GOD WILLING/SE DIO VUOLE

Italy, 2015, 87 Minutes, Colour.
Marco Giallini, Alessandro Gassman, Laura Morante, Ilaria Spada.
Directed by Eodardo Maria Falcone.

A surprising film about priesthood from Italy, Se Dio Vuole/God Willing reminds audiences of Italy’s growing secularisation, the inheritance of the Catholic tradition and rejection of it, and a low opinion of the priesthood.

A young man, Andrea, goes out frequently with a young man and when he asks his family for a meeting, they tend to expect that he will announce that he is gay. They psych themselves up for this, wanting to be broadminded, tolerant, prepared to embrace him. But, what he tells them is that he wants to be a priest. They are not ready for this at all, especially his rather arrogant surgeon father who cannot bring himself to contradict his son but will do anything to stop him becoming a priest.

His mother is more understanding. His sister, who seems to know practically nothing about Catholicism, gets a whim to learn more about it, praying the rosary, watching Zeffirelli’s Jesus of Nazareth, not wanting anyone to tell and spoil the ending for her.

The father invokes the aid of friends and investigators, following his son only to find that he has gone to a Bible session, conducted by Don Pietro, an enthusiastically vigorous performance by Alessandro Gassman. He has a full house of young listeners, explains the Gospels with great gusto and theatricality. The surgeon wants an investigation done on him, finds that Don Pietro has spent time in jail, for fraud, and suspects that he has brainwashed his son.

Don Pietro is a fine contemporary, pastoral priest. He admits his use of fraud, the time in jail, influenced by the prison chaplain, joining the seminary, concerned for all people in need, rebuilding a church that his mother used to attend, a sensible man in the 21st century ministry.

He has advised Andrea about the priesthood and puts himself out when the surgeon turns up at a session, pretends to be penniless and homeless, sets up his colleagues to confirm his down-and-out status in a rundown house to Don Pietro, but is found out when Don Pietro is visiting his actual home. Don Pietro asks him to do a month’s penance, working on the church with him, where they talk a great deal, go to a hill overlooking a lake which is the priest’s favourite place for reflection, the surgeon upset when Don Pietro has a motorbike accident and spends his time finishing the work on the church. He doesn’t necessarily become a believer – but his attitude towards priests changes, he is more understanding and respectful to his staff, to patients and his wife and daughter – and Don Pietro doesn’t tell him that he actually knew for some time that Andrea, after a retreat, had fallen in love and the priesthood was not for him.

Perhaps the film is saying that celibacy is an impediment for priesthood – and that the better priests are men who have had solid and mixed experiences and are ordained later in their lives.

1. The Italian setting, the religious traditions, Catholic traditions, the history of priests? Expectations, positive and negative? A secular Italy, atheist Italy? A film for 2015 and the status of priests at that time?

2. Rome, the mansion, hospital, surgery, meeting rooms, the Church to be repaired, streets, shops, the poor house? Students, demonstrations? The musical score?

3. Sympathy for the priesthood, discussions of God, prayer, social issues, priests effective despite the difficulties, the sincerity of priests, issues of celibacy, the late vocations? The priest bringing the Gospels alive, for younger people? References to Jesus, saying the rosary – and the trendy whims?

4. Tomasso and his story, certain in his attitudes, sardonic remarks, treatment of his staff, proud of his skills rather than any acknowledgement of working miracles? His attitude towards his wife, continually boorish behaviour, not listening to her? Bianca and putting her down, mocking her husband? Andrea, liking him, hoping for him to be a doctor in the future? The meals, talk, bringing the maid in on the family discussions?

5. Andrea, friendship with Rufio, family apprehension that he was gay, preparations for the talk, ready to accept his being gay, the silence at hearing that he wanted to be a priest? Preparations for tolerance, the hug – but still the difficulties in his wanting to be a priest?

6. Everybody reacting positively, favouring Andrea, but not Tomasso, his being unable to tell his son?

7. The discussions, consulting for advice, his following his son, the friend on the plans, the dossier,, the motorbike, Don Pietro and the Gospel explanations, the enthusiastic crowd?

8. Pietro, his theatrical presentation, bringing the Gospels alive, relevance? Cheerful, the reaction of the group??

9. Getting the dossier on Pietro, fraud, in jail, family background, the prison chaplain, his going into the seminary?

10. Tomasso, going to see Pietro, the awkwardness in conversation, Pietro busy with many people, Tomasso saying he was Mauro, with a bad memory, his
story, poverty, testing Pietro, Pietro getting the job, his assisting in the shop, slicing, customer demands, his giving up? The discussions, going to the church, seeing the man giving Pietro the money? Setting up the false house and address, his medical assistants, usually putting them down and thwarting ambition, getting them to help, the woman as his severe wife and acting the part, his son-in-law retarded, the owner of the house caught and being present? The visit, the performance, Pietro’s reaction?

11. Andrea going to the retreat, Bianca and her fervour, watching Jesus Of Nazareth and not knowing the ending?

12. Carla, the alienation from her husband, going to the maid’s room, going to speak to the students at school, urging protests, demonstrating, on the television, being bashed, in hospital, ignoring Tomasso?

13. Pietro visiting Andrea, Tomasso’s arrival, the truth? The penance, working with Pietro for one month, the hard work, the injury, his limping in hospital? Talking with Pietro, greater sharing, going to the special place overlooking the lake, listening to Pietro on Jesus’ agony in the garden?

14. Andrea, the girlfriend, Pietro knowing already, allowing Tomasso to be deceived?

15. The God talk?

16. Pietro, on the bike, the accident, in hospital, the crowd coming to support him?

17. Tomasso, leaving the operation to the experts, going back to the church, getting it ready, complete?

18. The film’s comment on vocation to the priesthood – but a reminder of the temptations of celibacy and the success of late vocations?

19. Serious, comic, but contributing to religious discussion?

MY BIG FAT GREEK WEDDING 2

US, 2016, 94 minutes, Colour.
Nia Vardalos, John Corbett, Michael Constantine, Lainie Kazan, Andrea Martin, Gia Carides, Joey Fatone, Elena Kampouris, Alex Wolff, Louis Mandylor, Bess Meisler, Rita Wilson, John Stamos, Rob Riggle.
Directed by Kirk Jones

Everybody loved My Big Fat Greek Wedding – but that was back in 2002. There was a brief television series in 2003 with the main cast participating except for John Corbett. So, audiences have been waiting for 13 years for a sequel. Obviously, there will be many takers.

Toula and Ian now have a daughter aged 17, Paris, making applications to go to college, finishing her last year at school. As might be expected, she finds living in a Greek family, with all the extended relations, rather oppressive, and she reacts accordingly, moving from calling Toula Mummy to Mother, upset with her father, principal of the school, talking with her in the library. And her grandfather, triticale was in the original film, is always talking about finding a Greek boy that she can marry and have babies.

Nia Vardalos, so attractive as Tool in the first film, has had a brainwave to have a second big, fat Greek wedding – not Paris and the Greek boy but, rather, her parents discovering that the marriage certificate was never signed, that, therefore, they are not legally married – and what will Maria and Gus to about it. Gus tries to get the local priest to sign the document – but he says he can’t. Gus fears that Maria will be upset – but, in fact, she laughs, says she is free, has lived like a hippie, and demands a new proposal, which Gus finds himself unable to give.

Needless to say, everybody has an opinion but both Maria and Gus have their stubborn side. In the meantime, tool is expected to solve all the family problems – though even tries to get her to step back. But there is always aunt Fuller (Andrea Martin) who has an opinion on everything and is never afraid to step in to put pressure on all the characters.

