THE BLACK DRAGONS

US, 1942, 64 minutes, Black and white.
Bela Lugosi, Joan Barclay, George Pembroke, Clayton Moore.
Directed by William Nigh.

The Black Dragons is one of many B-budget films from Monogram Studios with Bela Lugosi. Still relying on his screen presence from Dracula, he slinks in and out of scenes, lurking in a sinister manner. This time he is a mysterious character who comes to the United States and systematically kills off members of a group of American industrialists who are fifth columnists, wanting to sabotage the war effort, getting appropriations from the American government for shipbuilding yards away from the sea etc. They then destroy the installations and get the money.

The film is simply the focus on Lugosi appearing, confronting each member of the group, meeting the niece of one of them, a good woman who helps in the solution of the case, along with an FBI agent, played by Clayton Moore who was to become the Lone Ranger.

The film was directed by William Nigh, director of many of this kind of B-budget thriller including The Ape with Boris Karloff.

1. The impact of this film in its time? As a supporting feature? Short running time?

2. The small budget, sets, cast? Editing style? Sinister musical score? A star vehicle for Bela Lugosi?

3. The basis of the group of industrialists, Americans, fifth columnists, the bombing of Pearl Harbour, their plans for appropriations, their lifestyle, wealth, women, political influence? Their meetings? Their characters? Doctor Saunders as the central character? His being confronted by Monsieur Columb? His refusing to see people? The other members of the group, pursued by Monsieur Columb, his killing them all?

4. Alice, her arrival, meeting Monsieur Column, wanting to contact her uncle? With Dick Martin, the ambitious young FBI agent? With Columb? Trying to solve the case?

5. The background of the FBI, their methods? A film made in 1942 with a critique of exploitive American industrialists, war appropriations? Influence on the government? The film utilising the thriller style with the touch of horror with Bela Lugosi?

HAPPILY N’EVER AFTER

US/Germany, 2007, 85 minutes, Colour.
Voices of: Sarah Michelle Geller, Freddie Prinze Jr, George Carlin, Andy Dick, Wallace Shawn.
Directed by Paul J. Bolger and Yvette Kaplan.

A good idea, an inventive idea – but the execution!

The straightforward animation makes for clear communication but the dialogue and the voices are truly offputting. The screenplay is of the slang American kind (the ‘you gotta act smart this time’, ‘I wanna do somethin’ variety – or lack thereof). Much of it would not get a pass in an English language course. It is a too contemporary, lazy screenplay. And the delivery matches it. While Andy Dick and Wallace Shawn voicing two assistants to the Wizard get the humour and delivery right, as does George Carlin as the Wizard and Patrick Warburton as the vainly preening Prince Charming, the others do not. Sarah Michelle Gellar and Freddie Prinz sound as if they have just come from their latest Scooby Doo film, conventional American goodies. The worst offender is Sigourney Weaver as the evil stepmother whose voice is strident and her delivery and maniacal laughter madly over-the-top screeching.

As was noted, the idea is not bad. What if the familiar stories had an unhappy ending? The evil stepmother does her best to achieve this, especially with the Cinderella story. But, she didn’t count on an extra character who is not in the books, the servant and laundry man, Rick, who works for the Prince but is in love with Ella and saves her as she is pursued by wolves, monsters, trolls and Sigourney Weaver.

The 2006 Hoodwink’d, an amusing variation on the Red Riding Hood tale, showed what can really be done if you are going to spoof happy endings.

1. The impact of the film? For adults? For children? Familiarity with fairy tales? Enjoyment of the spoof?

2. The animation, computer-generated, familiar styles? Clear and bold? The voices, particularly American, the strident voices? The language, the bad grammar, careless English – for fun, or just careless?

3. The title? Explanations? The spoof on happy endings?

4. The focus on the wizard, the various stories, the introduction to the familiar Snow White, Sleeping Beauty, Rapunzel …? Cinderella? The books, the text, the formula? Everything the same? The possibility for change?

5. The wizard, his control of the stories? His decision to go to Scotland? Changing into the kilt? His absence? His return and being assured everything was alright?

6. Mambo and Monk, small, mischievous, tipping the balance? Their meeting with Cinderella, assisting her on her quest, jokes, slapstick situations? The final heroism? Reassurance?

