MAJOR LEAGUE II

US, 1994, 105 minutes, Colour.
Charlie Sheen, Tom Berenger, Corbin Bernsen, Dennis Haysbert, James Gammon, Omar Epps, Eric Bruskotter, Takaaki Ishibashi, Alison Doody, Michelle Burke, David Keith, Margaret Whitton, Bob Uecker, Randy Quaid.
Directed by David S.Ward.

Major League was a popular baseball film of 1989, written and directed by the talented writer, David S. Ward, Cannery Row, writer of the two Sting films, King Ralph… This sequel comes five years later and was followed by a third sequel, utilising some of Ward’s characters, much less successful, baseball film (with characters played by Corbin Bernsen, Dennis Haysbert, Bob Uecker performing their third Major League film).

The plot of this film is fairly standard, with some baseball training, and with a lot of sequences showing matches, tensions between the Cleveland Indians and their opponents, their going downhill, motivation to get them going again, and, obviously, not only their winning but their getting comeuppance on some of their opponents.

While the film relies on audience interest in and support of baseball, the film has an interesting cast led by Charlie Sheen as Wild Thing, trying to be respectable but the fans wanting him to stay Wild Thing; Tom Berenger as the ageing player with an injury who becomes coach; Corbin Bernsen buying the team from petulant Margaret Whitton who buys it back but wants it to lose; players such as Dennis Haysbert who has discovered Buddha and an inner peace, Omar Epps is the glamour boy who has appeared in an action movie with rustler, and later Governor, Jesse Ventura; and David Keith as the totally obnoxious player who alienates his side and then is seconded by Chicago.

David S. Ward also directs this film.

1. The popularity for American audiences of baseball films? The original film and its popularity, baseball, characters, competition, rivalries? Their being taken up in this sequel?

2. Cleveland, the site for matches, the performance in matches, the field, the dressing rooms, the stands? Authentic feel? Most of the action taking place at the field – some of the sequences in hotels, television commercial making, meeting with child fans? The musical score? And the use of Wild Thing?

3. The introduction to the characters, the team, the individuals, the coach, spirit, ups and downs, the fans, being vindicated in victory?

4. The team, the spirit, the meeting of friends, practice, the matches, the dressing room? The idiosyncrasies of the team? The oppositions, on the field? Especially Jack Portman?

5. Coach, age, putting the team together, the practice, the young man from Iowa and his lack of concentration and getting Jake Taylor to help? His growing exasperation? Collapse? In hospital? Watching the British Upstairs Downstairs but listening to the match?

6. Charlie Sheen as Rick, star, Wild Thing, haircut, clothes, in jail, his background, becoming respectable, suit and tie, the reaction of his fans, Flannery and her trying to promote him, television interviews and be indiscreet about his life, his innumerable mistakes during the television commercial? His skills, the name for his pitches? His success, his failures, the fans against him, morose? His decision to go back to his old ways, Flannery’s response, the friendship with Michelle in the past, with the kids and his autograph? Comeback, the clash with Jack Portman, success, the fans wild with Wild Thing, and the happy ending?

7. Jake Taylor, success, age, injury, the rivalry with Portman, his being let go, offered the job of coach, initial reaction, his return, his success as coach, with each of the men, helping the young man from Iowa with his concentration problem, his tactic with Roger Dorn at the end, allowing Rick his revenge? His promising not to use the Ronald Reagan slogan with the team – and his using it with even more emotion? The team’s response?

8. Jack Portman, arrogant, clash with Jake Taylor, being transferred to Chicago, his taunts on the field, his final comeuppance?

9. The eccentric members of the team, Willy Mays Hayes and his limousine, his extroverted behaviour, the scenes from his action show with Jesse Ventura? His hits, running – but then his beginning to fail? Going on as a runner, his success? Pedro, big, the conversion, everything about peace, order, the bird hit with the ball and his tending to it, the Japanese and his being drawn into the team, challenging Pedro to be a warrior, the team and the symbol of balls? The ingenuous young men from her work, Playboy and his concentration, just happy to play baseball? Successful in both? And the regular members of the team…?

10. Rachel, rich, selling the team, buying it back, surrounded by he-men, wanting it to fail?

11. Flannery, glamour, promoting Rick, the television commercials, the frustration of the director? The contrast with Michelle, liking Rick as Wild Thing, with the children, the photo opportunity, the end?

12. The three fans – and the portrait of support, fanaticism, disillusionment, change?

13. Bob Uecker as the compere, in each of the films, capitalising on the comedy potential, his comments, collapse, taunting his co--host?

14. Comic touches, serious touches, baseball film for fans, especially Americans?

VISIONS

US, 2015, 82 minutes, Colour.
Isla Fisher, Anson Mount, Gillian Jacobs, Joanna Cassidy, Eva Longoria, Jim Parsons.
Directed by Kevin Greutert.

