the production company, Rovio, invested completely in the film and part of their future will depend on the success of Angry Birds – but, on its first weekend in US release, it took $40 million. So, Rovio will still be in business for a sequel!.Its stance amusingly enough with Red, the central avian character, falling while trying to juggle an egg, and exploit that rivals exes mishaps in the Ice Age Films. His destination is, dressed as a clown, a birthday party whether father up breeds him for being so late, not listening to any excuses – and we know whether birthday cake is going to finish up, right on the face of the angry father. Clearly, Red has anger management issues.

Red is ordered to go to classes, teaming up with a spiky little bird, Charlie, and a huge amiable lump of the bird, Bomb. Classes and exercises are not the most helpful.

But, as liberties of the game will know, this is not just a story about birds. It is a story about pigs. And the pigs are the villains. They settled into the birds’town, claiming to be friendly, organising festivities for the unsuspecting birds while actually planning to steal all their eggs so that they can begin to a feast of yolks and whites.

What is an angry bird to do, especially when they destroyed his house? Read channel his aggression positively by organising the building of a boat, leading the pursuit against the pigs and devising a strategy for the birds to into infiltrate the kingdom of the pigs, castle included.

Apparently, a lot of fans were looking forward to catapult scenes, where Red organises a huge catapult which lands the birds in various parts of the town and into the castle. Expected conflict in’s use!

This reviewer watched the film with about 55, six and seven-year-olds but was unable to discern how much the children enjoyed it or not. Perhaps they were intrigued by the antics, with older children enjoying this avian-pull sign struggle between good and evil. And, maybe the adults who are not drawn in by the plotline could enjoy the voices of Jason Siddique assess Red, with Peter Dinklage as the self-regarding former hero, Mighty Eagle, and all kinds of contributions from talent like Danny Mc Bride, Josh Gad, Maya Rudolph, Keegan- Michael Key and, they have to listen hard for it, Sean Penn.

Since anger is limitless, one might presume that Red will be with us again.

1. The title, based on the video game?

2. The style of animation, the birds, the pigs? The locations, bright colours, action sequences?

3. The comic skills of the voice cast?

4. The theme of anger, Red, his outbursts, and assigned to anger management, the aim of anger, its use? His channelling it into the defence of the birds and the recovery of the eggs?

5. Red, as a character, flying, dropping the egg, coming to the party as a clown, the outburst about the cake?

6. His going to the island, his house, the anger management course, Charlie and Bomb, the exercises, the manager of the course and her approach?

7. Charlie as a person, small and agile, Bomb as a person, big and loyal?

8. The arrival of the pigs, the boat, the destruction of Red’s house, the promises to the birds, the festivities, the cover for stealing the eggs? The big hall, getting them on board the ship, sailing away? The preparations in their city, storing the eggs, preparing for a feast of eggs? The characters of the leader, the other pigs, cooks and others in the castle?

9. Character of Mighty Eagle, the statue, reputation, the three climbing the cliff, the disappointment, his silly behaviour?

10. Red, emerging as leader, the support of the group, channelling his aggression, and going to the boat, the building it, sailing, the tactic of the catapult and the variety of birds getting into the city, accidents, some success? Red himself going?

11. The film’s attention to the action sequences, outside the city, into the city, inside the castle?

12. The final heroism, and his self-sacrifice, the final egg and it being hatched?

13. Mighty Eagle, his conscience, justifying his heroism, flying, the attack on the pigs, the rescue and everyone’s admiration?

14. The final statue, Red and his place, the acclamation from all the birds, the happy restoration of all the eggs, the appreciation? The future for Charlie, Bomb and Red?

FIRST MONDAY IN MAY

US , 2016, 90 minutes, Colour.
Andrew Bolton, Anna Wintour, Harry Koda, Baz Lurhman, John Galliano, Jean -Paul Gaultier, Karl Lagerfeld.
Directed by Andrew Rossi.

Maybe it all depends on whether you are a fashion lover or not. If you are, there is no question as to whether you will want to see this film or not. It is chock full of fashion. If fashion passes you by or you have an ideological difficulty about catwalks, models, elaborate clothes which are probably seen and worn only by celebrities, you will probably hesitate.

The reason for the title is that the Metropolitan Museum of Art in New York City has a gala show, dinner and ball on the first Monday in May. This is the background for the first Monday of 2015, something a show to end all shows.

