POSSESSED

US, 1947, 108 minutes, Black and white.
Joan Crawford, Van Heflin, Raymond Massey, Geraldine Brooks, Stanley Ridges Moroni Olsen, Erskine Sandford.
Directed by Curtis Bernhardt.

Joan Crawford, two years after her Oscar success with Mildred Pierce, was again nominated for her role in Possessed.(She had previously made a film entitled Possessed, in 1931, with Clark Gable – no connection except the title.).

She plays a disturbed woman wandering the streets of Los Angeles, getting some psychological attention, gradually remembering her life. And her life has been disturbed as well. We see her clinging to an engineer, Van Heflin, who tries to persuade her that he is not in love with her but she nevertheless perseveres. Then we see her working as a maid in a wealthy home, run by Raymond Massey, with a wife who commits suicide. Joan Crawford blames herself, even thinking that she did it even though she was in town. Massey’s daughter, Geraldine Brooks, also believes she committed the murder.

She stays on working with Raymond Massey and eventually he proposes and she accepts. Later Van Heflin visits, becomes involved with the daughter, which further disturbs Joan Crawford who begins to act out her manias in true melodrama fashion.

Certainly one to put on the list of Joan Crawford films.


1. A popular 1940s film, melodrama, psychological case?

2. American society after World War II, the world of the wealthy, the world of servants? Marriage, infatuation, obsession, madness and the consequences?

3. Black-and-white photography, the musical score, the style? A Joan Crawford film at Warner Brothers?

4. The title, Louise, her character, style, moods? Joan Crawford Oscar-nomination?

5. Introduction to Louise, Joan Crawford’s presence, a strong woman, yet the infatuation and weakness? In Los Angeles, wandering the city, bewildered, her being helped, the doctors, the interviews, the treatment? The psychoanalysis? The psychological case, 40s style and knowledge?

6. The flashbacks, Louise and David, her being with him, the talk about love, his work, her being possessive, his distancing himself? The continued outpourings, David and his resistance? Her not believing him? Her melodramatic reactions?

7. Her role in the house, looking after Dean Graham’s wife? Knowing her place? The visits of David, admitting that she knew him? The effect on her?

8. The death of Mrs Graham, Louise and her care, sense of responsibility, being in the town shopping when the incident happened? The later discussions with Dean, his being present, his wife suddenly going into the water and drowning? Louise’s later obsession and feeling that she had killed Mrs Graham? Police investigations?

9. The funeral, suspicions, Carol coming home, her hostility towards Louise? Louise staying on, Graham and his relationship with Louise, his character, the story of his wife, suffering, his relationship with his daughter?

10. The proposal, the motives marrying, Louise and her sanity, going to visit Carol at the college, the possibilities for reconciliation – the scenes of hostility? Carol backing down?

11. David, the engineer, as a person, his going on location for his work? His character, deep yet callow, his return, the outings with Carol, Louise and jealousy, the confrontations, at the bar and restaurant?

12. The concert, David’s presence, Louise’s behaviour, outburst, returning home?

13. The collapse, the violence? Her escape, wandering in Los Angeles?

14. The role of the therapy, the possibility of healing or not?

15. The popularity of this kind of story, doomed romance, strong woman, psychological study?

HORSEMEN

US, 2009. 90 minutes, Colour.
Dennis Quaid, Ziyi Zhang, Lou Taylor Pucci, Clifton Collins Jr, Barry Shabaka Henley, Patrick Fugit, Eric Balfour, Paul Dooley, Chelcie Ross, Peter Stormare.
Directed by Jonas Akerlund.

Horsemen is an unusual thriller, set in the state of Minnesota, focusing on a detective, recently bereaved, still grieving his wife, father of two sons.

With a gruesome murder, involving the extraction of teeth, he is called in and becomes involved in an increasing number of bizarre murders. On the walls, written in blood, is “Come to me”. The detective is played by Dennis Quaid with Lou Taylor Pucci as his disturbed son.

Getting advice from the parish priest, Paul Dooley, the text is explained as from the Book of Revelation – and the murders begin to resemble the mission of the Horsemen of the Apocalypse.