Eventually, there is to be a wedding, and a wedding planner is hired – who clearly disapproves of all of Maria’s choices. The wedding planner buyers her! Family meeting. Everybody chips in, doing all the cooking, preparing wedding dresses and tax egos, getting the hair done – but forgetting to organise limousines so that Greek cousin and the police organisers some squad cars.

The film will probably appeal very much to the grandparent audience, the 50 years of marriage between Gus and Maria, the ups and downs, but the getting used to each other, finding it very hard to be separated, a fine example of love – which, of course, is reproduced by Tool and Ian and their love for each other, and having to make parental decisions, especially the possibility of letting Paris go to study in another city.

Quite some sentiment at the end, laughs and tears. But there is the celebration, music, dancing, everybody present, everybody getting on so well with one another – and a postscript when Paris goes to her new College (with a large section of the family in so, and to be got rid of).

1. The popularity of the first film, characters, situations, Greek customs, Greek families, family closeness, outsiders? Living in harmony in the US?

2. 14 years later, all the characters there, much the same? Toula and Ian, their daughter, Paris? Toula and explaining her expectations, changes, family behaviour?

3. The idea for a sequel, the parents, the unsigned document, the reactions, the plans?

4. Chicago settings, the street, the homes in neighbouring succession? The restaurant, school, shops, the problem?

5. The musical score, the range of songs, the Greek music and instruments?

6. The introduction, the car, Gus driving, Toula and Paris, stopping at the different houses, the various cousins, uncle, people going to school? Toula embarrassing her daughter? Paris, in the library, the encounter with her father, students’ reactions? Her Gothic look, black clothes, dark eyeliner?

7. Toula and her story, not working in the travel agency, working at the restaurant, the different jobs there, her relationship with her father, with the rest of the family, Paris working at the restaurant? Looking drab? Paris’s transition from Mummy to Mother? The tensions with Ian? His work as head of the school? Paris going to College, concern, the applications, the visit of the agent for Northwestern University? Everybody turning up, or contributing their opinions? Aunt Voula, in control? Toula, the date with Ian, the restaurant, talking about Paris, in the car, their father finding them – and everybody having a look?

8. The family, closeness, always fair, the Aunt Voula and her husband, domination? Angelo, no wife – and the later revelations about Patrick as his partner? Nikki, exuberant, doing hair? The grandmother, in black, the scarf, her simple look, the discussions with Paris? The jokes, her wearing the wedding dress in the shop window? The end, having her hair done, taking control, especially of Gus?

9. The priest, not signing the document, Gus telling Maria, her wanting a proposal, the clash, his proposal in the past? Separation, his being on the sofa, the family urging them to be together, to go her through the wedding ceremony? Calling on the Aunt Voula for her advice?

10. Gus, the youngsters, the Greek derivation of every word? Wanting a Greek boy for Paris? The radio announcer and his wife, coming to the restaurant, the seven-year-old boy, Paris’s reaction?

11. The expectations that Toula would fix everything, in trying to restrain her?

12. Gus in the bath, the men coming to get him out, the towel and embarrassment, the ambulance, his proposal and Maria accepting?

13. The wedding planner, her disapproving everything, firing Maria?

14. The issues of cake, the wedding dress? Tuxedos from the band? Forgetting the limousines?

15. Cooking, hurrying to the hairdressers, no limousine but the police escort, arriving at the church?

16. Gus’s brother arriving from Greece, the tension, hugging?

17. On the way to the church, the men drinking, behaviour in the church, Maria’s reaction, going to the sacristy? Toula expected to help, the other women, Aunt Voula?

18. Ian returning from the prom, happy to see Paris dancing with the boy? The irony of his coming from a Greek family?

19. Toula and Ian at the back of the church, renewing their wedding?

20. The family, everybody dancing, the neighbours who had been critical, Toula and her response to them? Their being invited in?

21. Toula, the letter about descending from Alexander the Great, Gus reading it out – and Toula admitting to Ian that she wrote it?

22. New York University, Paris’s decision, her mother loving her, able to send back step back and let her go, the university room, the roommate, the family all there!

THE D TRAIN

US, 2015, 101 minutes, Colour.
Jack Black, James Marsden, Kathryn Hahn, Jeffrey Tambor, Russell Posner, Mike White.
Directed by Andrew Mogel, Jarrad Paul.

The D Train is a star vehicle Jack Black. it is a serious comedy for audiences in their 30s and 40s, especially for the male audience.

Black portrays Dan, who has grown up in his home town, married his childhood sweetheart (Kathryn Hahn), has a son who is reluctant to talk with his father, and has sexual problems. Dan has good job and a very sympathetic boss (Jeffrey Campbell) who is reluctant to move into the computer era.

Dan’s principal preoccupation is the school reunion, his dominating the committee who don’t want to have drinks with him, and then his seeing a former student, Oliver Lawless (James Marsden) in a television ad and has the bright idea of inviting him to the reunion, to ensure that most people will turn up.

Then he tells a lie, wanting to get a Los Angeles but telling his boss that there was a deal possible, lying about availability of tickets, but the boss getting two tickets and then going, staying in the hotel, and Oliver impersonating the company chief and pretending that there was a deal.

In the meantime, Dan goes to a nightclub, drinks, drugs, and finishes up spending the night with Oliver, causing him some shock.

Because of the tensions, the reunion does not go well and Oliver ousts Dan vehemently and very publicly – with the result that he has to admit the truth to his wife, talk with son, recover his relationship with his boss.

1. The title? Expectations? Dan and his name, nickname?

2. A comedy for the 30s and 40s? Career, success, failure? Marriage? Commitment? The truth lies? Consequences?

3. The mid-US, homes, workplaces, schools? Los Angeles and the contrast, apartments, the clubs? The musical score?

4. Dan’s story, Jack Black and his screen presence, age, growing up in the town, memories, marrying the childhood sweetheart, his son, teenager? Relationship? His job, relied on by his boss? The preoccupation with the reunion, his keeping control, keeping the password to the site? The meetings of the committee, the different characters, their work in contacting past students, his domination, not wanting to have drinks with him? His self-image? Seeing Oliver on the commercial, thinking that it was great, his reaction, going to the meetings, the promise – and the group going to drinks? Making contact?

5. Dan, his one lie, the discussions with his boss, place in the company, the boss reluctant to have computers? The issue of the ticket, the boss getting the tickets, the explanation to his wife? The flight to Los Angeles? The betrayal of trust? Dan’s tension? The further complications of lies? Going to the hotel?

6. Oliver, the ad, Dan meeting at the club, the agreement to meet, the audience knowing the truth about Oliver? The meeting, trying to be a friend of Dermot Mulroney? The drinks, the drugs, the sexual consequences, the night, the homosexual encounter, the effect on Dan, borrowing the singlet the morning after?

7. Oliver, the impersonation of the company boss, Dan fostering the discussion, his boss and the enthusiasm, the hopes, the deal? The plan to cancel the deal afterwards? Oliver, his reaction, liking Dan’s boss, continuing to foster the deal on the phone?

8. The return home, his boss, getting the computers, having the tutorials, enthusiastic?

9. Oliver coming for the reunion, in his house, Dan’s son, not able to talk to his father, sexual preoccupation, the girlfriend, the menage, Oliver encouraging him?