Visions is a brief horror and terror film. It has an interesting cast, featuring Isla Fisher who is usually in lighter roles. Veteran Joanna Cassidy appears as a wine taster, television star Eva Longoria and television star Jim Parsons, The Big Bang Theory, appear in supporting roles.

The films opens with an accident where Evie, Isla Fisher, is injured and a baby in the other car dies. She suffers guilt about the death even though the accident was not her fault. After a year, she and her husband, Anson Mount, have invested in a vineyard and are beginning to prosper when the pregnant Evie begins having nightmares, hallucinations, ghost coasts, seeing her gynaecologist, as well as a psychologist, relies on friends, especially the also-pregnant Sadie, Gillian Jacobs.

There is also an encounter with a wine expert, played by Joanna Cassidy, who has premonitions.

As things get worse, Evie becomes more terrified, tries to find out the history of the vineyard, the several interviews, Googles, and eventually comes to the conclusion that she has premonitions and that on a particular night there will be a threat – which comes to a head when Sadie, who is the mother of the child killed in the accident, and her husband attack Evie, her husband and gathered friends.

As they say, nothing particularly new, but effective enough in its subject and style for its brief running time.

1. The popularity of this kind of horro-terror film? Suspense, hauntings, violence?

2. The opening with the accident, the graphic scenes, hospital? The transition to the vineyard, the beauty of the countryside, the vines, the homes? The musical score?

3. The title, with reference to Evie’s experiences, waking up after nightmares, hearing sounds, sensing a cloaked presence, knocking on doors? The increase in the visions? Helena and her strange behaviour? Going off the medication and its effect? Evie consulting with the neighbours, information about the previous owners, Helena coming to visit and her death, Evie and her husband trying to cope with her moods? Her leaving, returning, knowing that she had premonitions, that this was a special night?

4. Evie and David, love for each other, the vineyard, their work, the investment? The opening, the guests, Hele and her strange behaviour at the bed? David and his work, the locals, Hispanic, the superstitions, the various dolls amongst the vines? David and his dealing with Evie and her pregnancy, her moods? His having the papers from the Spanish workers and Evie suspicious?

5. Evie, friends, Sadie, with the pregnant mothers? Bonding with Sadie, losing contact? The final revelation that Sadie was the mother of the child, her pretending to be pregnant, her husband with the gun, the shooting of the various friends including the Doctor, wounding
David? Sadie and her cruel intentions for Evie, Caesarean, the night, her husband reluctant? David shooting him, killing Sadie?

6. The doctor, friend, advice? Psychologists? Issues of medication or not?

7. The background to the vineyards, the background of the history of the estate, the original house, the women with premonitions, the spirit of dread?

8. And the new couple with the estate agent and his praising the house to his clients?

CAKE

US, 2014, 102 minutes, Colour.
Jennifer Aniston, Adriana Barazza, Anna Kendrick, Sam Worthington, Mamie Gummer, Felicity Huffman, William H. Macy, Chris Messina, Lucy Punch, Britt Robertson.
Directed by Daniel Barnz.

Cake does not sound like a very promising title for a dramatic film. While Cake was nominated for Golden Globe awards, especially for the performance by Jennifer Aniston, her character is initially so alienating that it may not appeal to her many fans, from her comedies and her romantic comedies.

Nevertheless, the film is worth seeing in itself but, especially, for her performance. At the opening, she is a rather bitter woman, having gatherings and indulging in self-pity, sardonic remarks, even though she has a psychology background. It is revealed that she goes to a support group, especially for those suffering with chronic back pain which she has acquired in a car accident. She is disturbed when one of the members of the group, Anna Kendrick, commits suicide – and she decides to investigate the matter, going to visit the dead woman’s husband, Sam Worthington, developing a relationship with him and his child. There is a fine performance from Adriana Barazza, often seen as a Hispanic maid, who made an impact in Babel.

Towards the end, she gives some sympathy to an itinerant young woman who has a talent for making cake, Britt Robertson, but who challenges the woman to have another look at herself.

There is a very interesting supporting cast including husband and wife team, Felicity Huffman and William H. Macy.

The director, Daniel Barnes, made Phoebe in Wonderland, the contemporary youth variation on Beauty and the Beast, Beastly, and a strong education film, Won’t Back Down with Maggie Gyllenhaal and Viola Davis.


1. A strongly emotional story? Women’s stories? Men’s stories? Different interests and responses? Similar? Family, parenting, deaths, accidents, suicide, children, consequences?

2. The LA setting? Claire as lawyer, affluent, home, hospitals, group meetings, shopping, Tijuana, drugs, home and garden? Ordinary life? The musical score?