Clifton Collins Jr and Barry Shabaka Henley join the detective in the investigations. There is a bit bizarre connection with the initial murder, a father, Peter Stormarre, and his adopted children, especially the Chinese girl played by the Ziyi Zhang (Crouching Dragon, Hidden Tiger, Memoirs of a Geisha). About halfway through, a character played by Patrick Fugit also appears, introducing a theme of homosexuality, and the weary detective makes a link between various characters, seeking psychological therapy, including his son, who are acting out their traumas on various victims, according to the scriptural text.

There were some difficulties in production and dispersion this version seems to have been strongly edited.

1. The title? The Book of Revelation? The four horsemen, symbolism of pestilence and death?

2. The film as a murder mystery, touches of horror, grim and grizzly?

3. The American city, the landscapes, the details of the city, the locations, apartments and homes, sinister locations for the deaths? The musical score?

4. The grim murders, the focus, the detail of the deaths, sadistic touches, the hooks on the machines, the bodies, the torture? The impact of the visuals of the deaths?

5. The writing on the wall, Come and See? Breslin as churchgoing, with his children, the priest and his sermon, Breslin’s visit and the explanations of the text and the implications?

6. Breslin, working hard on his job, widower, his two boys, the neglect, inability to talk, the silences in the home? The tickets for the baseball match, his being called out? The consequences for his son?

7. The tattoo parlours and the building of the machines and the sales?

8. Breslin at work, the first death, the teeth, his expertise? On site, the bodies, identifying them, the autopsies? Stingray and Tuck, their friendship with Breslin, their work at the murder scenes? Speculations, clues, information?

9. The family of the murdered woman, the father and his grief, the children, Kristin as adopted, Chinese? The reactions?

10. The body in the hotel, the apartment, the mystery, not tortured like the others?

11. The clues, religious, date for the apocalypse, Breslin and his working to prevent further killings? The theory about several killers?

12. Corey, his character, with his brother, the taunts about his being gay? Reactions? The location, his brother on the hooks, tortured? Corey and the knife,
slicing himself in suicide?

13. The investigation, what the victims had in common? The psychiatrist in therapy? The messages? The discussions with Kristin, her brashness and heartless comments? Breslin and Alex, finding his son with the hooks, hanging, his death?

14. Kristin, the sexual abuse by her father, the therapy, meeting with Corey and Alex, the combination, vengeance?

15. The after effect of the killings?

STABLEMATES

US, 1938, 89 minutes, Black and white.
Wallace Beery, Mickey Rooney, Arthur Hohl, Margaret Hamilton, Minor Watson.
Directed by Sam Wood.

Stablemates is a pleasant MGM film of 1938, a star vehicle for Wallace Beery doing a variation on his usual role, this time of a vet who has been involved with criminal negligence but who has an expertise with horses and advising people in the racing industry.

Mickey Rooney is a young lad, keen on horses (years before National Velvet), good writer, devoted to a horse that he wants to rescue, forming a bond with the vet, finding a father figure.

The ending is a bit sad, but is on the side of law and order. Directed by Sam Wood who had directed dramas at MGM, some Marx Bros comedies and was to move to more serious films like For Whom the Bell Tolls.

1. A popular racing story of the 1930s? Star vehicle for Wallace Beery and Mickey Rooney? At each stage of their career? The direction of Sam Wood and his reputation?

2. MGM production, black and white photography, the racecourse, the stables? Musical score?

3. The title, the touches of irony, the horses, Tom and Mickey?

4. Mickey’s story, at the stables, his age, experience, riding the horse and his love for her, the tests, timing her, his wanting her to run?

5. Tom, at the course, giving his advice, his shrewdness? His avoiding the authorities? Going to the stables, the encounter with Mickey, bunking down? His comment on the horse and what was wrong?

6. The revelation that he was a vet, his shady past, the manslaughter accident, his evading the police?

7. The bond with Mickey, helping with the horse, moving away from the stables, the encounter with Beulah Flanders, her putting them up, her several marriages, flirting with Tom, his being wary, their leaving?

8. The scenes between Tom and Mickey, the mutual liking, Tom and his father figure role?

9. Leaving, the possibilities for the race, the arrival of the police, Mickey and his work with the horse?

10. Tom, caught by the police, the discussions, the plea? His doing the honourable thing? And the bond with Mickey? The future?