10. His wife’s reaction to Oliver, memories of the past, the talk? Washing the clothes and discovering his singlet?

11. Dan’s son, the failure of the menage? The boy not wanting to participate? Talking to his father?

12. The reunion, the committee, the drinks, Dan and his reactions, Oliver and the girls? The confrontation, Oliver and his blunt talk, humiliating Dan publicly?

13. Dan talking to his boss, the reaction, recovery?

14. Oliver leaving, talking with Dan, telling the truth, Dan admitting the truth?

15. Dan and his learning by his mistakes – with the result that the film is a comedy with the touch of bitterness, and the need not to lie but to tell the truth?

TRIPLE 9

US, 2016, 115 minutes, Colour.
Casey Affleck, Chiwitel Ejiofor, Anthony Mackie, Woody Harrelson, Aaron Paul, Kate Winslet, Gal Gadpt, Norman Reedus, Teresa Palmer, Michael Kenneth Williams, Clifton Collins Jr.
Directed by John Hillcoat.

This is a grim picture of an ugly America, a police story, International crime, investigation and police corruption, set in the city of Atlanta.

The film was the work of Australian director John Hillcoat who made an impact with the prison drama Ghosts of the Civil Dead in the 1980s, made a bigger impact with his 19th century Australian “Western”, The Proposition, both films working in collaboration with Cave. His two previous American films were The Road, the post-apocalyptic story by Cormac McCarthy? and then, Lawless, a powerful story of bootlegging in the 1930s.

There is very little gloss in this picture of Atlanta. The film shows a background of Russian Mafia types, with strong Jewish emphasis and Israeli connections, the deals, their brutality, the leader being put in prison but his little kingdom in Atlanta being ruled by his wife, a very hard-to-recognise Kate Winslet. She enters into the role of the Mafia matriarch with fierce zest. She commissions a group to stage a robbery to get back documents that will enable her husband to get out of jail. This leads to some strong action scenes.

The group is led by a former arms dealer played by Chiwitel Ejiofor – there is a link with the Russians because he has married the sister of the matriarch and has a son who is used to support for their hold over him. There is a friend, also a former arms dealer, a driver played by Norman Readers. And then there is his younger brother, Gabriel, played by Aaron Paul, a former policeman who shot someone during action and is now very nervy. The surprise is that the other two members of the gang are a homicide detective, played by Clifton Collins Jr, and an active detective played by Anthony Mackie.

The film shows the double lives, especially Mackie, who is assigned a new partner from another part of the city, a dedicated and tough officer, played by Casey Affleck. His uncle is a significant presence in the Atlanta police force, also a detective, played by a scene-stealing Woody Harrelson.

While the film gives some personal background to the characters, especially of Casey Affleck, his wife (Teresa Palmer) and his son, and the interactions with his uncle, most of the film concentrates on the corrupt police, the need for a second robbery for more documents.

This is where the title comes in, 999, the code for officer down – and the group decide that they will target Casey Affleck, shooting him by using a gang member whom he had humiliated, draw all police action to that site while the robbery is underway (another powerful action scene). And this is what happens – though not in the way that was anticipated, not at all.

The final part of the film is some detection of who was responsible, some deaths (well, quite a few deaths), and, probably and unfortunately, only a pause in grim activities in Atlanta.

1. A police thriller? Crime, police corruption? International crime? The title, the code for a policeman down, the setup for the plot?

2. Atlanta, the police precincts, world of crime, slums, the bars, offices, venues for the action? The musical score?

3. The international dimension, Russian Mafia, connection with Israel, the Jewish background on aspects? The gangster and his being in prison, links, issuing orders? His wife, her ruthlessness? Gratitude towards her sister, towards Michael and his son?

4. The corrupt group, Rodriguez and his cover in homicide, his control? Marcus Belmont, his cover as a detective? His motivations? Michael, his arms dealing background, ruthless, his Israeli wife, his son, communicating with him, the human touch? Russell, the mercenary, the driver, his observation posts? Gabriel, his past, police, the shooting, upset and unreliable? The meetings, the discussions, the plans? Motivations? Ruthlessness?

5. The robbery, the execution, Russell and his watching, his advice? The object of the robbery? Engineering the escape, the chase? Contacting the wife, her wanting a second job to be done?

6. The meetings, the cover, the plans, Michael and the decision that Chris be killed? The murder of Russell? Gabriel and his upset, talking to his woman friend? The decision to choose Chris as the target, the 999 plan, no mercy?

7. Chris in himself, his wife, his son, his uncle and the domestic sequences?

8. Jeff Allen in himself, tough, drinking, drugs, contacts, getting information?

9. Marcus, the meetings, Chris as his partner, the initial clashes, driving together, the critique? The gang and the confrontation in the street, Chris and the deputy, the angers of the gangs? His return? Getting information? The deputy leader, arrested, release, his participation in the setup?

10. Chris and Marcus at the club, Gabriel causing a nuisance, his fight with Marcus? Chris remembering?

11. The situation of the setup, the plan for the death of Chris, the gang deputy and his presence, the gun? The search of the building, Marcus being shot? The triple 9 call, the information to Jeff Allen, hurrying to the scene?

12. The robbery, the security guards, Michael and Rodriguez and their success, getting the information?

13. Chris, the investigation, Rodriguez, Jeff Allen suspicious, Chris going to the hospital, Rodriguez accompanying him out? The roof, the car?

14. Michael, and his wife, their holding his son, his gift? The confrontation, the gift, the bomb and his detonating it? Rodriguez and his killing Michael?

15. Jeff Allen, checking on Rodriguez, going to the hospital, in the car, his also being killed, his death?

16. A grim picture of police work, corrupt police, international criminals?

SHERPA

Australia/Nepal, 2015, 96 minutes, Colour.
Directed by Jennifer Peedom.

This documentary did not finish up in the way that the director intended. It turned out to be much more.

Writer-director, Jennifer Peedom, was interested in the recent almost-industry of Westerners wanting to climb Everest. She does fill in some of the background of the naming of Everest, the 1953 expedition, led by Sir John Hunt and an achievement for New Zealander Edmund Hillary. There are some visuals of this conquest of Everest. But, a name which became synonymous with this ascent of the mountain was that of Tensing, the Sherpa guide. Two of his sons do contribute some commentary to this documentary.

It was the Sherpas and their role that interested the director. She introduces us to one of the Sherpas who had made the ascent 22 times. We see his wife and family and his wife’s reluctance for him to continue climbing the mountain. There have been many Sherpas employed in working on the mountain – the Sherpas considering the mountain as rather sacred, sacred ground, divine or transcendent presence, and have treated the mountain accordingly.

This is in contrast with the Westerners who see scaling Everest as action, something to be achieved. This materialistic aspect is reinforced by the role of the Sherpas especially in carrying all the goods and equipment up the mountain, even with a scene showing the Sherpas serving tea to the climbers in their tents in the morning.

There are a lot of scenes at base camp, and especially with New Zealander Russell Brice who, for many years, has managed ascents, and is interviewed several times during the film.

This perspective changed when a number of Sherpas were killed in the sudden avalanche in 2014. More consideration was given to the Sherpas, their families, the tradition of ascending the mountain, the exploitation as it seemed by Westerners, the inequality in pay, and the Sherpas in the 21st century becoming much more conscious, especially through social media, of work and conditions.

The film also highlights a clash in 2013 when one of the climbers swore vehemently at a Sherpa and the guides took offence, demanding an apology – which was given, but highlighted the superiority attitudes of the climbers. This was reinforced with the reactions to the cancellation of the 2014 ascents after the option was given to the Sherpas to work or not. They chose to retire.