7. The stepmother? As voiced by Sigourney Weaver? Shrill and strident? Her wanting control? Unhappy endings? The Cinderella set-up, the ugly sisters, the invitation to the ball? The preparations, giving Cinderella too much to do? The ball itself? The prince, her plans? Her antagonism? Her intervention – like a wicked witch? Her presence, dominance, pursuing Cinderella, pursuing Rick? The build-up to the final confrontation, her falling into the cauldron, her having the wand? The final destruction? The credits sequence and seeing her with the walruses at the North Pole?

8. Ella, the Cinderella figure, invitation to the ball, wanting to marry the prince? Her taking Rick for granted? Going to the ball, the dance, losing her slipper? Her being pursued in the forest? Meeting Mambo and Monk? The prince and his vanity? Rick and his continued help, heroism, her falling in love with him? The final confrontation, the adventures, her being saved?

9. Rick, the voice-over, his not being in the fairy tales, his doing the laundry, serving the prince? His love for Ella? His wanting to be the hero, helping her through the woods, the various adventures and dangers? The fights? The final heroism – getting into the palace past the wolves and monsters? The happy ending?

10. The prince, his vanity? Riding the horse, exercising? His expectations of happy endings? The pursuit, his fall from the horse – and the character of the horse and its laughter? His finally helping Rick?

11. The various villains, monsters, the wolves? Their working together, the pursuit of Ella? The confrontations with Rick, his defeating them? Their being destroyed?

12. The supporting characters, the fairytale characters? The trolls? The troll with the baby and his being with the wicked stepmother? His changing sides at the end?

13. How clever the story? The variations on the happy ending theme? Was the execution successful? Visually, verbally, thematically?

REAPER

Canada, 2000, 96 minutes, Colour.
Chris Sarandon, Catherine Mary Stewart, Vlasta Vrana, Joanna Noyes.
Directed by John Bradshaw.

Reaper is a murder mystery centring on an arrogant crime writer, Chris Sarandon, who has achieved significant reputation and has writer’s block. Attacked on a television programme for his morbid interest in crime, he walks off in indignation, leaves his wife and goes to a secluded motel to try to write. He has had drinking problems and continues to drink, and refuses to take his medication.

In the credits there has been an intimation of somebody pursuing a woman in the forest and her being killed. Two women are killed in different places and each has a page of his novel at the scene of the crime, the description of the murder. The local Sheriff, Vlasta Vrutna, is not particularly helpful to the Detective sent to investigate, Catherine Mary Stewart. She lives at the same motel as the author and gets to meet him, and he is an immediate suspect.

There are many scenes of forensic investigation, and a clue given about a parolee who may then be a murderer. He is pursued, draws a knife, is shot by the investigator.

When clear evidence is available, it looks as if the sheriff was the killer – and the investigator attempts to drive away with the author. But…

The film was co-written by Australian director and writer, Vincent Monton.

1. An interesting murder mystery? Crime, investigation, suspects?

2. The city settings and the remote motel on the coast? Television studio? Home? Motel rooms? Seems of crimes? Police precincts? The open countryside? Musical score?

3. The title? The introduction to Luke Sinclair, his personality, morose, questions on television, the attackers coming to the studio, his walking out, the publishers wanting a book, his promises, writer’s block for 18 months? His going home, not taking his tablets, drinking, leaving his wife?

4. Driving, the motel, remoteness, the owner welcoming him, promising not to reveal the truth, immediate gossiping? In the room his writer’s block? Drinking? Dining, people recognising him?

5. The first murder, the body, Sonia and her being sent to investigate, clashes with the Sheriff? The local policemen not taking precautions? The finding of the page with the corpse? The sheriff accosting him in the dining room, speculation about the page and the description of the murder? His whereabouts?

6. The character of the woman owning the motel, friendly, information, gossip, listening in? Hearing Luke’s wife, the phone calls, her coming to accost him, criticisms, leaving?

7. The second body, the description in the book, the page? The German hitchhiker?

8. Sonia, information about blood types, parolees, the company that used the strangling tape? The information about the driver, seeing him pick up the young girl, driving, fear, turning off the road, the police pursuit, his drawing the knife, Sonia shooting him?