BURNT

US, 2015, 100 minutes, Colour.
Bradley Cooper, Sienna Miller, Daniel Bruehl, Ricardo Scammarcio, Omar Sy, Sam Keeley, Henry Goodman, Matthew Rhys, Stephen Campbell Moore, Emma Thompson, Alicia Vikander, Lily James, Uma Thurman, Julian Firth.
Directed by John Wells.

If anything were burned in Adam’s clockwork kitchen at the London restaurant in fashionable London, the food would be hurled at the wall, as with the crockery and utensils. It would be the same with anything that Adam judged not to have reached his perfectionist stances. Bradley Cooper is Adam and has shown in a number of his films that he can be something of a fierce warrior, not just American Sniper, but a now a martinet with his kitchen staff.

It was not always so. Adam has quite an interesting back story before his ascendancy in London. As a 19-year-old, he left the United States, infiltrated a restaurant in Paris, the owner then becoming his mentor, and bringing him into work with the top kitchen staff. So far, so good. But drugs and drink take the better of Adam and he behaves abominably to everyone, even putting rats in a restaurant and then calling the health inspectors, putting the owner, Michel (Omar Sy) out of business.

From this bottoming of his life, he went to New Orleans, shucked a million oysters, keeping notes and the count, and then decided to get clean and make his way to London, confronting an old friend, Tony (Daniel Bruehl) to persuade him to appoint him chef in the up-market The Langham Hotel. Now, full of self-confidence, he rounds up old friends and associates to persuade them to work for him, and wanting a special chef so much, Sienna Miller, that he gets her fired so that she has to work for him. He is in command, they have to call him Chef, and put up with his perfectionist tantrums.

There are quite a lot of interesting supporting characters played by a very strong cast. They include Emma Thompson as the psychiatrist who had to check Adam regularly to ensure that he was clean – and, with the complication that she is the psychiatrist for Tony who is infatuated with Adam. Adam persuades Michel to come and work for him, as well is Max (Richard Scarmaccio) who is getting out of prison. There is also a rivalry with a fellow chef from Paris (Matthew Rhys) who now runs another London restaurant, who admires Adam and helps him when he bashed by thugs to whom he owes money, admitting he is the best, but nevertheless in fierce competition with him.

It wouldn’t be Hollywood film unless there was a romance and, as anticipated, the fired cook, who has a little daughter, admires Adam and falls for him.

On reflection, the plot is fairly commonplace and the characters, well-acted as they are, have no real depth.

But, while the film is entertaining, it probably would go on the must-see list of those who are foodaholics, cookaholics, gourmetoholics, because, visually, a lot of time is spent in the kitchens, the detail of the preparation, the cooking, the serving – especially because Adam has two Michelin stars and is desperate to get a third.

One of the pleasures of the film is that it is set in London, offering many memories for those who have lived in or visited London.

1. A film for fans of cooking, interest in chefs, gourmet meals, preparation and serving? Perfection from the kitchen?

2. The title, in relationship to Adam, to food, the possibility of change?

3. The international settings, Paris, New Orleans, London, the inner-city, the familiar sights, the feel of London? The musical score?

4. The range of the International cast?

5. Adam’s story, his telling it, the voice-over, his background as a child, institutions, leaving the US, aged 19, going to Paris, telling the lies, insinuating himself into the kitchen, his friendship with Jean-Luc?, Jean-Luc? as a mentor, success in the kitchen, his drinking, drugs, the debts, his relationship with Anna? His behaviour under the influence of drugs, sabotaging Michel’s restaurant, the rats, phoning the health inspectors and Michel losing his restaurant? His leaving, going to New Orleans, an act of reparation, shucking 1 million oysters, keeping the notes in his book? Walking out?

6. Having to keep clean, going to the doctor, the range of visits, the needles, her being a psychiatrist, the discussions with him, the warnings? Her being Tony’s psychiatrist?

7. His aim, to be the main chef at the Langham, Tony and his father, taking over, checking his skills, the reviewer from the Times, the character, her visit, favourable response? Scouting the other kitchens, finding Michel, discussing the past, believing Michel and inviting him to work in the kitchen? going to the prison, the background with Max, in Paris, his coming out of prison, joining the kitchen? Meeting David, urging him to be assertive, hiring him? Helen, going to the kitchen, the visits, the criticisms, having her fired? Going to see Reece, the restaurant, the memories of the past working together, the rivalry?