So, a film which serves as providing magnificent scenery and tracing the history of the increasing number of climbers (at one stage a long line tracking up the mountain side of people waiting to ascend) turns into a plea for consideration of the Sherpas and a reassessment of Western attitudes and behaviour.

And then came the 2015 devastating earthquake in Nepal.

1. Acclaim for the documentary?

2. The title, the history of the Sherpas in the Himalayas, Mount Everest? The documentary material on the conquest of Everest, John Hunt, Edmund Hillary, Tensing? The achievement? The consequences with so many wanting to climb Everest?

3. The introduction to the Sherpas, as a group, their families, their work as guides, carrying the equipment and goods to the top of Everest, the 2014 tragedy and their reaction?

4. The photography, high altitude, scenic, atmospheric, the mountains, Everest, Nepal, the base camp, the detail of climbing the mountains? Avalanche? The musical score?

5. The suddenness of the tragedy, the avalanche, its impact, the number of dead? The Sherpas?

6. The director, her initial intentions, with Russell Brice, at the base camp, the climb? Her interest in the Sherpas and the situation? The change because of the avalanche? His becoming a focus of the film and the Sherpa reaction?

7. The Sherpa and his family, 22 ascents, his wife, his work, his wife wanting him not to climb?

8. The interviews with Tensing’s sons, their views about the father, the history, the Sherpas?

9. Climbing Everest, the situation, the heavy traffic, the scene of the line of people waiting for the ascent? Westerners, wealthy, wanting an achievement? Expectations? The role of the Sherpas – even as servants serving the tea? Carrying the goods? The expectations, Western arrogance? The role of the companies and the commercialisation of the ascent of Everest?

10. Russell Brice, the interviews, his being there for a long time, his experience, dealing with the clients, dealing with the Sherpas?

11. The episode of the man swearing at the Sherpas, his arrogance, their reaction, his apologies, a changing point in the attitude of the Sherpas?

12. The film showing Sherpa consciousness, their being exposed to social media, awareness of inequalities, revolting against the situation?

13. The avalanche, the tragedy, the religious dimensions and the Sherpas not wanting to climb, the decision? The reaction of the westerners?

14. The information about the 2015 earthquake in Nepal and its consequences?

15. The focus on Everest, on the Sherpas and their role in social change them?

LONDON HAS FALLEN

US, 2016, 99 minutes, Colour.
Gerard Butler, Aaron Eckhardt, Morgan Freeman, Angela Bassett, Alon Aboutbool, Jackie Earle Hayley, Robert Forster, Melissa Leo, Colin Salmon, Penny Downie, Charlotte Riley.
Directed by Babak Najafi.

A couple of years ago there was a political thriller, Olympus has Fallen, with Aaron Eckhardt as the president of the United States, Gerard Butler as the head of security, Morgan Freeman about to become vice president. And a lot of buildings in Washington DC, the capital and the White Hosts, were destroyed. Strangely enough, this sequel has no explicit reference to the former film, Washington looks as normal, even though the stars have returned as well as a number of the supporting cast at work in the White House, the Pentagon and on security duty.

The action is taken from contemporary headlines, arms dealers, international terrorists, the role of the United States, especially in the Middle East and drone action in countries like Pakistan. While the tone of the film is generally that of hawks rather than doves, there is some implicit criticism of some of the vengeful tactics of the United States.

This is the kind of film that drives armchair critics and those campaigning for peace rather demented. Many of the reviews have denounced the film as mindless, jingoistic, ultra-patriotic. And, in many ways it is. But that is the nature of action stories, popular novels, television series, the movies, that heighten characters and situations for action entertainment. Do they influence popular attitudes? Perhaps only in reinforcing stances but audiences have taken in to the cinema to see the movie.

One hopes that the scenario is impossible – but the filming was already completed by the November 2015 attacks in Paris, and the film was released not long before the March 2016 attacks in Brussels.

Having said that, Gerard Butler resumes his role as the almost one man band security detail for the President, jogging with him, intending to resign because of his wife’s pregnancy but called into action when the Prime Minister of England dies and a state funeral is arranged.

One hopes it is impossible because before very long, the heads of almost 40 nations have been killed, including Germany, Canada, France (but not such small fry as the Prime Minister of Australia). The running time of the film is not very long and so action moves along, the attack at St Paul’s Cathedral, hurrying the American President to hiding, at Charing Cross Underground Station, an attempt at a helicopter trip to Stansted, forced to land, finding the safe house in London, in Soho i(where a number of the preview cinemas are located) and a battle with the help of a British SAS team.

Scotland Yard is involved, the head of the safe house, the backup squad – and, needless to say, the body count is very high, especially, of course, of the terrorists. Gerard Butler is of the relentless school. He would have made an effective screen Jack Reacher.

The terrorist attack is explained by a drone dropping bombs on a wedding in Pakistan, the daughter of an arms dealer who then plans his revenge, especially to take the American president prisoner and to kill him on social media.

Meanwhile in Washington, VP Morgan Freeman keeps his calm, is able to make code contact with the security man, is able to teach keep the British authorities informed.

If there are going to be terrorist attacks, we’ll need the Gerard Butlers of the cinema world – but, sadly, we realise with real life episodes, this is not the case.

Despite the contemporary connections, this is an action show.

1. 21st century political and terrorist thriller? For the wide audience? Impact in the US, outside the US? In the Middle East?

2. The plot taken from contemporary headlines, political plots, terrorism, motivations, allies?

3. The prologue in the US, the president and his run, Michael sharing with him, Michael’s wife, pregnancy, his letter of resignation, demands and needs?

4. The American settings, Washington DC, the London settings, the well-known landmarks, action in the streets? In the safe house? The musical score?

5. The situation, the Prime Minister’s death, plans for the funeral, world leaders going, the demands on security?

6. The terror prologue: the sun coming to discuss achievement with his father, the arms deals, the plans for the wedding, the lavish ceremony, the driving, the bomb, the deaths, the father surviving, is planning revenge?

7. Michael, his personality, strong, Lynne Jacobs as adviser, interactions with Michael, with the President? Morgan Freeman as the vice president, his vacation, talking about fishing – and the later code? The President, his staff, phone calls, meetings, the decision to go to England, the security plans?

8. The plans, efficiency, the flight to London, landing at Stansted, the helicopter, Somerset House? Precautions?

9. The Prime Minister, the meetings, his staff, Scotland Yard, the chief, the logistics for surveillance, for police on the streets? The safe house and the woman in charge?

10. The heads of government, the German chancellor and flower at Buckingham Palace, the Italians on Westminster Abbey, the French Prime Minister on the river?

11. The attacks, the deaths, traffic jams, the bridges, the police, weapons?

12. The President, arriving at St Paul’s, Mike and his caution, the attack, the car, the escape, the chase, Charing Cross Station, the underground and no fighting, the carriages, the tunnels, the confrontation with the terrorists, killing them? The helicopter to Stansted, returning? Lynne Jacobs and her death? The personal touches, godmother to the forthcoming baby?

13. In Washington, the vice president, the staff, the security meeting, the video images, the message from the terrorist? Contact with Mike? The signals, the information, the terrorists planned to kidnap the President, tortured him and kill him on social media?

14. The helicopter ride, Lynne dying, getting to the safe house, the contact with Washington, security and efficient code, the British military, getting into the safe house?