The screenplay invites audiences to think about passion and art at the beginning of the film, showing classic pieces in galleries and suggesting that this is a 19th-century way of looking at art. In the modern world, there are all kinds of different arts which have their place in museums, including fashion. The interviewee explains that there are ideas in fashion, symbols and patterns, let alone all the expertise in craft that goes into the designing and manufacture of clothes. So, with this in mind, we go behind the scenes for this gala event.

There are quite a number of talking heads in the film, including designers John Galliano and Jean-Paul? Gaultier, with Baz Luhrman putting in his two penneth worth. There are also a number of andthe film, he wears trousers which are several centimetres above the ankles and never socks (unless he is sometimes wearing jeans and sneakers). Presumably this is a fashion statement – and on the night itself he wears the short-leg trousers, tails, shoes and, of course, no socks.

The other key character in the film is Vovue editor, Anna Wintour, with mentions of the satiric performance parodying her by Meryl Streep in The Devil Wears Prada. He has had her own documentary with The September Issue, about her work on Vogue. She’s not quite the dragon lady here, but explains herself as decisive. She has a great deal to do, making the decisions, inspecting the designs and layouts, the dresses, and the important diplomacy of places at the tables. There is also the issue of a contract with Rhiana, for her most elaborate dress on the red carpet, her speech and performance during the occasion – as well as her rather large fee.

As we go through the film, the various exhibits from China, especially the dresses, their impact, laid out, quite spectacular in their way.

And, on the night itself, the director, his camera and the audience are taken through all the exhibits by Kate Hudson, an opportunity to sit back, gaze at the extraordinary layouts, exhibits – and glimpse those celebrities and what they are wearing!

It’s one of those “who could ask for anything more!”.

1. The audience for this film? Fashion enthusiasts? The world of glamour and celebrities? A broader audience?

2. The New York Metropolitan Museum? The world of the Museum, its art and visitors? The characters working there, their jobs and responsibilities? The introduction to Alexander Mc Queen, his story, his suicide, the different styles of his creations, the decision to have an exhibition, record-breaking? The decision to have a new exhibition: China: Through the Looking Glass?

3. The preparations for the exhibition, the role of Andrew Bolton, of Anna Wintour, Harold Koda? The Vogue staff, the large African-American? designer? Explanations, seeing them in action?

4. The philosophy of exhibitions, the role of art, moving from 19th-century classic understandings of paintings and sculptures, trends in the 20th century, fashion as art, its ideas, motifs, skills?

5. The range of interviews, especially with designers, John Galliano, Jean- Paul Gaultier, Karl Lagerfeld, Baz Luhrman, and the background of Dior and Yves Saint Laurent?

6. The film demonstrating the logistics, the time, the role of the authorities, decision-making at every level? Anna Wintour and the meetings, the taste, comments about her decisiveness and her own interpretation? Andrew Bolton and his attention to detail in every way? The camera following him around? The scope of the logistics, engineers, designers? Unpacking the exhibits? Technical aspects like lighting? The table plans for the dinner? The contract with Rhianna, her rehearsals?

7. The night itself, Anna Wintour and her daughter and her address, the range of celebrities, the film stars and their being seen? The impact?

8. The exhibits, Kate Hudson and the tour, the visitors and their response? The effect of the tour for the audience and the focus on all the visuals?

9. Speeches, Rhianna and song, the photos?

10. The aftermath with Vogue, looking at the photos, decisions about the issue and the cover?

11. The film immersing its audience in this particular fashion world?

WHISKEY TANGO FOXTROT

US, 2016, 112 minutes, Colour.
Tina Fey, Margot Robbie, Martin Freeman, Alfred Molina, Christopher Abbott, Billy Bob Thornton, Nicholas Braun, Stephen Peacocke, Sheila Vand, Josh Lucas, Cherry Jones.
Directed by Glenn Ficcara and John Requa.

The opening sequences of this film are pretty raucous, overseas reporters letting their hair down with alcohol and dancing at a club in Kabul, 2006. And then there are explosions, the journalist suddenly becoming sober, getting their phones, trying to make communications and file reports. The tone is captured by the title and its code, WTF… The film then goes back to New York City in 2003.

This film is based on a book by journalist Kim Baker, at the centre of this story, initially a reporter on domestic issues for a US television network, dissatisfied with her life as she finds that the treadmill at the gym keeps moving back, something like her life, so when volunteers are requested for Afghanistan, she signs up. She is in a relationship and assures her boyfriend that she will be back in three months. She stays in Afghanistan for three years.

Actually, the film gets more interesting as it goes along. as we share Kim’s experience, the shock of arriving in Kabul, the headdress requirements in this Muslim country, the crowded streets and busyness, hard accommodation, drinking bouts with the other journalists and consequent hangovers, the film help us helping us to learn what it is like to be a foreign correspondent, and the pressures.