8. Tony, his skill as a maitre d’, Adam persuading him, the angers, Tony in love with Adam? The later surprise with the kiss? The preparation of the meals, the staff, the army and hierarchical model, the chef to be obeyed, the language of the staff calling him chef? His putting on the pressure, the reactions, wanting perfection, smashing the crockery, throwing out the imperfect food?

9. Helen, her daughter, the domestic scenes, defying Adam, his inviting her to the party, wanting the day of for her daughter’s birthday, his refusal, his being persuaded to make the cake, talking with her daughter? Inviting Helen to the social, her dress, the encounter with Anna?

10. The thugs from Paris, the threats, Adam unable to pay, his being bashed? The background with Anna, meeting her at the social, meeting her after she had paid of the debt?

11. The responses, the times and the favourable review, the consequences?

12. Reece, his modern style restaurant, the furniture, the partnership with the owner? Angers, smashing the restaurant, yet helping Adam, saying that he was the best?

13. The relationship with Helen, her explanations of more up-to-date cooking methods, styles, machines, developing, mellowing Adam?

14. Michelin stars, Adams ambitions, to get a third, the checklist for the unknown Michelin visitors, thinking they were present, frantic, the preparations? His being bashed, rising to the occasion, serving the meal, its being sent back, Michel and the spice, getting his revenge on Adam? The irony that the visitors were actually from Birmingham?

15. Confrontations, Helen and David managing without Adam, the ethos in the kitchen, his gradually realising that he had to work with them all as a team, the real Michelin visitors? Adam, his story, fall, rise, debts, relationships, redemption and success?

CRIMSON PEAK

US, 2015, 119, Colour.
Mia Waskowski, Jessica Chastain, Tom Hiddleston, Charlie Hunnam Jim Beaver, Burn Gorman, Leslie Hope, Doug Jones, Jonathan Hyde.
Directed by Gulliermo Del Toro.


Once upon a time, the word ‘Gothic’referred to large and beautiful European cathedrals. Later centuries, especially with the 19th century fascination with mediaeval architecture in English-speaking countries, the word had overtones of larger than life melodrama, mysterious buildings, suspicious sinister characters, touches of the supernatural, images of blood and death.

It is safe to say that Crimson Peak is contemporary Gothic movie-making. It is the creation of Mexican, Guillermo del Toro, who has made films based on such graphic novels as Hellboy and Pacific Rim its gigantic undersea monsters rampaging through the world. But he also made striking films in Spain, The Devil’s Backbone set during the Spanish Civil War and the blend of grim fairytale and World War to realism, Pan’s Labyrinth.

The colour photography for this film is very striking indeed as are the sets, costumes and decor, opening in the American city of Buffalo in the 19th century and then moving to Cumberland in snowbound and frozen northern England. The film is also full of premonitions, ghosts, dastardly doings and revenge. This Gothic atmosphere is certainly reinforced in the episodes in Cumberland, in Allendale Hall, an enormous mansion out in bleak fields, its huge facade looking like no other building – except, perhaps, the front of St Pancras Station in London. As for the interiors, with gaps in the roof, snow falls within the building which is a mixture of ancient warehouse, whirring machinery, old-fashioned living quarters and a sinister basement.

The characters also have a Gothic touches. At the centre is a young woman, Edith, who lost her mother and has ghostly premonitions. She is played by Mia Wasikowska – who in recent years also played Jane Eyre. Actually, Allendale Hall is a place where Mr Rochester might have felt at home, with ample wings and rooms to conceal his mad wife. Then there are a British brother and sister who come to Buffalo promoting a machine for the extraction of a particularly enriched soil on their property. The brother, Thomas, played by the versatile British actor, Tom Hiddleston, seems to fall in love with Edith, and she him. We are all more wary of the sister, Lucille. This reviewer did not check who was playing Lucille before the preview of the film and could not place the familiar looking face, only to find it was American Jessica Chastain – who really steals the film with her most powerful performance.