15. The body count, Mike and his killing, ability – and the film classification: strong bloody violence?

16. The personal story, Mike and his wife, the baby, her mother, watching the television, the birth of the child and happy ending?

17. Inside the safe house, the headquarters of the terrorists, generator going out, the camera? The troops defending? The deaths of the terrorist forces?

18. The taking of the President, the explanation of what was to happen, the technology, his being filmed, the TV broadcast throughout the world, his repeating his oath of office, staying calm?

19. Mike, the contact, coming to the rescue, the shootout with the President, getting out?

20. Determining who was the traitor, the assistant, the woman from the safe house knowing his identity, checking him out, the confrontation, his explanation of himself, the money, his death in the garage?

21. The reactions, audiences who enjoyed the film? Audiences with anti-US stances and gung ho attitudes and violence? The implications of the critique of
American use of drones? International response?

22. Contemporary realities of terror terrorism, the role of authorities, dealing with terrorists?

ZOOTOPIA

US, 2016, 108 minutes, Colour.
Voices of: Ginnifer Goodwin, Jason Bateman, Idris Elba, Jenny Slate, Nate Torrance, Bonnie Hunt, Don Lake, Tommy Chong, J.K.Simmons, Octavia Spencer, Alan Tudyk, Shakira.
Directed by Byron Howard and Rich Moore.

There were many ads and trailers but this reviewer had not really learnt anything about Zootopia before going into the cinema. Within a minute or two, watching an enjoyable school play about tolerance and harmony, the main actors being a young fox and a young rabbit, it seemed that this was going to be an interesting Disney animation film.

And it is. Thoroughly entertaining – and enough enjoyment for the children with the animals and their antics, enough for the adults with the story, the homage to various movie conventions, and smart dialogue. A very good candidate for the Oscar for Best Animation Film.

As can be seen from the title, this is a wonderful society, living in harmony, a real Utopia for the animals. However, the animals are completely anthropomorphic, mirroring their human counterparts exactly. And this is where the message comes in, despite the difficulties, if animals can live in Zootopia, why can’t humans overcome bigotry, racism, fear, and create a human Utopia?

The central character is a young rabbit called Judy, who desperately wants to become a policewoman, despite the anxious and cautious advice of her parents, who have a stall selling carrots, not to take any risks in life. She is voiced excellently by Ginnifer Goodwin. She does to the training, she graduates, gets her badge – but, despite some attempts to do police work, she is assigned to be a meter made by the rather large, dark, Ox police chief, voiced by Idris Elba.

Just as she is beginning to lose heart, Mrs Otto (Octavia Spencer) comes to report her missing husband and Judy is egged on by the Deputy Mayor (Jenny Slate) who is imposed on by the lion-Mayor, (she is a sheep), for menial jobs in running the city. Judy is given 48 hours to solve the crime. In the file, she notices a photo of a young fox, Nick, and goes to question him. Fans of Jason Bateman will immediately recognise his voice and intonations. He is something of a con-fox, getting out of taxes over the years – but Judy is able to record his confession and persuade him to join her in the search, giving him a badge.

He has connections so they go to visit a Mr Big, who in fact is tiny but is in Marlon Brando’s Godfather vein, surrounded by tough polar bears. They get a lead, a numberplate and go to the office which is staffed by a group of sloths – who provide a great deal of comedy with their slow and measured speech and response to telling jokes and stamping documents (and the final joke of the screenplay is excellent with a sloth reappearance). This leads Nick and Judy to the chauffeur, to a rogue Jaguar who has wolves as guards who can easily persuaded to join in a howling. This is where the action sequences, chases and cliffhangers, come in.

In fact, Nick and Judy solve the case, and Judy, her job having been saved by Nick, gives a press conference, becoming eagerly rash in her comments to the press which hurt Nick. She resigns, goes home, discovers the truth behind the plot, apologises to Nick – and off they go again with their detective work, solving the mystery – with a train rushed sequence like Taking of Pelham 123 or Unstoppable) and the unmasking of the villain behind the plot.

The dialogue is very entertaining, often very witty, enjoyable with the parallels with human experience, the echoes of the movies, the banter between Judy and Nick. If the makers can come up with another ingenious plot and smart dialogue, Zootopia 2 would be welcome.

1. Acclaim for the film, popularity, ages, different cultures?

2. The animation, the characters, textures: skin, fur, clothes? Expressions? In action?

3. The strength of the voice cast?

4. The musical score, the final song, moods?

5. The different genres and conventions? Family stories, families, buddy cops, authority and government and corruption, Mr Big, science fiction, the Godfather, action? Homage – the touch of parody?

6. The animals, anthropomorphic? Voices, expressions? The young, the old, the parents? The hopes, achievement and ambitions? Police chief,, the detective, the police, the Mayor and the assistant, the victims of corruption, thugs, the godfather, the scientists, the guards?

7. The theme of predators and prey? In the past, savage, the biology? The title of the film? The prejudice, manipulation, criminals, bigotry, racism, sexism, and the importance of multi-cultural society and harmony?

8. The opening play, predator and prey? Judy, rabbit, the town, the message, the blood and death? The fox? And the heckling fox?

9. Judy as a child, growing up, her hopes, her parents and their extreme caution, not taking risks? Judy wanting to be in the police? The challenge of the fox – and her overcoming him?

10. Judy, the training, graduation? Her being appointed to meet the police chief? Being a meter made, the jobs, the weasel – and his stealing costing?

11. The police chief, the big ox, the comedy the receptionist, Claws, eating, his app, music and dancing? The appeal by Mrs Otter? Her husband disappeared? The assistant mayor, her manoeuvres, supporting Judy?

12. The case, assigning Judy, the photo file, confronting Nick, the tax hold, her recording?, The badge? Their working together? Going to the naturist institution, the receptionist, hair, chanting, the discussions with the elephant, the elephant not remembering anything, the receptionist and the details of his memory? The number plate? Nick helping Judy, going to the office, the jokes about the Sloths, telling and retelling the joke?

13. Nick taking Judy to find Mr Big, the polar bears – and the irony of Mr Big, the Godfather and the Brando imitation, his daughter, the wedding dress, being invited to the wedding? Mr Big’s help?

14. Going to find the chauffeur, his injuries, the otter attacking him?

15. Going to find the jaguar, getting in, across the bridge, the talk, the pursuit, the terror, the cliffhangers and the rescue?

16. The internment animals, the scientist, the Mayor and his devices, to protect the city?

17. The entertaining banter between the rabbit and the fox?

18. The Police Chief, his demands, and his wanting to sack Judy? Nick speaking up?

19. The finding of the animals, following the leads, the car, the wolves on guard and their howling? The captured animals all savage? The reaction of the police chief, the holding of the press conference, Nick advising Judy to ask questions and answer them, her not following the advice, the questions and their Judy
going on and talk about biology and the predators initially being savage and changing? Nick and his being hurt? Judy going back to her parents, her selling carrots from the barrow? The fox and his reformation, selling the pies? The discovery that the night-helpers were flowers, the stories about the effect?

20. Judy and her apology to Nick? His recording it? The lead about the sheep, following, the laboratory? The blueberries and their substitution for the nightflower pellets? The other sheep, locking them out, getting the train going, the tracks, almost collision, the crash, going to the Museum? The discovery that the new mayor was the power behind the scheme? The sheep, meek and, the decision to revolt? The interview with the new mayor, the revelations – and their being recorded?

21. The achievement, Judy and her speech to the graduates, Nick and his graduation, job to find the spinster – and the irony that it was the sloth speeding!?