9. Sonia, with Luke, the sexual encounter?

10. The information about the blood, the tattoo on the girl’s neck, further suspicions of the sheriff, motives for letting Sonia shoot them – but his being really out of breath?

11. The Sheriff’s pursuit, Sonia suspicious of him, going into the forest, her fear of Luke, his attempt on her life, the sheriff shooting and saving her?

THE BIG LEBOWSKI

US, 1998, 117 minutes, Colour.
Jeff Bridges, John Goodman, Julianne Moore, Steve Buscemi, David Huddleston, Philip Seymour Hoffman, Tara Reid, Peter Stormare, Flea, John Turtutto, David Thewlis, Ben Gazarra, John Polito, Sam Elliott.
Directed by Joel and Ethan Coen.

The Coen Brothers have proven that they have a unique place in American cinema. They can take any genre, comic or serious, and not only do it excellently, they can twist the expectations and provide humour and an entertaining gallery of eccentrics (Raising Arizona, Barton Fink, Fargo). Which is what they do here. Taking their cue from Raymond Chandler (and a title and plot variations from The Big Sleep), they offer a portrait of modern LA, ageing hippies, ex-Vietnam vets, criminals, pornographers, sinister wealthy businessmen. Jeff Bridges is Dude, lazily living in his past, John Goodman (in a marvellously different performance) is the dominating veteran and Steve Buscemi is the compliant third member of their bowling team!

There are a lot of plot and twists and turns. At one stage, the narrator takes up a difficulty that some audiences have with the Coens, the incessant swearing, but the character replies 'what cussing?' (or expanded words to that effect). The Coens are originals and so is The Big Lebowski - including the Busby Berkeley dream sequence!) The Coen Brothers and Chandler in 90s LA.

1. The popularity of the film? Cult status? The character of The Dude? The 20th century type?

2. The Coen brothers, their style, serious, humour, homage to films, this time to Raymond Chandler and detectives, LA? The musical sequence? The importance of language, jokes? The joke about coarse language?

3. The narrative, the stranger, his introduction to The Dude, as a cool character, as a type, post-Vietnam, unemployed, his range of friends and interactions with them, going bowling, his being an optimist? The stranger meeting The Dude at the bar, the cuss words and his response? The end, the tribute to him? The opening commentary and the image of the Tumbleweed, the image and the song?

4. The Los Angeles locations, The Dude’s place, untidy and poor? The bowling alley? The streets? The Lebowski mansion? The beach and the outside sequences? The range of songs, the period?

5. The Dude, his philosophy, easy going, look, hair, clothies, language, use of drugs, not having money, his love of ideas, the discussions, with Walter, Donny trying to respond?

6. The assault, the attack on The Dude’s house, the discussions, wanting the money, finding the wrong Lebowski? His going to the other Lebowski, the man in his chair, the issue of money, companies, his trophy wife and seeing her at the pool with her boyfriend? Her being associated with the porn industry, her being abducted, the husband concern’s, wanting The Dude to find her? In reality?

7. The role of Brandt, assistant, with the touch of the obsequious, his manner with his boss, his manner with The Dude, his various appearances?

8. Walter, the Vietnam background, serious, his look, putting Donny down, helping The Dude, his range of mistakes, with the guns and tracking people, thinking the real Lebowski was faking, pulling his chair? The final plan, talking, the guns, messing up? The Dude and his exasperation?

9. Donny, taling with his friends, being put down, his sudden collapse, death, the funeral?

10. John Turturro and his cameo as Jesus, the bowling, his look and manner, associates, the clash with Walter?

11. Maude, appearing, the father’s daughter, disdain, the personality, the comments about the abduction, cash, tough, her associates and their bully tactics, relationship with Knox Harrington, his personality, talk, effete? Maude and her interest in The Dude, sex, wanting to conceive, wanting to have an absent and uninvolved father?

12. The abduction, the various financial interests, the Nihilists, the leader, demanding the money, the misinterpreting the situation, the confrontation with The Dude, fights?

13. Jackie Treehorn, wealth, the pornography industry, summoning The Dude, the threats? His sinister manner?

14. The porn industry, LA, the examples, the stars, Bunny, the money?

15. The musical interlude, lavish, The Dude flying, Maude, the Broadway musicals?

16. Bunny, the trophy wife, the abduction, and free, the revelation, the dealers?

17. The Dude and what he learned from the experience, with Lebowski, taking the carpet, with Maude, her demands, his friends?