3. The title, audiences waiting for a meaning? The cakes, birthday, the boy, the runaway and her making the cake, and stealing Claire‘s money? Claire and the gift of the cake? The candles, wishes, sharing? A metaphor for the characters?

4. Jennifer Aniston as Claire, tough performance? The situation, the audience gradually discovering the background story? Nina and her suicide, the group discussing it, their feelings, the group gathering to cope with chronic pain, Nina and her presence, opting out, Claire invited to speak, anti the others feelings? Her sardonic description of Nina’s death, the freeway, falling, the truck, into Mexico, returning, held at the border for a week, the body being released?

5. The supervisor of the group, advising Claire to leave the group, to find another? Her wanting Nina’s husband’s address? Pressurising the leader, the threats to sue? The return, the leader wary of Claire, the gift of the big bottle of vodka?

6. The background to Claire’s life, competence as lawyer, the marriage, the separation? Audiences seeing her scars, the mention of the scars, extensive? Her water therapy and the discussions with the trainer, the threat to leave? Her being weary, excess drinking, the taking of the pills, hiding the behind the picture, the casual sex with the gardener? The style, blunt and imperious, but some kindness? The separation from Jason, at the Mexican border, phoning him, his not wanting to come while she was at home, a prudent decision and her comment? His helping her with the border problems, waiting with her, staying the night, supportive?

7. Silvana, the strong-minded maid, devoted yet exasperated, cooking, cleaning, driving Claire, Claire using the reclining seat? The family, her daughter’s comments? At Claire’s beck and call, arguments? Driving her to Tijuana, fears? The encounter with her old friends, insinuations about life in the US and their success in Mexico, the comments and criticisms? Claire’s criticising them and protecting Silvana? The chemist, the statue, the pills, the doctor’s reaction? Jason’s reaction, especially to the statue?

8. Nina, appearing initially in the photo, glimpses of her throughout the film, on top of the freeway, her fall? Appearing to Claire, talking to her, the different situations and Claire’s nightmares, places, telling Claire of, appearing at the restaurant, telling her she was selfish? Nina’s note to Roy, her chronic pain, asking forgiveness?

9. The visit to Roy, Claire’s pretence, that it was her home, going into the house, the bedroom, sad for Casey? Roy revealing that he had been warned? Wanting to see her reaction? Roy’s later visits, the meal, lying, the bonds, the outings with Casey? The cake, the birthday?

10. Roy, a strong character, his experience, the shock of Nina’s death, his anger and grief? Casey not able to stay at home? Not telling Claire immediately about the note? His dealing with his grief, the effect of Claire’s presence? No sexual relationship? The outings, the help, the restaurant, play, the birthday cake?

11. The man responsible for the accident and the door, his asking forgiveness, Claire’s hostile reaction, beating and kicking?

12. Jason, his providing the photo of Claire and the child, Claire crying, her grief, the reality of the accident in flashbacks, not taking the pills, admitting the truth about herself, the support of silver, sitting in the car – and the final face to camera?

13. The intimations of hope and redemption despite the grief, the harshness?

THE DIVINE LADY

US, 1929, 99 minutes, Black and white.
Corinne Griffith, Victor Varconi, H.B.Warner, Ian Keith, Marie Dressler, Montagu Love, William Conklin, Dorothy Cumming.
Directed by Frank Lloyd.

The Divine Lady refers to Emma, a country girl, daughter of a cook in the late 18th century who finds a place in the household of the Honorable Charles Greville, falls in love with him but is transferred to the household of the ambassador to the kingdom of Naples, Sir William Hamilton. It is not a love match, though he is devoted to her. When she encounters the British national hero, Horatio Nelson, she is attracted to him, later helps him in the kingdom, appeals to the Queen to sign a document for supplies for his men afflicted with scurvy, incurring the wrath of the French in the post-revolution era. Later, she becomes his mistress, especially when he returns in triumph to England after the victory is on the Nile. She is refused invitation to the function for Nelson and to be presented to the Queen. He stays with her – but responds to the call to defend Britain against Napoleon once again when he threatens the English Channel – leading to the Battle of Trafalgar.

Frank Lloyd won the Oscar for best director for this film, strong in its presentation of the relationships but also quite spectacular in its portrayal of naval battles.

Corinne Griffith, very popular at the time, was Lady Hamilton and Hungarian-born Victor Varconi was Nelson. H. B. Warner has a strong role as Lord Hamilton soon after his portrait of Jesus in Cecil B. de Mille’s The King of Kings.

Ten years later Vivien Leigh Laurence Olivier played the couple and in 1979, Glenda Jackson and Peter Finch in Bequest to the Nation.

This is one of the last of the silent films.

1. Romantic drama? Historical drama? Naval drama?

2. Black-and-white photography, re-creation of the period, costumes and decor? The locations, the English countryside and village, the kingdom of Naples and the residence, London and society, the return to the English countryside? The staging of the naval battles, the ships, the close-ups of fighting?