While things may have been hard in Buffalo, matters are a far more disturbing in Cumberland, ghosts, mysterious past marriages, money and disappearing spouses, the strange machine, the blood- soaked soil, and more than a little vengeful blood and gore.

For those whose imagination tends to the Gothic, Crimson Peak can be recommended. For those of a more simple and stable imagination, it might be too much.

1. The Gothic tradition, plot, characters, ill-fated romance, settings, style, visuals?

2. Murder, mayhem, madness, melodrama?

3. The setting, the house, Edith as a child, sleeping, the ghost of her mother, the appearances, the effect on her? Premonitions?

4. The film as a ghost story, Edith as a child, adult, her imagination, writing ghost stories, Alan and his explanation of the photos and the retaining of past images? Ghosts and vengeance?

5. The city of Buffalo, the visuals of the city, exteriors, mansions and interiors, offices? Lavish? Edith and her writing, the discussions with the publisher, thinking that her handwriting was female, discussions with her father, in the office and her writing, her friendship with Alan?

6. Thomas and his arrival, commenting on Edith’s writing, the interview with her father, the discussions, the machine, asking for funding, refusing?

7. Socials in the city, the Mc Michael’s and the attitude of the mother, promoting Eunice, Alan and Edith? Her snobbery, wanting to put Edith in her place? Lucille at the piano, Lucille and Tom as brother and sister, the waltz, the candle still lit, the effect on Edith?

8. Tom, loving Edith, her response?

9. Her father, employing the private detective, his investigation about Tom and Lucille? Sharing the information? In the club, shaving, the sudden appearance of the killer and his brutal murder? The later revelations that it was Lucille? His will, Edith and her inheritance?

10. The courtship, marriage, going to England, Allendale Hall, the Gothic mansion in Cumberland? The winter, the bleak aspect, the snow, isolated? The Gothic mansion, its size, exteriors, the interiors, the snow falling inside, the lights, the lift, the different floors, the design of the corridors, the basement, the
kitchen?

11. Tom as a person, love for Edith, the courtship, bringing her to England, his tour of the house, his room and study, his inventions, the machine for the soil, involvement, the demonstrations, buying the new parts, success? The soil, blood red, the graphics of the blood in the ground, the surface, in the snow?

12. Lucille as a person, the touch of the sinister with charm, formal, her black dresses, playing the piano, accompanying Tom? Her reaction to Edith in the house, the plans for Edith, the poisoning with the tea? Tom and his acquiescence?

13. Edith and her fears, and nightmares, wandering the house, the appearances of the ghosts, like spectres, the basement, the chest with the initials, the phonograph records, the blood, the vats, the spectres rising to the surface? The role of the blood and the soil?

14. Edith’s wanting to go to town, collection of letters, the documents to sign, the letter from Milan, staying the night, of the time, the return and Lucille’s tantrum?

15. Edith taking the key from the ring, opening the chest, returning the key surreptitiously, listening to the records, the information about the women, the past marriages, their inheritance, disappearance? The issue of the baby, Lucille’s child? It’s death?

16. Lucille and her story, her antagonism towards her father, the brutal killing of the mother, she at 14, Tom at 12, her being taken to an institution? The incestuous love for Tom, Edith seeing them together?

17. Alan, his concern, the letters, using Holly for investigations? The newspaper headlines about the killing? Going to England, to Cumberland, in the town, the snow in the storm, his walking, arrival?

18. Edith and the signing of the documents, Tom intervening and burning them?

19. Lucille and the poison, the tea and the porridge,Tom confronting her?

20. Alan’s arrival, the clash, his being stabbed? Tom asking him for the right place for the further knifing? Survival, in the basement, Edith helping?

21. Edith, the confrontation with Lucille, the fight, stabbing and death, Tom’s intervening, outside, the fight, Tom appearing as a ghost, distracting Lucille, her death?

22. Alan and the rescue, walking away from the Hall, the future? The voice-over and the resume of what had happened?

PARANORMAL ACTIVITY: THE GHOST DIMENSION

US, 2015, 88 minutes, Colour.
Chris J.Murray, Brit Shaw, Ivy George, Dan Gill, Olivia Taylor Dudley.
Directed by Gregory Plotkin.

For the last six years there has been a Paranormal Activity thriller each year, much of a muchness in content and style. But, they have appealed to the fans, though this last episode has not received such an enthusiastic response.