22. The singer, the final speech about the situation, the nightclub, the tiger as the assistant dancers? The happy ending, message of peace, hope, harmony?

BATMAN v SUPERMAN: DAWN OF JUSTICE

US, 2016, 153 minutes, Colour.
Ben Affleck, Henry Cavill, Amy Adams, Jesse Eisenberg, Diane Lane, Laurence Fishburne, Jeremy Irons, Holly Hunter, Gal Gadot, Scoot McNairy?, Harry Lennix, Michael Shannon, Kevin Costner, Carla Gugino.
Directed by Zack Snyder.


On first hearing of the title, it seemed rather silly. Not the Dawn of Justice part but a clash between the two heroes for good, Batman and Superman? They are the stars of DC comics but one lives in Gotham and the other in Metropolis. And how could they descend into enmity? Was this going to be a silly film?

Fans of superhero movies have been delighted with the result. And, it turned out to be much better than expected.

The film takes up where Zack Snyder’s 2012 Superman film, Man of Steel, ended. General Zog and the enemies from Krypton have attacked the United States, Superman defeating them and General Zog dead. As the film opens, Bruce Wayne is in the streets, looking up at the invading spaceships, seeing all the destruction of buildings, the deaths, and rescuing his friend Keefe from heavy rubble, Keefe losing his legs. Batman takes on a hostile attitude towards Krypton, the alien attack – and, for some of us in the audience, after all these decades, a realisation that, in fact, Superman can be called an alien!

The film takes Bruce Wayne/Batman as the central character. He is played by Ben Affleck, something that the fans initially dreaded, but Affleck fills the role quite well, a solid, stolid, intense, crime-fighting, humourless, middle-aged character. There are flashbacks to his parents’ death, this time situated in 1981. And, this time, Alfred is played by Jeremy Irons, serious, technically savvy (and so probably not having time to shave his perpetual stubble), something of a male nanny but also expert on surveillance and advice. This is all in Gotham.

Meanwhile in Metropolis, which we are told later is just across the Bay, Clark Kent is at work in his office, living with Lois Lane (Henry Cavill and Amy Adams again), doing odd reporting for the editor (Laurence Fishburne). But, there are those times when he disappears – especially at the beginning, with Lois Lane in Africa, interviewing a local chief, caught in the middle of an assassination attempt and troops firing on each other, to be rescued by Superman, of course, but his getting the blame in the United States and in the media for being responsible for the deaths. Superman then become something of a bad man, the fickle crowds demonstrating against him.

As regards the versus: Batman resents Superman because of the invasion and deaths; Superman resents Batman (and Clark Kent writes articles against him) because of his vigilantes campaigns against criminals.

In the meantime, here is Lex Luthor again, not with the gravitas of villain Gene Hackman but rather with the mannerisms, stammering, psychotic touches of Jesse Eisenberg. He gets his company going again, after the invasion, but has sent an expedition to the Indian Ocean to find some kryptonite which he stores in a ship, ready to wield power. He communicates with American government officials, especially Senator, Holly Hunter, but she does not agree with him and there are dastardly results when Superman is called before a Senate hearing and there is an explosion – Superman to blame again.

Batman certainly wants to combat with Superman but it is Lex Luthor who is the catalyst for the conflict, abducting Superman’s mother, Martha Kent (Diane Lane – and just as we were wondering about Kevin Costner having died in the previous film, he does have a cameo), encapsulating her in explosives, giving Superman a limited time, wanting the head of Bruce Wayne.

There is quite a fight with Lois Lane trying to intervene. And, no spoiler, rescuing Mrs Kent.

But, in the meantime, Lex Luthor has been able to revive General Zog and create a giant monster who does battle with Superman. Early in the film, there was a rather glamorous woman, Diana, Gal Gadot, who has some initial conflict with Bruce Wayne but eventually emerges as Wonder Woman and, despite her travelling from Paris on a plane, is able to don her costume and join the heroes, the beginnings of a Justice League.

Is this something of a sad termination for Superman? Where is Lex Luthor? Who will be part of the Justice League?

Well, there are two sequels planned.


1. The title, expectations? Each character? The idea of the versus? And why? The characters from DC comics?

2. The director, the cast, the continuation of Man of steel, memories of the Batman films? Special effects, action?

3. The plot as a DC Comic, plausible, audience suspension of disbelief, accepting the characters, the situation? Batman’s world, is back story, 1981, the death of his parents and the consequences? Superman, coming from time, his story, considered an alien? Metropolis, Gotham, across the Bay from each other? Terrorism, crime, alien invasion? Save even rescuing?

4. Costumes, decor, the range of sets, the scope? Special effects? The musical score?

5. The screenplay, the language of saviour-figures, avengers, self-sacrifice, including Jesus as a saviour figure? Lex Luthor and his frequent talk about God, freedom, the impossibility of an avenging and loving God? The context of religious language for this confrontation?

6. The introduction to Batman, the priority of the film focusing on Batman? As a child, 1981, the cinema, the streets, the, his parents being killed, his grief, fears, the cave and the bats, falling, his dreams, visiting the cemetery? His motivation, revenge? His wealth, lavish, car and plane, Alfred and his service, technology and communication? His quest, suspicions of Superman, his experience of the attack from Zog? His friend losing his legs? Anti-Superman? And humourless?

7. Superman, the Invasion in Man of Steel, Zog, his destruciton, Superman, considered an alien, his mission to save people? The crowds, the ethical responses? Blaming him? His past, Kent, his mother and the visits to her, her encouragement? The vision of his father, talking with him? His relationship with Lois, his place in her life, his dependence on her? His work as a journalist, Perry, the menial tasks, sport, his disappearances? His becoming a target for popular opinion? The critique by Bruce Wayne?

8. Lex Luthor, his wealth, his father issues, age, psychotic, his manner, mannerisms, talking, ideas, the corporation, the expedition to the Indian Ocean to find the Krypton? The ship, storing the Krypton? The code name, White Portugese? His stealing, weapons? The visuals of the vast American bases, his interaction with the politicians, the Senate, his plans, the Senator disagreeing, his hosting the party, his eccentric speech? His secretary and her presence? The hearings, his threats to the Senator, Superman coming to the Hearings, the liquid on the desk, the explosions?

9. Batman, combating crime, his personality? Luthor targeting him, going to the party, the download, Wonder Woman stealing the download, tracking her down, returning it? Playing the download, the scenario, the torture of Batman, and the effect of his nightmares?

10. Lois Lane in Africa, reporting, the massacres, assassination attempt, her journalistic work, the two sides, the attack, the poison for the assassination, concealed in her book, taking it back to the authorities, the discussions with the American authorities, her continuing the investigation and secret discussion?

11. Keefe, his legs, later bitterness, his demonstration, with the Senator, going to the hearings and wanting vengeance on Superman?

12. Lex Luthor and the Krypton, recovering the body of Zog, cutting himself, the blood on Zog, the creation of the monster, vast, power, threats, the monster fighting, in action, the attempt to destroy it, the nuclear possibility, the consent of the President, the difficulty for Superman being with the monster – yet the firing of the weapon and into space?

13. Mrs Kent, her abduction, the threats, the thugs keeping her, Luthor and the time limit, blackmailing Superman to defend his mother, wanting the head of Bruce Wayne?

14. The battle, Lois and her presence, Batman and his vast weapons, Alfred and the communications and control, Batman winning? Lois and her plea? Batman listening, going to save Mrs Kent?