3. The portrait of Emma Hart, the country girl, arriving on the coach with her mother and her mother falling out, the flirting of the coachman? The disapproval of Greville? Sacking them? Emma getting in the window, the appeal? The artist Romney approving? Training Emma to be a lady, not running in the house? Her bickering with the neighbours and then smiling and shaking hands? Greville and his infatuation with her? Her falling in love? The meeting with Lord Hamilton? Greville, his finances, marrying someone else after sending Emma to Naples? Emma in Naples, further education, marrying Hamilton, though not a love match? His devotion to her? Her playing the harp, her singing? Life in Naples, friendship with the Queen? Society activities, with the dog? The French revolution, tensions with France? The 1790s, Nelson’s arrival, her compassion, the attraction? Her plea to the Queen to give a permit for restocking in the kingdoms of Sicily? The King and his hostility? The French and hostility? The siege of Naples and the riots in the streets? The return of Nelson? His staying with Emma? His being recalled to England, Emma returning, her name crossed off the list for the reception? Retiring to the country, in love with Nelson? Idyllic? His being called to service, packing and letting him go?

4. Nelson, national hero, his naval skills? The battles of the Nile, the men with scurvy, going to Naples, the plea for replenishment? Emma and the permit from the Queen? The battles against the French? His return, idyllic time in Naples with Emma? In London, his taking the side of Emma when she was shunned? In the countryside? His relationship with his wife, leaving her after triumphing through the streets with her? His response to call for battle, the Battle of Trafalgar, his being wounded, his friendship with Hardy over the years, “kiss me, Hardy”, his death? His place in the national British consciousness?

5. Lord Hamilton, ambassador, older, attraction to women, the visit to London, interest in Emma, taking her to Naples, education, her playing the harp, his proposal, his devotion to her over the years, permitting her to have the relationship with Nelson?

6. Greville, the portrait, discussions with Romney, the arrival of the Harts, his reaction, sacking them, Emma’s plea? Loving her? In society? Vauxhall, her leading the singing, his indignant reaction? Forgiving her or not? Sending her to Naples, the letters, his marrying again, the later meeting?

7. The Queen of Naples, Marie Antoinette’s sister, receiving Emma, persuading her to sign the document? The reaction of the French, her brother backing France? Nelson’s rescue of Naples?

8. Emma’s mother, falling out of the coach, curtsying, travelling with her daughter to Naples?

9. Hardy, the soldiers on the ship, naval conditions, scurvy, the need for replenishment, fighting in battles? At Nelson’s death?

10. The staging of the battles, ships, close-ups, the fighting?

11. The romantic images at the end and the status of Nelson and Lady Hamilton?

A TALE OF LOVE AND DARKNESS

Israel, 2015, 95 minutes, Colour.
Natalie Portman, Gilad Kahana, Amir Tessler.
Directed by Natalie Portman.

This is certainly a tale of love, especially a mother’s love for her son, but even more certainly a tale of darkness, a tale of depression.

The subject of the film is the Jewish writer, Amos Oz, a memoir about his childhood and his relationship with his mother and father, but especially his mother. The film opens with an older actor as Amos walking through the streets of Jerusalem in more recent times but his memory going back to the 1940s, especially the end of World War II, living in Jerusalem, the uncertainty with the Palestinians, the movement towards the State of Israel and the presence of the British and their withdrawal – and the United Nations vote in 1948 for the State of Israel.

Natalie Portman is the driving force behind the film, not only portraying Amos Oz’s mother but also adapting his memoir for a screenplay and directing the film. She brings a certain intensity to the film which is something of a grim experience even, at times, a glum experience.

Amir Tessler portrays the younger Amos Oz, the young boy who relishes stories, especially listening to those various stories told by his mother, in the film visualising them, for instance, a woman drowning and being rescued, with mother and son seen in these roles, and two monks silently wandering the desert until there is a crisis and they have to speak. Amos’ father is a literate man, writing on literature, even publishing a book and working in a library. Amos’s mother, has a strength of character, but is overcome by the situation at home, in Jerusalem, and, especially, in the British occupation and its consequences.

While the film highlights the diaspora of the Jews over millennia and the great joy in the establishing of the State of Israel (a strong scene showing the crowds listening to the radio in the streets with the countdown of the countries voting yes, the Arab countries voting no and various countries abstaining, including Britain), Finia descends into deep depression. The screenplay points out that she came from the Ukraine with her mother and sisters, has a hankering for her past life and the idealised picture of a young working man, contrasting with severity of her mother’s views, although she gets great comfort from her sisters.