The surprising thing is that Kim Baker is played by Tina Fey, best known for her comic performances, impersonations. While there are some traces of this, it is much more of a serious rule for her. Australian Margot Robbie appears as another successful foreign correspondent as does Martin Freeman, a Scot, who is attracted to Kim.

Out she goes to be embedded with the troops, finding that she gets more and more of a high as she experiences the dangers, even running out to photograph during gunfire, experiencing some disapproval from the Marine General, Billy Bob Thornton, but able to help him with information about the exploding of wells in a village, the women themselves doing it to get some socialising opportunities by going to the well and defying the men. He interviews a local politician, Alfred Molina, who blends politics with sleaziness and can be blackmailed for information by showing him footage of his drinking and dancing outside a club.

The seriousness of Afghanistan and its cultural traditions is embodied in one of the security guards appointed for Kim, Fahim, Christopher Abbott. Previously a doctor, he now has to accompany her, guiding Kim through some responsibilities, warning her, diagnosing her addiction for highs in action. He is engaged and there is a colourful sequence showing the wedding.

The American public is very interested in Afghanistan in the immediate aftermath of 9/11, but interest wanes and the network is not putting many of Kim’s reports to air. On a return visit, she challenges the new boss, Cherry Jones, and is determined back in Kabus to get a scoop to reinforce her status and reputation. She does get an opportunity when Martin Freeman is abducted and she is able to help negotiate his release.

By the end of the film, we have experienced the three year journey of Kim Baker, her discovery of Afghanistan and the complexities of the power plays and of the dangers, her insights into the culture and religion of the country, her greater self-realisation – and this also has an effect on the audience, an entertainment, but, in fact, a strong learning experience.

1. An experience of Afghanistan? The background, Afghanistan’s history, occupation, wars? Post 9/11?

2. Location photography, in Afghanistan, in Morocco, in New Mexico? The recreation of carpal? Rooms, streets, clubs? The Afghan countryside, the villagers, the mountains and valleys? The musical score?

3. The title, the code? WTF…?

4. Based on a true story, Kim Baker, who work in the television company, research, domestic issues? Going to Afghanistan, volunteering? The change, her addiction to action and highs, her work, learning, relationships, dangers, the effect of the experience, writing the book, her return?

5. Introduction in 2006, bombs going off, the raucous drinking and dancing at the club, the world of the journalists and reporters, getting their phones, their press work?

6. Flashbacks to 2003-2006? The reporters in Afghanistan, the network sending Kim? At the gym, a comment about the machine going backwards? Her boyfriend, the meeting in passing at the airport? Skyping? Her plan to return to New York, the offer of the interview? The Skype talk and seeing the outline of the woman? Breaking the relationship?

7. Her arrival in Kabul, Nick and Fahim as the bodyguards, Kim not wearing the scarf and her being insulted, the car, the drive, the accommodation, her first experiences? The meeting with Tanya, her reputation? In action on the front line? Settling in, the room? The variety of types? The men, Tall Brian?

8. Nick, Tanya’s attraction, the deal with Kim about relationships? Nick, bodybuilding, New Zealand – but in reality from Canada? Fahim, the gentleman, proper, engaged in preparing for marriage?

9. The experience of being embedded with the troops, the men themselves, the general, Marines, her interview with the young soldier, his comment about the game not being loaded, the transfer, his losing his legs? Kim learning from this mistake? And her need to go at the end to visit his farm, see him with his artificial limbs, meet his wife, make some kind of appeasement?

10. Going out in Kabul, the drinking, the hangovers, waiting for interviews, Fahim waking her, interviews, reports, everybody watching the reports on American television?

11. Kim and her dealings with the general, his attitudes towards journalists? Insistence on the Marines? Tough behaviour? The reaction to Kim getting out of vehicles, photographing, risking everything?

12. Kim, the expedition, the issue of the well and the explosion, and meeting the women, her return to the general, explanation that the women destroyed the well, going to get the water was one way of meeting and asserting themselves against the men? The general congratulating Kim?

13. Ali Mousssad Sadiq, his personality, his role in Afghanistan, about to be elected, his personality, lascivious towards Kim, her being wary? The elections, his official position, his office, with the bed, his coming to the club, dancing and drinking, Kim using the film footage as blackmail? His supplying the information about Iain and his abduction?