15. Superman, the confrontation with Batman, the details of the fights? The appearance of Wonder Woman, the, the costume, Bruce investigating her, the photos, the past, the story? Lois and the sword and throwing it into the water, her diving into recover it, Superman rescuing her?

16. Superman, into space, fighting the monster, his death, the ritual of funeral, military, Lois and the ring, grief at the grave?

17. The arrest of Lex Luthor, authorities shaving his head, in prison, been taunted?

18. The future, the establishing of the Justice League? Speech, hope, the soil falling on Superman’s coffin?

19. Looking forward to the Justice League meeting – and the sequels?

A BIGGER SPLASH

Italy/France, 2015, 124 minutes, Colour.
Ralph Fiennes, Tilda Swinton, Matthias Schoenaerts, Dakota Johnson, Aurore Clement, Lily Mc Menamy, Corrado Guzzanti.
Directed by Luca Guadagnino.

David Hockney created a celebrated painting called A Bigger Splash. It showed a group of men sunbathing. The biggest splashes in this drama are not as tranquil as sunbathing.

The film has received quite some praise as being a character study, a portrait of four individuals, from a show business and media background, a tangle of past and present relationships, wealthy, enjoying – but, ultimately, that is not the right word – a holiday on a rather arid Sicilian island. At just over two hours, the film immerses the audience in the lives of these characters and in the atmosphere of the island.

The question for the audience is how interesting are the characters, can we identify with them, or are they and their crises rather remote from our ordinary experiences? For this reviewer, they were not all that very interesting.

And, who are they?

The central character is Marianne, a former pop star, glimpsed standing on stage in an auditorium, seen in a studio recording, moments of tension in her dressing room. But now, she is recuperating from surgery on her throat, a question of whether she will be able to sing again. She is played by Tilda Swinton, a touch of the tour-to-force because of the surgery making it impossible for Marianne to speak. She has to mime. She has to whisper. With her is her companion, Paul (Matthias Schoenaerts), a technician, a photographer, who has had a suicidal experience because of his drinking but is now more tranquil in the company of Marianne.

Into their rather quiet companionship bursts Marianne’s former producer, Harry, an exuberant, over-exuberant, Ralph Fiennes. Talking incessantly, buoyantly laughing, he takes over, much to the couple’s apprehension. And, he brings with him, a newly found daughter, Penny, Dakota Johnson. the piece de resistance is Fiennes entering into the spirit, energetically dancing to The Rolling Stones.

The rest of the action takes place over two days, with some flashbacks for Marianne remembering her relationship with Harry, Harry remembering his introducing Paul to Marianne. The daughter is rather quiet, not particularly taking well to the new company, but, Lolita-like, she sets her cap at Paul. Dakota Johnson looks rather like a young Sharon Stone Reminding audiences of Stone’s earlier films.

The director made an impact with his drama, I am Love, also starring Tilda Swinton.

Tensions in the relationship, literal struggles and quite a surprising outcome.

1. The title? Application of the painting by David Hockney? The range of water, splashes, the final climax in the water, the pool?

2. Sicily, the island, the coast and terrain, the house and interiors, restaurant, the town and shops, swimming pools, natural pools?

3. The music context, the range of songs, performance, the Rolling Stones, the auditorium, Marianne, the recording, Harry and his dancing to the Rolling Stones?

4. A character study, performances, drama? How interesting the characters and their problems?

5. Marianne, the focus, Tilda Swinton’s presence, age, the experience of surgery, and not being able to speak, her miming, whispering, the ultimate screaming and the danger to her voice? Credibility of her past as a pop star, on stage, performance, the dressing rooms and her behaviour, in the studio, in the recording, relationships? The years with Harry, producer, breaking with him? His introducing Paul, the six years with Paul, the quality of their relationship, the sexual experiences, the holiday, the house, Marianne’s friends away? At the beach, news of the arrival, hurrying to the airport? The apprehension about Harry’s visit?

6. Paul, Belgian background, technician, photography, working with Harry, the studio, meeting Marianne, six years with her? His breakdown, alcohol, suicide attempt, the note, rehabilitation? His caring for Marianne, her caring for him? His reaction to Harry’s arrival, at the airport?

7. Ralph Fiennes as Harry, extreme extrovert, always talking, exuberant, gestures and manner, his bringing Penelope, his discovering his daughter, her questions about his paternity and the thought of DNA paternity checking? His exuberance, in the car, getting into the restaurant, meeting friends, presuming on his reputation and charm? The police chief giving up the table for Marianne’s sake? Clothes, swimming, naked, uninhibited, his relationship with Marianne and the flashbacks to the past, relationship with Paul, the flashbacks, to Penny? Inviting the visitors, cooking the fish, the meal, the songs, his vigorous dancing to the Rolling Stones? Dancing with Sylvie? Going to the feast in the town, the people, the religious procession, enjoyment? At home, going shopping with Marianne, the return, the others absent, the sexual encounter, her saying that he should leave? The meal, concern about Penny? Going to swim, planning to leave?

8. Marianne, sometimes tense, her throat and the surgery, recuperation? Yet enjoying the conversation, the outings? Her memories? The meals, the feast, dressing for going out? The shopping? The sexual encounter with Harry? The break? Cooking, the meal?

9. Paul, tense, his behaviour, following to the feast, photographs? With Marianne, Penny and her Lolita behaviour, the walk, seeing her naked? The audience not seeing any sexual encounter? The aftermath and behaviour? Penny at the meal, leaving?

10. Penny, her story, College break, her age, Connecticut, her mother, like Lolita, seductive, her dislike of Marianne, the relationship with her father and their
interactions, the music? Her reaction to Paul, the meals, the feast, leaving, seductive on the walk, naked, the pool? Leaving?

11. Paul and Harry, the clash, the swimming pool, the fight, Paul overcoming and killing Harry?

12. The staff, the cooking? The maid discovering the body? Marianne and her reaction, Paul and his cover-up, Penny and her reaction, the police arriving, the police chief, the body in the pool, the crime scene? Inviting them to the station, the interviews? The glimpse of the foreigners, the confrontation with Paul and Penny, their being sub suspects in murder?

13. Penny, able to speak Italian, younger age, leaving, the airport, Marianne slapping her, her looking back from the plane after walking in the rain?

14. Paul and Marianne together, Paul tense, in the car, concealing the truth, the pursuit by the police, his fear, the discussions about the autograph and Marianne giving it? Driving into their future?

15. The human drama, relationship and hurts? And the surprise of the death at the end?

WHERE TO INVADE NEXT

US, 2016, 120 minutes, Colour.
Michael Moore.
Directed by Michael Moore.

For a while, documentary-maker, Michael Moore, was a hero, on television and beginning to make feature films, especially his portrait of his home town, Flint, Michigan, Roger and Me, and the car industry and its collapse.

Then he became headlines with controversial documentaries, especially with his Oscar-winning film about guns and students in schools, Bowling for Columbine. He followed this up, winning the Palme d’Or at Cannes with his political film, Fahrenheit 911, America after September 2001. Further documentaries were Sicko, comparing America’s health-care system with the benefits of other countries from France to Cuba, and Capitalism: A Love Story.

But that was six years ago. Now, with this new film, it sounds as if he is going to take on American militarism, American involvement after World War II (and he does list and give visuals of American defeats after 1945, Korea, Vietnam, Iraq, Afghanistan…). But, actually, this film is much more positive and is certainly not what we might have expected it to portray.