The film is of interest for those who want to know more about Jewish settlement from Europe in the 1940s, in the consequences for their living in what was about to become Israel, tensions with the Palestinians (although is that there is a pleasing sequence when the young Amos befriends a young Arab girl), establishing Israel in the 1940s and the consequences.

1. An interesting Israeli film? Delving into the past? The 1940s, World War II, British occupation, relationship with the Palestinian Arabs, the State of Israel?

2. The reputation of Amos Oz, as a writer? His memoir, his relationship with his mother, 1945 to 1948, the State of Israel?

3. Natalie Portman, writer, director, star?

4. The scenes in Jerusalem, post-war, the homes, the streets, the shops, school, offices? And the recurring theme of the older Amos’s walking through the city?

5. The grim aspects of the story, the love and the darkness, even a glum tone, serious? The musical score?

6. The title, Fania’s life, the impact of her love and her darkness on her husband and Amos?

7. The story, the background to the Ukraine, having to leave the country, the recurring image of the ideal worker, her relationship with her sisters, at home, in Israel, in Tel Aviv, their visits, talking, their help? The contrast with her mother and her severity? Her love for her husband, his being a bookish man, his publication? Her love for Amos, his age? Palestine, the 1940s? A picture of a woman in depression?

8. Her loving to tell stories, the visualising of these stories – even with herself and Amos as the protagonists, the silent monks walking through the desert and their helping, the woman drowning and her being rescued? A talent in telling stories, love for literature and reading? Amos and his response?

9. The family sequences, the detail of life in the house, the rooms, meals, conversation? The difficulties with Fania and her depression and her sitting in the quiet and the dark? A loving father, very proper, his writing and research, literate, publishing, the support of his friend, although hiding the copies which were not sold? His personality, relating, trying to support his wife, developing his son? The glimpse of his being out and putting his hand on the girl – but nothing coming of this? Going out with Fania, her wanting to have an enjoyable meal, her collapsing? His response to the news of the UN count about the state of Israel? His response to Amos leaving – and his later visit to the kibbutz and riding on the tractor with his suitcase?

10. Fania, her love for literature, imagination, dealing with her illness, care for the boy, worry, the political issues, present at the listening to the UN vote, her being reserved, sitting, the doctor, going to Tel Aviv, her sisters, her death?

11. Amos, his life, his imagination, love stories, study, his friends, bonding with his father? The visit to the Palestinians, his friendship with the girl, the incident with the swing, the accident, his father and his reaction, the phone calls and recompense?

12. Jewish people at the time, their experience of the Diaspora, wanting to have a home State, the effect of the Holocaust?

13. The British, the occupation, the impact on the Jewish people, the experience of war, hiding in shelters, the boy shot playing football, the woman shot through the sheet she was hanging on the line? The British withdrawal? The possibilities for peace? The two states?

14. The scene of listening to the count and exhilaration with the UN decision?

15. The aftermath, the beginning of hostilities, Palestinians and Israelis? Seen in the hindsight of this memoir of Amos Oz?

TRANSFORMERS: DARK OF THE MOON

US, 2011, 154 minutes, Colour.
Shia La Boeuf, Rosie Huntington- Whitelaw, Josh Duhamel, John Turturro, Tyrese Gibson, Patrick Dempsey, Frances Mc Dormand, John Malkovich, Kevin Dunn, Julie White, Alan Tudyk, Ken Jeong, Glen Morshower, Buzz Aldrin.
Directed by Michael Bay.

Almost universally panned by reviewers. Almost universally liked by its audiences. This third in the series made over $200,000, 000 in the US in about ten days and twice that in box office takings around the world in the same time. As they say, a popular cultural phenomenon. And, as the reviewers say, there’s no accounting for tastes.

My previous experiences of Transformer movies was thunderously loud sound. For this third one, the projectionist kept it at tolerable. A great advantage.

Another advantage by this time, with a little help from a voiceover at the beginning, is that one has learned who the Autobots are and who are the Deceptikons and what they are doing on earth and how they relate to humans. You don’t have to be a genius, only a fan of The Transformer movies (that sounds a bit mean as I look at it!), to know that the Deceptikons are up to no good. This time they don’t want merely to take over the earth and make us humans their slaves, they want to bring their planet Cybertron down here. And, after decimating Chicago, they almost succeed. (After so many destructions of New York and, especially LA, even recently in 2012 and Battle for LA, there is a certain satisfaction in seeing Chicago the victim of spectacular special devastation effects.)

But, of course, the Deceptikons, especially Megatron (voiced by Hugo Weaving) have underestimated Sam Witwicky (Shia La Boeuf) who outwitted him before. Sam is out of a job, out of a girlfriend (since Megan Fox did not have her contract renewed), pestered by his parents, and jealous of his new girlfriend’s boss. She is played by British model Rosie Huntington –Whitely who is certainly going to win on the catwalk but is in real danger of a Razzie nomination for her lack of performance. But, she gets plenty of close-ups and is in on all the final action.