18. The easy-going characters, LA at the end of the 20th century? The wid appeal to audiences?

WICKER PARK

US, 2004, 114 minutes, Colour.
Josh Hartnett, Rose Byrne, Matthew Lillard, Diane Kruger, Jessica Pare.
Directed by Paul Mc Guigan.

Paul Mc Guigan has directed a somewhat strange range of films, Scottish realism in Acid Trip, London Mob violence in Gangster No. 1 and the Middle Ages in The Reckoning. Now he tries his hand at his first American film which is, in fact, a remake of the 90s French psychological thriller, The Apartment. It has been transferred to Chicago and its Wicker Park.

This is a difficult film to follow as it shifts in time, probing memories and creating its narrative in jigsaw puzzle fashion, scattering the pieces and relying on players to find the connections. What initially seemed an unkind remark by one reviewer – that the protagonists should have made more use of their mobile phones to get in touch with each other – actually seems a very sensible suggestion. But, of course, that would have meant quite another film.

The focus is on Josh Hartnett, usually a sombre screen presence and this is no exception. The object of his infatuation is a dancer played by Diane Kruger (National Treasure and Helen in Troy). Her best friend is played by Australian Rose Byrne (also in Troy). While she is in a relationship with Matthew Lillard (whose bewilderment at times mirrors that of the audience), she has set her sights on Josh Hartnett. Like many a psychological puzzle, when the picture is put together, it seems far less of a mystery and, in fact, might seem fairly straightforward, even obvious. This is the impact of Wicker Park – puzzle over the puzzle, admire the visual style, but then wonder whether it was quite worth the effort.

1. A romantic drama? Mystery?

2. Chicago, landscapes, apartments, offices, the world of dance, theatre? The musical score?

3. The complexity of the time periods, the screenplay moving back and forth? The insertion of flashbacks at key dramatic moments?

4. Matthew’s story, his age and experience, relationships, photographer, his friendship with Luke? The encounter with Lisa, falling in love, the relationship, the meetings, his proposal, her reaction, missing out on the appointment? His puzzle, memories of love, time, Lisa’s disappearance?

5. Two years passing, his fiancee, her business connections, his new job, social atmosphere, the plan for him to go to Shanghai? The restaurant, the dinner, going to the phone, hearing Lisa, the chase?

6. His pretence of going to China, phone calls, tracking Lisa, finding Alex, changing his ticket? Leaving notes?

7. Lisa and dance, her character, her background, the meeting, the attraction, their time together, special? The proposal, her fear, her disappearance? Her career, the years, the prospect of going to Europe?

8. Alex, in the apartment, the mystery woman, the flashbacks, her seeing Lisa and helping her, their becoming friends, her acting career, the relationship with Luke, the rehearsals, performance? In the apartment, saying she was a nurse, deceiving Matthew, seductive, the sexual encounter? Taking on Lisa’s identity?

9. Luke, his work, shop, the shoes, Lisa and the shoes, Matthew serving her, the shoes in the apartment, Alex? His enthusiasm about Alex? His going to the theatre, persuading Matthew to come?

10. The revelations about Alex, her contriving situations, over several years, the flashbacks and explanation, her obsession, behaviour, stalking Matthew, deceiving him, deceiving Lisa, her performance, not wanting Matthew to see her, turning away?

11. Lisa, about to leave, the phone calls, the connection, the note? The traffic, Matthew hurrying, reunited?

12. The impact of the story because of its complex storytelling – how would it be had it been simply straightforward and linear?

WALKING TALL

US, 2004, 86 minutes, Colour.
The Rock, Johnny Knoxville, Neal Mc Donough, Ashley Scott, Michael Bowen, John Beasley.
Directed by Kevin Bray.

Walking Tall was a popular film of the 1970s, the story of the tough sheriff, Buford Pusser, who was not afraid to throw his (considerable) weight around, getting a block of wood, and imposing law and order.