14. Iain, a Scot, his work, style, man about town, relationships, going out, drinking, Kim at the wrong door, no scarf, being rescued by Iain? The attraction, the relationship – a one-off, the change?

15. Tanya, going up country, the rendezvous, the American cover and surveillance, the group pulling guns, the drones dropping the bombs, Tanya filming everything, her reputation?

16. Kim going to New York, meeting Gerry, Gerry female, explaining the loss of interest by viewers about Afghanistan? Tanya in the office and her promotion? Professional rivalry? Kim going to Glasgow to meet Iain?

17. Iain, the irony of his not meeting Kim, his going to the rendezvous, his being abducted, imprisoned, the negotiations for his return, Kim and her intervention, the rescue and the effect?

18. Fahim, his wedding, the ceremonial? His helping Kim? His story of the addicts and their high – and her listening to the story, later acknowledging the truth as she returned home? Her gratitude towards him – and the emotional restrictions, just touching his fingers?

19. Her decision, to return home, her new job, on air? The year passing, the interview with Iain about his book?

20. The film immersing the audience in the Afghan experience, helping audiences to appreciate the realities, the pressures, the cultural differences?

BASTILLE DAY

UK, 2016, 92 minutes, Colour.
Idris Elba, Richard Madden, Kelly Reilly, Jose Garcia.
Directed by James Watkins.

If you are after a brief and brisk, old-fashioned (even new-fashioned) action show with some substance, a conspiracy theory, then why not Bastille Day. It runs for only 92 minutes and doesn’t waste much time at all.

It is a drama of terrorism in Paris, bombs in the streets, the searching of mosques, rabble-roused protesters in the streets of Paris on Bastille Day, urged on by messages on social media. It was actually produced before the real terrorist events of 2015 in the city of Paris and the plot is quite different from those events, a situation where extreme nationalists seem to be the villains but, in fact, the target is more mundane, greed. Muslims are being set up by authorities, bomb-making equipment planted in mosques, faked scenes of police bashing an innocent bystander which are put on Youtube.

For those who know Paris, the opening is at Montmartre, a nude woman walking new down the steps in front of the basilica, an ingenious ploy for a pickpocket to go about his profession amongst the distracted and/or leering onlookers.

But the attention is really on the pickpocket, played by Richard Madden, a vagrant American who quickly learns that he needs to check what he has stolen or it can lead to dire consequences, even deaths.

In the meantime, we are introduced to Briar, a CIA agent who is tough, tends to work alone, subordination not being one of his virtues. As might be expected, he will win the day – not without some struggles, fights, moments of defeat and frustration, but relentlessly using his wits and his fists and guns to right all the wrongs. He is played very effectively by Idris Elba, television’s Luther who also appeared as Nelson Mandela in The Long Walk to Freedom. (There been many rumours that he could be in line to be the next James Bond – and this film is more than a calling card!).

The action takes place over little more than 24 hours, the CIA agent working very quickly, endorsed by his boss, Kelly Reilly, but disapproved of by her associate. It is not long before he picks up the pickpocket who is forced to be a collaborator in the search for the villains and for a woman who had been commissioned to place a bomb in an office as a first strike warning but who changed her mind when the cleaners came into the office. As we might guess, the pickpocket steals the bag which contains the bomb and throws it on a rubbish heap with explosive consequences.

Elba and Madden make an interesting odd couple, touches of banter although Briar is prone to deadly seriousness. As the villains are gradually revealed, the CIA finally decides to give information to the French authorities. The pickpocket finds that his profession can be particularly useful in crises.

The move towards the finale seems to indicate that Briar, the pickpocket and the girl do not have a chance at all. … And there is quite some action in the streets as well as in the French National Bank – Briar is one of those one-man bands that saves the day despite all odds. An effective finale in the basement of the Cathedral of Notre Dame.

In fact, a good action show with better-drawn characters than might be expected and some substance to the plot – and the various plots.

1. The title, France, history, the Revolution? The 21st century and terror?

2. The Paris settings, Montmartre, CIA officers and interrogation rooms? The French government? The shops, the bars? The migrant housing? The atmosphere of Paris in the 21st century? In the light of the realities of terrorism in Paris? The musical score?

3. Michael, his introduction, the nude woman at Montmartre, his picking the pockets, his haul, going to the fence and the payoff? The Metro and his leaving the girl behind? The later interrogation and identifying him?

4. The introduction of the conspiracy, the agent, the bomb, sweet-talking Zoe, the plan, going to the office, empty, to plant the bomb, the arrival of the cleaners, Zoe upset, sitting and contemplating, to throw the bomb in the river? The bag being stolen, her anxiety, her search? Michael, taking the bag, taking the phone, the bag with the rubbish, the explosion and the deaths?