The mechanically-oriented are going to be satisfied with the transformations. The action-oriented have nothing to worry about. Plenty there. The special-effects-oriented are going to be satisfied. The screenplay-as-something-one-puts-one’s-mind-to-oriented will simply give up.

Michael Bay, prone to the very big, the very loud and the very smashing in his films, and whose scrapbook of favourable reviews is still very tiny, ensures that the legion of Transformer fans will not be disappointed.

One of the interesting things at the beginning of the film is the build up during the Kennedy era of the race to the moon and then the actual Apollo 11 flight. But, even more interesting for conspiracy theory addicts, is that the flight was not simply to get there and be there but that Buzz Aldrin (who appears as himself seeming to verify what ‘really’ happened, a nice coup) and Neil Armstrong, after the famous, ‘One small step...’ actually had to spend twenty minutes examining the giant Autobot spacecraft that had landed on the moon some time earlier and which NASA wanted to investigate. Capricorn One, years ago, posited the conspiracy that the moon landing was fabricated in a studio. The forthcoming Apollo 18 is going to posit some paranormal activity. The moon landing is a ripe field for conspiracy.

The cast goes a bit more up-market this time. John Turturro is back as is Josh Duhamel. But, here we have John Malkovich and Frances Mc Dormand with substantial roles, Leonard Nimoy as the voice of the treacherous Sentinel Prime and Patrick Dempsey as a smooth villain.

It has already made millions, so who needs a review!

1. The third in Michael Bays’ series? The popularity? Box-office? Negative critics?

2. The Japanese origins, the Americanisation, the imagination, the Transformers, the humans, struggles between good and evil, US and Russia, battles?

3. The work of the director, big and loud?

4. The visuals, the Transformers, the look, size, shapes, movement, in action? The voices? Good versus evil?

5. The strong cast, for the heroics, the glamour, the military, the politics, working with the Transformers?

6. The presentation of the Autobots, the looks, shapes and sizes, voices, communications? Humorous and serious? Optimus Prime, Sentinel Prime, the other characters? The gathering, a force?

7. The contrast with the Deceptikons, the individuals, look, size, movement capacities? Their defeat? Wanting revenge?

8. The American government, politicians, officials? The Armed Forces, the commanders, going into action? The Russians? The stars and their cameos and characters?

9. The issue of the moon, the lost spacecraft, the expeditions, to find the craft, to discover the secrets?

10. Sam, from the past films, in himself, age, experience, his relationship with his parents, hopes? The new girlfriend and her glamour? Her boss and his evil intentions? Rivalries? Sam and his relationship with the Autobots?

11. The build-up to the confrontation, the Transformers, the American military? Sam and his key role?

12. American victory – and anticipation of the next sequel?

CITIZEN VERDICT

US, 2003, 97 minutes, Colour.
Armand Assante, Jerry Springer, Roy Scheider.
Directed by Philippe Martinez.

This film has a huge problem to confront before it starts:

• How do you make a reasonable film about sensationalism without succumbing to what you are attacking?
• Do you make a subdued documentary?
• Do you take the risk of glamourising the target?
• Or, do you indulge in doing a bit of sensationalising yourself. Citizen Verdict tends towards the last.

While Armand Assante is the star, the co-star is, of all people, Jerry Springer, the speech-writer, Mayor of Cincinatti, who has become king of the daytime talk shows with his no holds barred technique and the seemingly outrageous topics that he encourages on his show. This is sensational enough. Plus, he plays a television producer who is the end in sensationalist programming, who is ruthless, plays politics, is cutthroat in whom he employs and fires and whose personal life is couching-cast oriented. One thinks he must have a great deal of front to take on this role.

Reality shows have become the staple of network programming with the success of shows like Big Brother and Survivor and the myriad imitations. Already in Series 7 - The Contenders, we had a film that portrayed a reality show where the winner had to kill off every competitor. Death is the ingredient for Citizen Verdict and, given the US propensity for talk shows, the plot seems not altogether impossible.

The idea is to have a trial, lasting three hours, on television with a judge, a prosecutor and a defence lawyer (all on the payroll) who will try an actual criminal on death row. The verdict is the Citizen Verdict where people phone in their judgments and the accused is found guilty or not guilty according to the popular poll. Already polls dominate opinion around the world and here is one, sanctioned by the Florida government (with Roy Scheider as the governor and backer of the TV show for ratings, profit and votes) on a matter of life and death.

The idea is very interesting given television trends. The screenplay shows the tactics and techniques of the competing lawyers and the behind the scenes machinations with the truth for more sensational television. The climax of an execution on TV and the subsequent wheeler-dealing for control of the show leave a nasty taste in the mouth - which is what the film-makers were trying to do.