This film, almost 30 years later, is based on the original screenplay though updated. It is a star vehicle for popular wrestler, The Rock, Dwayne Johnson, who had appeared in films like The Scorpion King but was about to launch himself as a movie star, appearing in tough films but also moving into family-oriented films and showing a flair for comedy.

The film is brief, shows its hero returning from military service, finding that his town is run down, the mill is closed, the local casino is where the money is made. It is run by his school friend played by Neal Mc Donough who has chosen the dark side and exploits the people, gambling, drink, women, drugs, controlling the town. Johnny Knoxville, at the time of the beginning of the Jackass film and television series, is the close friend. Ashley Scott is a stripper at the casino, fallen on hard times, but falling for the hero.

After exposing dealers in the casino as cheats, he fights, causes a lot of destruction, the owner trying to cajole him, offering him a part of the profits, but finally brutalising him – with the result that the hero picks up a beam, wreaks justice with the beam, goes to court but is found not guilty and then volunteers to be sheriff and clean up the town.

1. The remake of the film from the 1970s? Updating? Changes of names? But the dedication of the film and acknowledgement of the original Buford Pusser?

2. The locations, the town, the mill, run down, the casino, the police? Musical score?

3. Chris, the screen presence of Dwayne Johnson, big and imposing? His past story, from the town, his relationship with his parents, sister, nephew? His friendship with Ray? At school with Jay? His return, eight years in the service, hoping to continue, discovering the changes in the town? Reunited with his parents, family, friends? Discovering the young people and their drug-taking, the effect on his nephew?

4. The friends, gathering for the ball game? The invitation to the casino? Jay and his welcoming them? The lavish casino, the source of business in the town? The gambling, the women, the money? The drugs?

5. Chris, discovering the dealer was cheating, loaded dice, starting the fight, the huge fight and everybody involved? Jay, watching, his security men?

6. The role of the Sheriff, the initial welcoming of Chris, the arrest? The consequences?

7. The encounter with Deni, memories, her personality, as a stripper, making ends meet, the relationship with Chris, support, danger?

8. The confrontation with Jay, his threats, his power? His range of thugs? The old mill and the drugs?

9. The violence towards Chris, in the old Mill, the place where they played in the past? Chris, the reaction, getting the beam of wood, the casino, the smashing?

10. The risk to the family, the reaction of his father and mother, support?

11. Going to trial, Chris and his defence, his exposure of the corruption, Jay in court?

12. The verdict of not guilty, Chris and his offering to be the sheriff, the confrontation with the past sheriff, the guns and violence, deaths?

13. The buildup to the final cleanup, the casino, Jay, defeat, the restoration of law and order?

14. The increasing violence, American style, as the film went on, and the touch of the vigilante justice – in the form of the sheriff?

MICHAEL JACKSON'S JOURNEY FROM MOTOWN TO OFF THE WALL

US, 2016, 93 minutes, Colour.
Michael Jackson.
Interviews: Joe Jackson, Marvin Jackson, Jackie Jackson, Randy Jackson, Tito Jackson, Quincy Jones, John Branca, Kobe Bryant, David Byrne, Rob Cowan, Bobby Colombo, Barry Michael Cooper, Misty Copeland, Lee Daniels, Spike Lee, Kenny Gamble, Berry Gordy, Leon Huff, John Legend, John Leguizamo, Rosie Perez, Greg Phillinganes, Mark Ronson, Joel Schumacher, Maurice Warfield, The Weekend, Harry Weinberg, Pharrell Williams, Stevie Wonder, Carole Bayer Seger.
Archive Footage: Fred Astaire, Gene Kelly, Eddie Murphy, Sammy Davis Jr, Marvin gaye III, LaToya? Jackson, Liza Minnelli, Paul McCartney?, Diana Ross, Justin Timberlake.
Directed by Spike Lee.

It is quite extraordinary to look back at the late 1960s and the whole of the 1970s to appreciate the impact in the music world, tours and on television the impact of the Jackson Five and, of course, Michael Jackson at a very young age and as lead singer.

What is in the consciousness of most audiences is Michael Jackson subsequent life, his growing eccentricity and isolation, the issue of his skin colour, his relationships, marriages and children, accusations about his dealings with young children, court cases… Audiences also remember medication issues and the sadness of his death.