5. The introduction to Briar, Karen as his boss, his working style, loner, insubordination, the disapproval of the assistant director? His background?

6. Michael, his apartment, the information on television, collecting his money belt, to leave? Briar, the photo, tracking Michael down, his identity? Karen and her not giving the information to the French? Not letting the French know about CIA surveillance? Briar and his chasing Michael, the roofs of Paris, getting him to the secret interrogation room, the interrogation, the police squad at the door, the fights, Michael cutting free and his escape, the police and the pursuit, Briar saving him with the car?

7. The fence taking the jewels, his later giving information, his hiding Michael, his being beaten?

8. The French chief, the press conference, reassuring people, Bastille Day, heightened security, the police force, his advisors? The conspiracy, in the offices of the Nationalists? The anti-Muslim activity? The reaction of the public? The video of the police beating the man? On social media? The
initial warning explosion? The use of the social media, the masked leader of the protest, the anti-governments tension, anti-the banks?

9. Briar, the contacts, Karen deciding to meet the chief, not giving information? The contrast with later, the meeting with him on the roof, his shooting her?

10. The plan to find Zoe, her fleeing, her minder being hanged? The tattoo, the clue? The group, pursuing Briar and Michael?

11. The talk, the banter, Michael forced to help, proclaiming his innocence, the deals with Briar? Contact at the address, following the man with blond hair, the photos, the bar, Michael and his setting up the fight, pickpocketing the wallet? Getting Zoe?

12. Zoe, her reaction, response to the danger, regrets, working with Michael and Briar?

13. The police group, the conspiracy, the fights, pursuing the car, the information, contact with the chief?

14. Bastille Day, the public protests in the streets, against the bank? The conspiracy group and their strategy, the memory stick and the robbing of the money? Greed and no higher motivation?

15. Karen arranging the pickup for the three, the van arriving, Zoe recognising one of the guards, Briar noticing the tattoo? Attacking the guards in the back of the van, getting out?

16. Briar, the one-man band, infiltration of the bank, his skills, fighting, the shootouts?

17. The police chief, his advisor, things going wrong, his disclaimer?

18. Michael and Zoe, getting out of the van, joining the protest, the police barrier, charging the barrier, the rallying cries, bursting into the bank?

19. The conspiracy leader, his gun, wanting the memory stick, Michael and his getting away?

20. The criminal, the setup at Notre Dame, Michael, the basement, the sting? The arrest?

21. The couple, Michael’s future – CIA or not?

BAD NEIGHBOURS 2

US, 2016, 92 minutes, Colour.
Seth Rogen, Rose Byrne Zac Efron, Chloe Grace Moretz, Dave Franco, Ike Barinholtz.
Directed by Nicholas Stoller.

Perhaps it’s the generation gap. But, younger audiences and reviewers are able to break through the raucous crudity of Bad Neighbours and this sequel, to enjoy this somewhat satiric (we hope) look at human nature. Older audiences and reviewers seem to get stuck on the raucous crudity and, at many moments, probably wish they were somewhere else.

The main characters from the original film are back. Seth Rogan and Rose Byrne used to live in a house next door to the building which was taken over by a frat group, completely self-absorbed in their own entertainment, alcohol, drugs and sex, music, with a high, high decibel impact, regardless of concern about the effect on the neighbours’ lives (and possibilities for sleep). Zac Efron was the leader of the pack but got something of a comeuppance at the end – this time he ends up with a vocation to be a wedding planner for gay marriages.

It is now a couple of years later. Rose is pregnant, she and Seth have put a deposit on a house, bigger and better, some distance away and are in process of selling the old house to an eager couple. They have neglected to understand escrow (which many of the audience will have neglected also). But it means that their house is open to scrutiny for another month, in case anything should happen.

Of course it does. And, the screenplay giving equal time to the group who moves in next door with all the attendant drugs, alcohol, sex, music, a sorority because sororities are not allowed to have parties on campus. Needless to say, the girls move in and get advice, naturally enough, from Zac Efron. Rose and Seth go through all the traumas they experienced before until… Zac is offended by the girls and changes sides. Conflict is on.

The potential buyers call by, Seth and his brother put on a show that there is a Jewish household next door, but it the covefr-up is sabotaged and the couple are desperate.

There is a solution for the girls – but Seth and Rose moved to their new house so screenwriters will have to be inventive as to how to provide them with Bad Bad Neighbours 3.