FREDDY VERSUS JASON

US, 2003, 97 minutes, Colour.
Robert Englund, Ken Kirzinger, Monica Keenar, Jason Ritter, Kelly Rowland, Chris Marquette, Brendan Fletcher, Katherine Isabelle, Lochlyn Munro.
Directed by Ronnie Yu.

This is a battle of two franchises. Jason Voorhees has been wearing his mask and bumping off young adults for over twenty years in ten Friday the 13th films. Freddy Krueger and his skeletal face and razor fingers has been in half a dozen nightmares in Elm Street. Now somebody has had the bright idea of bringing them together and pitting them against each other. Of course, the question is who will win.

The film recreates the setting for both serial killers. What one realises is just how ordinary and unimaginative Jason is. His mother might have given him enough madness and motivation for his rampages but he is still merely a horror figure stalking his victims. Freddy Kreuger, on the other hand, is far more horrible and complex and there has been a consistency in Robert Englund having played him since Wes Craven introduced him in 1984. There was even a film that drew cast and characters together to analyse what had happened in Elm Street, Wes Craven's New Nightmare.

Freddy Krueger was a child abuser and killer. He not only stalks his victims, he enters into their nightmares and terrifies them. He has an eerie past. He has an eerie cruelty. He is truly a horror bogey man.

Since he has lost some of his power to enter into dreams, he enlists the help of Jason to renew this power and start his activities all over again. But, what will he do with Jason? This is not a world-shattering dilemma for contemporary culture. On the other hand, there are many millions of fans who want to know the answer. That's the nature of cult horror movie characters.

THE BLACK SHIELD OF FALWORTH

US, 1954, 99 minutes, Colour.
Tony Curtis, Janet Leigh, David Farrar, Barbara Rush, Herbert Marshall, Dan O’Herlihy?, Torin Thatcher, Patrick O’Neal?.
Directed by Rudolph Mate.

Another chivalry film which appeared in 1954. Ivanhoe in the early 50s had given audiences a taste for medieval romances and this was common in 1954 with The Black Knight, The Knights of the Round Table, Prince Valiant.

However, this film is set in the times of Henry the Fourth and has an interesting variation on the drunken Prince Hal in the form of Dan O’Herlihy?. The film was made by Universal and used Tony Curtis at a period when he was featured in athletic swashbuckling films. However, the film is in Cinemascope and given lavish treatment as well as a very strong supporting cast including Herbert Marshall as the Duke. English David Farrar is the villain. It features Patrick O’Neal? in a very good role as a villain. Torin Thatcher appears strongly as Sir James. Tony Curtis and Janet Leigh, hero and heroine, were married at the time and had appeared in Houdini. The trappings are lavish and enjoyable but the treatment and style are very much American. The original novel was Howard Fast’s Men of Iron.

1. The popularity of films about England and the Middle Ages? The appeals of Knighthood, action, romance - the English setting? The quality of this particular Hollywood example?

2. The use of Cinemascope especially for action sequences, colour, the Hollywood treatment of the British themes? The stars?

3. The story-book atmosphere of Britain? The King, the Court, loyalty, treachery, fights, romances, enemies being routed and peace being restored? Suitable for this kind of adventure film?

4. The film’s presentation of the 15th century setting? The background of the reign of Henry the Fourth, Prince Hal and his feigning drunkenness and the motivations - against the Duke of Alban? The picture of Alban's treachery? The castles, the tournaments, the knightly themes and codes of honour?

5. The political background and the presentation of the character of the ailing Henry the Fourth? Hal and his double appearance and his loyalty, the Duke of Mackworth and his establishment and the way that he ran it, his loyalty compared with the Duke of Alban and his schemes and men?

6. The title of the film and the mystery about Falworth? Miles and Meg and their heritage and its mystery? Their being taken searching, feeling unjustly treated, their vindication?

7. The suitability of Tony Curtis as Miles? The introduction to him and his defence of his sister and his athletic vigour, his presentation at court and the immediate fight with Sir Walter Blunt and the others, the vigour and roughness of his reaction especially against the Earl of Mackworth? The romance with Lady Anne and the climbing of the wall? His trying to find his identity, for instance in the library? The clashes with Sir James? The gradual training and vigour? His learning of the truth? Defending his honour and fighting? The credibility of a knight going through the ranks of training and avenging family honour?

8. The contract with Sir Walter Blunt and his arrogance, growing hostility towards Miles, courting of the Lady Anne, betrayal and helping of his brother? Prince Hal and his friendship? The world of the Squires in the entourages, styles of training, fights in the dormitory? Sir James and his rule over them?

9. The Earl and his plans? His relationship with Prince Hal, the tearing of the page out of the Book of Heraldry, Sir James and his place in the castle?