One of the best documentaries about Michael Jackson is This is It, made not long after his death, charting his rehearsals for his forthcoming tour, seeing him in the rehearsals, singing, dancing, perfectionism, but also the repercussions on his health and mental status.

Spike Lee has been a long admirer of Michael Jackson. His company, 40 Acres and a Mule, has produced quite a number of documentaries as well as feature films, channels for Spike Lee’s creativity, his angers, his vehemence against racism, his protest against gun violence in the African- American community, especially in random killings.

But, what is done here, is to go through a great deal of archival material and then interview a considerable number of people who knew Michael Jackson, worked with him, composed songs, arranged music, producers.

The film takes us back to the late 1960s with a great deal of footage of the Jackson Five and Michael singing and dancing, showing his growth in age during the 1970s until he was 20 in 1979 with the production of the album, many considering it his best, Off the Wall. It is extraordinary to look back and see how he developed as an artist during his teen years. The film does not go beyond the 1970s except for some footage of concerts in 1981 and some mentions of his album, Thriller. Audiences are asked by Spike Lee just to consider Michael Jackson at this time, his talent and his impact.

The range of music is quite extraordinary, the initial songs, the work of the brothers together under the sponsorship of their father who is interviewed – as well as a small interview with the Jackson’s mother. his brothers, Marlon and Jackie offer more extended commentary. The film shows the Motown period especially with appreciative interviews with Berry Gordy and tributes to him for his insights into Jackson’s career and music arrangements. Other composers, like Kenny Gamble and Leon Huff also offer their opinions as do quite a number of producers for the transition when the Jacksons left Motown to become more independent, to make their own music.

There is also the highlighting of Michael Jackson singing Ben, especially at the Oscar ceremony of 1973 and the enormous impact of that song.

The film shows Michael Jackson’s development as a singer but also his love for dance, explaining how he sat in on so many rehearsals, discussions, with the key artists of the time, also quoting a letter that he wrote talking about wanting to be the best and his commitment to perfectionism. He is seen rehearsing singing; he is seen perpetually dancing; he is seen rehearsing the particular moves that became so characteristic of him.

There is very interesting footage of interviews with Fred Astaire and Gene Kelly and their praising him as a dancer.

At the end of the film, Michael Jackson is only 20 or just over – and there are almost 3 more decades of his life and career to come.

Michael Jackson fans will appreciate the opportunity to remember him and his work. those interested in the history of American music will also appreciate the visuals, the audio, and the many interviews from later cultural commentators, biographers, music arrangers, stars who are influenced by him, Rosie Perez, John Leguizamo, and an excerpt from Spike Lee himself who directed one of the music videos in the late 1970s and more contemporary singers like Pharrell Williams and all the comments on the impact of Michael Jackson.

BARELY LETHAL

US, 2015, 96 minutes, Colour.
Hailee Steinfeld, Samuel L.Jackson, Thomas Mann, Jessica Alba, Sophie Turner, Dove Cameron, Rachael Harris, Jason Ian Drucker, Gabriel Basso,
Directed by Kyle Newman.

Barely Lethal begins as a very junior version of The Hunger Games or Divergent. It then turns into a variation of Mean Girls. Nothing apocalyptic here, well not quite!

Samuel L.Jackson runs a training school for girl assassins, starting them out with all kinds of exercises when they are very little, their growing up into teenage and going out on missions, getting information for the government, eliminating opposition. Hailee Steinfeld, Number 83, finds it difficult to be detached emotionally from victims and, when on a mission to capture renegade assassin turned arms dealer, Jessica Alba, she is presumed dead and decides to catch up on what she is missing, her childhood, finding an advertisement for an exchange program as well as a family to live with. And she watches Mean Girls twice.

The high school story is as expected, Megan, as she is now called instead of Number 83, is teased but is supported by a young student who is a composer and on whom she gets a crush. In the meantime, the student in charge of lighting and IT, Thomas Mann, is attracted to her but he has a very dominating father and tends to step back. He defends Megan and she likes him very much – of course, having to make a decision at the end between the rather self-centred musician and the devoted Mann. In the meantime, things are difficult at school, she takes her cue from Mean Girls in suspicions of the cheerleaders and other groups. At home, while the mother and Ninja-oriented younger brother are supportive, the daughter of the house is resentful – although, under influence of truth serum, Megan tells the truth to the girl who then becomes her best friend.