The earliest films were based on “found footage”, videocassettes from the past, especially the 1980s, capturing all kinds of weird goings on in houses at night. there were indications on screen of the number of nights involved, and, with the filming, the time of the activity was noted. End, the activity tends to be of the poltergeist type, mysterious and sudden shocks, things banging on the night, people being afraid (sometimes, very afraid).

The effect of the films depended on the audiences willing suspension of disbelief in such goings on at the susceptibility for jumping out of one seat at sudden editing cuts or loud noises.

Once again, we have some found footage from 1988, a mysterious deaths, a strange character talking to 2 little girls and persuading them to follow him. Cuts 2013, a family moving into a house (something like at Amity feel where people don’t know about the weird goings on at the deaths in the house before they bought it). There are the parents, the little girl, Lila, and her visiting uncle, and a friend of the family staying in the house.

But, this time the screenplay gears towards demonically presence and to Monica possession. And it is the little girl in 2013 who seems to be the target of the strange man, this time on Demon, called Toby. The various Catholic symbols in the house, rosary beads, and a Christmas creep with little girl able to identify who Mary’s baby is, Jesus.

With all the troubles, the mother phones the parish priest, Father told, if this is the house, put holy water on the forehead of the little girl and her Tory, explains that the Demons take students to conceal themselves and that, even if they moved out of the house, Demons tend to create fear but only with persons rather than places. Later, he returns to perform an exorcism, those he is a bit doubtful about it and its effect. so, while he prays and performs the rituals, making this let loose – and, with Toby and the little girls are all appearing, there is no great prospect for survivors.

Perhaps the fans have had enough of Paranormal Activity, and the producers signal that this is the last in the series.


1. The popularity of the series? The found footage genre, poltergeist activity, audience’s belief in the possibilities of such behaviour?

2. The techniques: held cameras, the placement, hand-held and fixed, the editing, the shocks, light and dark, night vision, the listing of the dates and times? The special effects, the sound effects, the score?

3. The title, audience expectations of paranormal activity? Ghosts, poltergeist activity, the transition of the plot to demons and possession?

4. 1988, the girls, the brutal death of their father, the woman, the man instructing them, coaching them, the character of Toby?

5. 2013, the ordinary family, the uncle arriving, the jokes, Skylar and her presence? The setting for the ghost dimension?

6. Finding the boxes of VHS, the camera, the examination of the technical aspects, looking at the cassettes, the strange presences, the visuals, the behaviour of the characters on screen – Leila sneezing and the character blessing her? The puzzles, the questions?

7. The characters of the father, the mother, the relationship? The uncle? Skylar and her presence? The language, calling each other dude?

8. Leila, her age, Christmas time, the tree and her putting the angel on? The crib, her knowing about Mary and Jesus? The relationship with her parents, changing, becoming sullen?

9. The nights, the dates and times, the parents watching Leila? The mention of Toby? Leila’s disappearance into the cabin?

10. Noises, presences, fears, bangs in the night, the decision to move out?

11. Father Todd, calling him in? His serious but casual dress? Manner of speaking? Friendly, the explanation of the demons, the demon taunting people rather than places, following people, feeding on fear? The holy water, the cross on the toy and Leila’s forehead? Explaining the demons used force names to conceal themselves? Leila biting him?

12. Catholic iconography, the crib, the rosary beads, the holy water, the prayers for exorcism?

13. Father Todd’s return, consulting outside the church, not necessarily agreeing with the process, the pentacle, the ring of salt, soaking the sheets in the bath, the possibility for covering the demon and destroying it? The range of prayers, the increasing mayhem? The rite, his dying and disappearing? Lay taking over with the prayers, smothering the demon, yet its rising again, and proceeding to destroy the family?

14. The notice about the boy, Hunter, disappeared, the date’s birth, sixth of June, 2005, in the quotation from the Book of Revelation 5:7?