10. Anne and Meg as glamorous romantic heroines? Their characters, styles? The romance, Anne riding to victory at the end?

11. The Earl's elaborate trick for getting Miles knighted and for the fight against Walter Blunt in the presence of the King? The generating of some suspense at the end?

12. The atmosphere of tournament, the fierce battle?

13. Audiences absorb popular history like this. How accurate a picture of the past? The codes of the past and themes of honour, masculine attitudes of the Middle Ages, the place of the lady? Violence, romance and heroics?

APRIL AND THE EXTRAORDINARY WORLD/ AVRIL ET LE MONDE TRUCQUE

France, 2015, 105 minutes, Colour.
Voices of: Marion Cotillard, Jean Rochefort, Olivier Gourmet, Marc- Andre Grondin, Bouli Lanners, Anne Coesens.
Directed by Christian Desmares, Frank Ekinci.

What’s in an expectation? With the title so pleasing with the word April and the emphasis on extraordinary, this seemed to be a continental version of those delightful Japanese animation films from Studio Ghibli. As the film opened, it was not like that. Not at all.

It is 1870, Napoleon III on the eve of a Franco- Prussian war, going to a scientist to find a serum that will empower soldiers to win the war. But the serum did not achieve that and Napoleon dies and history is forever changed – or at least goes into an alternate world. The animation for the film is a quite striking, dark, often sinister, grim alternate world. But, with a top voice cast led by Maion Cotillard and Jean Rochefort, it is highly dramatic.

In the alternate world, most of the famous scientists, including a very visible Albert Einstein, have disappeared from the ordinary world and have joined The Project, the finding of the serum that would transform all living things, continually renewing them. A fightback begins when the young girl, April, descendant of the family Franklin, all scientists, searches for her parents who have disappeared, recovers contact with her grandfather with the help of a young street boy, Julius.

The important thing is that the young girl, April, has the talent to make the serum – and is pursued by a variety of thugs employed by a couple who, perhaps unfortunately, but sinisterly, are lizards who resemble the mutant Ninja Turtles.

April finds that her father has been imprisoned, that her mother supports The Project, and that there is a plan to transform outerspace by a nuclear explosion that will spread the serum to the moon and other planets. But, human nature being what it is – or, perhaps, lizard nature being what it is, the chief lizard has other, more ambitious, more destructive ideas.

Which builds up some split-second timing to avert disaster, to defeat the lizard, to redeem the young man who has not been entirely honest, and to reassure grandfather, mother and father, that the serum can be created and profitably used if not found in exploitative hands.

Certainly not the sweet animation that might have been anticipated – rather, an adventurous as well is reflective piece of science fantasy.

1. A different kind of animation story? Plots and issues? visual style? An animation for an adult audience?

2. The impact of the visuals, dark, surreal, touches of the grotesque combined with those which were nice? The musical score?

3. The range of voices in the classic French cast?

4. An alternate world, inviting audience imagination, What if…?

5. 1870, Napoleon III, the Franco- Prussian war, the visit to the scientist, Franklin, the serum, Napoleon’s expectations, to win the war, the effect, hopes dashed, Napoleon shooting in the laboratory, his death – and a different future for the world?

6. A different Franco- Prussian War? An alternate timeline for the world, The Project, the disappearance of the scientists, no inventions, a cold and limited world without electricity and other conveniences? The narrative supplying the different dates, 19th century, 20th century, into the 21st century?

7. The professor, his character, the serum? His son and daughter-in-law and their continued investigations? His granddaughter, April, her talent with the serum? The disappearances, father and mother gone?

8. April, her character, the search? The years passing? The encounter with Julius, his background, friendliness, helping April in her quest?

9. The police Inspector, the force, his using Julius, the contact, information about the grandfather and about April? The police Inspector arriving, his being taken and imprisoned?

10. April finding her grandfather, with Julius, discovering Julius’ treachery?

11. The project, the visits, the couple in charge, their experiments, wanting the serum? The construction of the spacecraft? The aim, revivifying space, making planets liveable?

12. The plant, equipment, the workers, the guards and their weapons, the prison, the professor finding his son, the bars to their cell?

13. April, finding her mother, her mother converted to The Project, working for it?

14. April, using her wits, Julius helping, the closing down of the electricity, the grandfather and Paul escaping?

15. The chief lizard, his plan, domination, wanting the serum? April working, Julius and the serum, the container with water, the lizard taking it, drinking it, large, the fight, the revelation of his plan to destroy Earth?

16. The buildup to the final confrontation, the timing, the spacecraft, the serum and enlivening all the plants and growth?

17. The cat throughout the film, experience of the serum, the rat, killed and reviving? His being caught in the rocket, trying to change the elevation, final success? The explosion in space in the transformation? The destruction of the lizard?

18. Happy reunion for the whole family – and the cat?