Samuel L. Jackson tries to recover Megan, sending a jealous rival, number 84, and finally Jessica Alba confronting her with fights.

This is one for a teenage female audience, interest in the characters, perhaps some role modelling.

1. A mixture of espionage training, fights and high school life?

2. The Prescott Institute, the teachers, the exercises, the little girls, growing up, the intention of their being detached? Number 83, growing up, her attachment and emotions? Her going on missions, getting information, captures, but noticing more to teenage life and her wanting to recover a childhood? The mission to capture Victorian York, her skills, the capture, the helicopter, Victoria cutting her off, in the river, presumed dead, taking the chance for new life?

3. The American town, the family home, the high school, assemblies, laboratories, meal areas, the band, the Homecoming dance… The usual ingredients?

4. Number 83 becoming Megan, optimistic, relying on information and Mean Girls, watching it twice? In the family, the room, the posters, her dress for school, Elizabeth rebuking her, the introduction on the stage, ridiculing her, the musician and his song and her being accepted? In class, sitting next to Cash, in the laboratory with Roger, the meeting with Roger, his being in the background, the lighting, helpful to her, liking her? Her audition for the sports, the teacher not even looking, her being disguised as the bear, the neighbouring students attacking, her martial arts, on the Internet, everybody acclaiming her – except the mean girls?

5. Hardman, discovering she was alive, sending Heather, Heather and the antipathy, her being a counterspy? Her flirting with the boys? The buildup to the confrontation, the fight with Heather? Hardman and his taking Megan, the truth serum, her wanting a life, the assistant interpreting her properly, her being allowed to return, being cut off? Victoria York coming to attack her? Hardman to the rescue, allowing her to continue, her being in deep cover? And the little boy talking about ninjas and the invitation to him to enrol in the Prescott school for boys?

6. Elizabeth, angry, rude, embarrassed at school, the truth serum and Megan telling her about herself, her understanding himself, change of heart, continued support, knowing the truth about Megan, the party as chaperone, the encounter with Gooch and attracted to him, his performance as Braveheart? The mother, upset about Megan not looking after Elizabeth? Elizabeth, at the Homecoming dance, Heather the attack, Victoria York, her doing the stabbing, sisters-in-arms?

7. Cash, music, the teacher supporting him, his songs, testing them on Megan, inviting her to the Homecoming, his self-absorption?

8. Roger, nice, attentive, his father lecturing him? Going to the Homecoming, his father, presumption, his stepping in and supporting Megan, going off in the helicopter with her?

9. A film for teenage female audiences, entertainment, role models…?

AUSTIN POWERS: THE SPY WHO SHAGGED ME

US, 1999, 95 minutes, Colour.
Mike Myers, Heather Graham, Michael York, Robert Wagner, Rob Lowe, Seth Green, Mindy Stirling, Verne Troyer, Elizabeth Hurley, Gia Carides.
Directed by Jay Roach.

This is the second in the series of Austin Powers spoofs of spy films, especially the James Bond films – even the riff on the title The Spy Loved Me.

The initial film, Austen Powers, Man of Mystery, introduced Mike Myers as the daffy spy, a man of the 1960s, of the psychedelic, swinging era, who confronted his nemesis, Dr Evil, also played by Mike Myers. The plot revolves around a conquest of space. There are a lot of sex jokes and innuendo.

Powers has been cryogenically preserved and wakes up in the 1990s, discovering that the same problems are present – but several people had grown older, especially Number Two, now, Robert Wagner, but Austin time travels back to the 1960s where Number Two is Rob Lowe. However, Mendy Stirling is just the same, as is Michael York’s Basil, Austin’s controller.

In this film, Austin’s wife, Vanessa, turns out to be a robot – as if Elizabeth Hurley could be a robot. This time he makes contact with Heather Graham and she shares all his adventures.

This is also the film in which Mini-me was introduced, played by the Verne Troyer, a smaller version of Dr Evil. however, Dr Evil’s son, despises his father, continually tries to undermine him.

Also introduced this in this film is Fat Bastard, again played by Mike Myers, a gross out Scotsman who also has sex on his mind and his gross body.

The film veers between the 1960s and its permissive style, Carnaby Street et cetera, and the slightly more sober 1990s.