15. The demon, pursuing the father and killing him in the corridor, choking the mother? Leila, going with the girls?

16. The appearance of Toby, the naked legs and feet, reaching out to Leila, walking away with her?

17. Audiences belief in this kind of thing – or not? Or uncertain?

SPECTRE

UK, 2015, 148 minutes, Colour.
Daniel Craig, Christoph Waltz, Lea Seydoux, Ralph Fiennes, Ben Wishaw, Naomie Harris, Andrew Scott, Rory Kinnear, Monica Bellucci, Dave Bautista, Jesper Christensen.
Directed by Sam Mendes.

The on-screen James Bond is 53 years old, arriving in the form of Sean Connery in Dr No in 1962. Spectre is the 24th official James Bond film, though there have been some others including Sean Connery in Never Say Never Again. And this is the fourth film with Daniel Craig who has proven himself a popular, if quite different, James Bond.

The previous film, Skyfall, made quite an impact on audiences and the box office. While it had the usual ingredients, it presented a more human James Bond, especially in his relationship with M, played in all the Pierce Brosnan and Daniel Craig films by Judi Dench. Audiences emotions were shaken and stirred by her death at the end of Skyfall – though we are all happy that she has a few moments video glimpses in Spectre. Ralph Fiennes was taking over at the end of Skyfall and is in command here, though not entirely in command because there are moves afoot to combine MI5 and MI6 and the MI6 building is in a state of collapse.

This is the background for the action of this film, fulfilling most of the expectations of the conventions of the James Bond film – but with some differences.

As so often, the opening is quite spectacular, filmed at The Day of the Dead in Mexico City, crowds, costumes and masks to represent the dead, elaborate processions, with Bond present, using a woman to get into a hotel but with operational intentions to listen to the group planning sabotage and to shoot the leaders. He is in some danger as the whole building almost collapses on him. The main assassin gets away and there is a pursuit through the procession, and in the helicopter which came to rescue the villain, soaring over the crowds and eventually crashing – but with Bond escaping.

M is not particularly pleased and stands Bond down. Bond does his tests with Q – Ben Whishaw taking over the role effectively and having much more to do in this film, as does Miss Moneypenny, Naomie Harris, helping Bond with research, with technology. The fly in the ointment, so to speak, is C, Andrew Scott, who is all for security and surveillance but not in favour of democracy and thinks the 00 division is out of date.

Bond, taking Q’s brand-new super-technology car, follows links to Rome, goes to the funeral of the deceased assassin, encounters his wife, Monica Bellucci. The tradition of the Bond girls is changed in this film, Bond relating only to the widow and to Madeleine, Lea Seydoux, the actual sexual encounter scenes quite truncated and brief.

Further action, in the Bond tradition of multi-locations, takes place in Austria, where he encounters Mr White from Casino Royale, tracks down his daughter, Madeleine, who grew up learning about Spectre, with the action then transferring to Morocco, to the desert with a spectacular fight on a train, the headquarters of the arch-villain, played by Christoph Waltz.

More explosions in Morocco and then a finale back home in London involving the collapse of the MI6 building, helicopter pursuit and crash on Westminster Bridge, and a moral dilemma for Bond himself as to how he will treat the arch-villain on the Bridge, with M beckoning on one side and Madeleine watching on the other.

We are given small family details about Bond and his growing up, which gives the film a more humane touch, as does Daniel Craig, especially in his relationship to Madeline, even though he is still adept at doing battle with enemies.

Audiences will all welcomed the final statement, which always appears, “James Bond Will return”.

1. The 24th James Bond film? Audience expectations? Fulfilled?

2. The James Bond genre and conventions? Bond himself, MI6 and the authorities, conspiracies and villains, multi-locations, the Bond girls, the musical score, a last-minute countdown?

3. Daniel Craig as Bond? Not so suave, direct in his approach, his motivations, his reflections on his life, going into action, his independence, his relating to the authorities, his contacts and using them, relationships? The women, exercise of violence? His final decision on Westminster Bridge?

4. The action, stunts, special effects? The collapse of the building in Mexico, the chase along the Tiber, action in Austria and the chase, the plane? Morocco, the train, Blofeld’s complex and the explosion, the collapse of the MI6 building?