The ever shambling, lumbering, heavy Michael Moore, shabby clothes and hat, making him a character with characteristics rather than a glib-looking and sounding smooth interviewer, has decided that he should invade quite a number of countries but not militeraly. Rather, he takes a look at some of the significant things that these countries are doing, matters that could well be transferred to the United States to make it a better place – something like re-shaping the American Dream.

So, this is a jolly Michael Moore, off to Europe and Tunisia, with his camera crew, making most of the situations look casual, listening sometimes with astonishment, although arranging some more formal interviews, especially with the President of Slovenia.

His interviews and his exploration of themes will probably make many audiences sit up and take notice. Despite problems in the various countries, some of their social policies have been very successful.

He meets up in Italy with a couple who explain the amount of paid holiday time they have and their possibilities for travelling; he meets owners of factories and managers of factories who are comfortable with higher pay, benefits like going home for lunch and cooking, elimination of stress for greater productivity. By contrast, when he moves to France, he shows gourmet meals in close-up and their preparation, only for us to discover that he is visiting a school and this is the chef and the lunches for the students whose lunch-hour is the equivalent of class enabling them to be more discerning about food and health. He does show audiences, by contrast, the typical American school lunch, where health does not seem to be a preoccupation.

Among other countries in Europe that he visits are Finland, checking their education system where homework is virtually eliminated enabling the students to be free, develop their interests and hobbies; and Slovenia where tertiary education is free, with a number of American students going there to study at the University. It is industry in Germany that he investigates, factories which are salubrious, with windows and light, with good conditions for workers and better productivity. Portugal is famous in having abolished criminal drug legislation and Moore has an interesting chat with a rather laid-back government official and interviews with local police, being reminded that with the decriminalisation of drugs, crime has gone down in Portugal.

When he visits Norway and goes to a prison, many audiences who feel that prisoners should be punished and feel the punishment will think that the prison is something of a comfortable motel. And there are only four guards. Interviews with the prisoners highlight government interest and policy is in human dignity and rehabilitation. And just when vindictive audience attitudes might be on the rise, Moore anticipates the criticism and visits a maximum security prison in Norway, presenting, tongue-in-cheek, music videos sung by the guards welcoming people to the prison. But, once again, it is a matter of human dignity, not revenge. This is highlighted by an interview with a father whose son was killed by Brevik and who went to the trial but does not believe in an eye for an eye Justice, lowering people to the level of the criminal.

There is a surprise visit to Tunisia, praising the role of women, their presence in Parliament, and the availability of sex education, abortion since 1973, and the philosophy that the government should not interfere in people’s private lives. Iceland is another port of call, a reflection on the financial collapse and its devastation, the small nation’s recovery, the trial and imprisonment of rogue bankers, an interview with the first woman president and a golf game with three female CEOs and their observations about the role of women in Iceland.

Moore wants to be optimistic, that change is possible despite the odds. He remembers the Berlin Wall coming down, his presence there with a friend, people scraping at the wall, then a hole, people escaping, the collapse of the wall, and change and unification in Germany. He also remembers the end of apartheid, the freeing of Nelson Mandela and his becoming President.

At the end, Moore makes the point that most of those improvements that he valued and wants to take back to America after his invasion all had precedents in American history and the American experience – and they need re-discovery.

1. Michael Moore, the media personality and commentator, the career on television, his making feature films? Winning awards? Issues and controversies?

2. As a personality, audience knowing him, liking him or not? The past, his causes, especially Flint, Michigan? His being critical? Criticism of his lack of evidence, his subjective approach, superficial or not? Yet were half of what he presented was true, this would make an enormous impact? His shambling, lumbering gait and size, clothes, careless, manner and walk, his talk to camera, with the interviewees? A character?

3. The title, expectations – and different perspectives from what was expected?

4. An invasion for good, for ideas, in contrast to American attitudes, ideas of behaviour? His taking the American flag, talking, taking ideas and planting the flag? At the end, noting that all these ideas had a grounding in the United States and experience?

5. His intention, reshaping the American dream?

6. Flights, travel, maps, the production crew, photographers, the meetings and appointments? The range of countries, people met? Anticipation of critique – especially of crime and punishment in prisons in Norway?

7. The visit to Italy, the relaxed atmosphere, the couple and their talk, their life and relationship, holidays and travel? The managers of the factories and owners of the companies? The people working in the factories, sewing, the motorbikes? The family owners and their relaxed attitude, the manager of the factory? The holidays, the meals, going home to cook, the extra money, the extra holidays? The issues of stress and the lack of stress, productivity? And many discovering that they didn’t want really to live in the US?

8. Travel to France, looking at the food and the cooking and presentation, the chef – and the school? Moore having meals with the children, discussing with the chef, the meal as class time, learning, discerning healthy food, the cola discussion, the chef not eating hamburgers? The menus, the staff discussing monthly menus? The contrast with the visuals of American meals, especially for schools?

9. Slovenia, university courses as free, the discussions with the students, the campus, the Americans in Slovenia, discussions with the staff, the attitudes, the courses? The 45 minute discussion with the President?

10. Finland, the discussion with the students, with the Minister of Education, with teachers, the nature of the courses, the freedom for the children? The issue of no homework or minimal homework? Using time profitably, hobbies, interests? The students who had done in exchange studies in the US?

11. Germany, industrial policy, the nature of the factories, the windows, open, health, productivity, discussions with the industrialists?

12. Norway, the prisons, the visit to the prison, the look of the prison, the loss of freedom but freedom within the prison, the emphasis on human dignity, the interviews, the different criminals, their talk, the rooms, not getting into fights, no sexual harassment? The four guards and their relaxed attitude? The emphasis on rehabilitation, study? Audience response to crime and punishment? Anticipating this criticism with the visit to the maximum prison, the humour of the video with all the guards singing the lyrics, encouraging trust in the prisons? The criminal types, trust? The issue of Brevik, talking with the father, his son dead, describing the experience, his philosophy, not an eye for an eye, not descending to the level of the killer? The discussions with the authorities?

13. Portugal, the issue of drugs, the history, the relaxed official, his disbelief about American penalties, the police, no arrests, less violent society, the police against capital punishment?

14. The visit to Tunisia, women, in the Parliament? 2011 and the spring, the protests and their effect? The authority and his stepping down in favour of women? Sexual education, freedom of abortion since 1973, attitudes towards homosexuality and privacy? The government not intervening in private areas? A Muslim country?

15. Iceland, the issue of finance, hard hit by the collapse, the harsh experience? The photos of the bankers, the fact that they were arrested, charged, tried, sent to prison – far far away? The role of women, the first woman elected as President, the flashbacks to her campaign, her policies, her reflections? The three CEOs, women on boards, one as a token, two as back up, three having positive contribution? Their playing golf with Moore? The prosecutor, the discussion with him, his getting the advice of the American lawyer, Michael Moore leaving the dossiers about the American bankers? The contrast with the American bankers
their freedom, except that the man with a Muslim name was sent to jail?

16. Back to Berlin, his friend, the visuals of the cutting down of the wall, people chipping away at the wall, the hole, people coming through, the collapse of the wall? Walking along the remnants and reminiscing?

17. Reminiscing about the wall coming down, and the end of apartheid, optimistic because of the possibilities for change despite the seeming impossibility?

18. A more congenial Michael Moore, going home with ideas, his pointing out that these freedoms were in the American Constitution, Moore citing precedents for this kind of behaviour in the US, the role of women, Michigan abolishing capital punishment, government care, past University fees – a range of possibilities?