A number of cameos and movie references.

The film is principally for those who enjoyed the first film – and their enjoyment was added to with Austin Powers in Goldmember, three years later.

KEPT WOMAN

Canada, 2014, 83 minutes, Colour.
Courtney Ford, Shaun Benson, Andrew W.Walker, Rachel Wilson, Troy Blundell, Jesse Camacho.
Directed by Michel Poulette.

Kept Woman is a Canadian telemovie taking up the prevalent theme of abducting women and imprisoning them. The story was treated in The Cleveland Abduction and a variation on the story was impressively told in Room (for which Brie Larson won a Best Actress Oscar).

Courtney Ford and Andrew W. Walker play an engaged couple, Jessica and Evan, whose apartment is burgled and who then decide to move out of the city, investing in a house which makes financial demands on them. He works at a job he does not like. She stays at home with a design project – but spends a lot of time online in conversations with a group who are investigating missing persons.

Shaun Benson is Simon, the University lecturer living next door, clothes like Dobie Gillis including hat, who makes himself known with a gift of wine and is continually helpful.

The audience discovers at the end that he has a record of abducting people and losing his job. He takes Jessica, placing her in a well-appointed basement, like the 1950s, where another abductee, Robin, is helping him live in a 1950s life, kitchen, meals, clothes, and subservience to Simon’s demands. While Jessica resists, time passes, Robin becomes jealous and is killed by Simon, and Jessica seems completely subservient until Evan sells the house. Some information comes from the computer nerd and Evan is suspicious along with his police friend, Tyler. Jessica uses her wits bakes rhubarb pie which she makes Simon eat with his fingers – so that he smudging the numbers on the code numbers for locking the room.

There is a postscript, a year later, Jessica having written the book she had hoped to write, about her abduction – and giving Simon a gift in prison telling him to accept his fate.

The film keeps the interest throughout.

1. An abduction story? The title? Jessica and her experience? Her publishing the book?

2. New York, house, robbery? Transferring to the country, home, neighbours, the street? The interiors of the house? The basement? The computer nerd and his headquarters? The musical score?

3. The prevalence of stories about abduction of women, their being kept? This variation on the theme?

4. Jessica and Evan, engaged, happy couple, finding their apartment burgled, the family jewels? The confrontation with the robber? The police? Help from Tyler?

5. The decision to move, the house, expenses, mortgage? Evan and his work and not liking it? Jessica, her designs, spending time on the Internet with missing cases? The tension between the two?

6. Simon, bringing the wine, friendly, eccentric clothes and hat? Jessica suspicious? Borrowing the spade? His coming to the meal?

7. Simon, his background, the revelation of the case against him, and abductions? Lecturing? Masculine studies? The irony of his chauvinism? His surveillance cameras, seeing Jessica, abducting her, chloroform, packing her case, getting her computer, sending the message to Evan?

8. Jessica, her resistance, screams, knocking? Able to see Evan on the cameras? His visits? The encounter with Robin? Her being the perfect 50s housewife, clothes, make-up and hair do, cooking, subservient to her husband? Her back story and relationship with Simon? The revelation that she had killed the previous woman abducted? Robin and the iron mark on her back?

9. Simon and his control, shopping and Jessica’s previous suspicions about the quantity, the locks, the codes, his threats? His behaviour, the two women, taking it in turns for the nights with him? The revelation of his obsessed character?

10. Evan, desperate, sorry, the decision to sell the house, reliance on Tyler, interviewing Simon, Simon continuing to be a friend, the sale of the house? The contact with Oscar, his information about Simon?

11. Tyler, following, discussions with Oscar, interviewing Simon, searching the house, Simon killing him and getting rid of the body?

12. Robin, her advice to Jessica, her jealousy, her telling Simon – and Simon confronting Jessica, killing Robin? Saying that he wanted truth?

13. Jessica seeing that Evan was leaving? The gift of the wine? The rhubarb pie, getting Simon to use his fingers, his marking the code numbers, the fight with Evan, Jessica becoming free, the attack on Simon?

14. A year later, the happy couple, Jessica visiting Simon in prison, wanting him to be a prisoner for life rather than executed, the gift of the book and urging him to accept his fate?