5. The title, Blofeld and his explanations, the link with Bond, childhood, rivalry, his alleged death, his building up the criminal empire, the villains of the previous films in his control, exercising sabotage, the attempt in Mexico City? The Rome meeting, Bond with the Spectre ring, at the table, the views of the members of Spectre, the man volunteering to be an assassin, the large man and his killing him, brutality? Austria, surveillance of Bond with Mr White, the kidnapping of Madeleine? His headquarters in Morocco, Bond arriving, taking Bond and Madeleine? The torture, the watch and the explosion, the injury to his eye and the scar, in London and the collaboration with C, the final confrontation with Bond, behind the glass, the setting of the bomb, in the helicopter, the crash, the explosion on Westminster Bridge, his being left on the road, the final words to Bond, his being arrested by M?

6. Mexico, the men walking, the Day of the Dead, the extensive pageantry, the crowds, Bond with the girl, entering the building, taking off his mask, shooting the assassins as they were planning, his overhearing? The escape of the villain, the collapse and explosion, the chase through the crowds, the helicopter overhead, the action of the helicopter flying, the fight inside, the man falling to his death? Bond going to Rome, Lucia and the funeral, going to her house, her fatalistic attitude, her dead husband, the sexual encounter, the ring, his continued pursuit?

7. The Rome meeting, getting in, listening, his being recognised, the brutality of the death of the assassin, his skill in escaping, the car, its versatility, the chase along the Tiber, pushing the slow driver, into the river, his being ejected, walking through the streets?

8. MI6, the issue of the merger, the role of M, his being unhappy, taking Bond to task about Mexico, standing him down? Moneypenny, her role, Tanner, with Bond in the launch? Bond and his quest, the previous M in the video, her urging him on? Sharing this with Moneypenny? Going to Q, the test of his strength, the blood and the insert, his being able to be traced and tracked? The car, Bond taking it?

9. C, the plans, the theory about surveillance and security, his attitude towards democracy, the discussions with M? The 00 program as obsolete? The Tokyo meeting, his speech, the vote, South Africa voting no? M confronting him, his having a second meeting, getting the vote? The new building, the demolishing of the old?

10. Austria, Bond going to see Mr White, finding him, his hut, the surveillance camera, memories of the past, his wife and daughter, wanting to save his daughter, his being poisoned, Bond’s pledge, White killing himself, the tape and its being played later for Madeleine?

11. Finding Madeleine, at the medical centre, the interview, the questions, her hostility, Bond seeing her taken, his meeting with Q, the cars, the plane, the elaborate chase, the plane in the wind and its being clipped in the forest, going down the mountain side, the snow? The rescue and her being ungrateful?

12. Morocco, finding the house, the puzzle, the mouse and false wall, finding the documents and videos? Going on the train, the glamour of the meal, the brutal fight and the man falling of the train?

13. Q, the laboratory, the car, the blood tests, his being in Austria, helping Bond and Madeleine? The threats, on the cable car, eluding the pursuers? Q and his loyalty, and doing the favours for Bond? The watch and its successful use?

14. The tradition of the Bond Girls, the sexual encounters? Being restrained here? The activity truncated? With Lucia after the funeral, Madeleine and her resistance, her change? Involved with the action, Bond trying to teach her how to use the gun, her knowledge and using it on the train, the return to London, in the street, her walking away, and her presence on the bridge at the end and Bond’s choice to go to her?

15. Moneypenny, work at the office, doing the investigation for Bond, her friends – and telling Bond to get a life? The leads, under surveillance, at the end, With M?

16. M, the discussions with C, the deadline, C and his talking about old methods being obsolete, not believing in democracy, the struggle with M, falling to his death?

17. The climax, Bond in the old building, the confrontation with Blofeld, the ticking bomb, searching for Madeleine, finding her, the escape, the explosion in the building collapsing? Shooting at the helicopter? In the boat? At Westminster Bridge?

18. Bond and his final dilemma, his choice for Madeleine, confronting Q – and taking the car?

NO ESCAPE

US, 2015, 103 minutes, Colour.
Owen Wilson, Lake Bell, Pierce Brosnan, Sterling Jeruns, Clare Geare, Sahajak Boonthanakit.
Directed by John Erik Dowdle.

This is a very gruelling film to watch, and its plot and treatment are quite gruelling, not a film for an easy night out.

It is set in something of a fictional South East Asian country, audiences particularly focusing on Thailand, where it was filmed, and the recent uprisings, clashes in the cities, changes of government, military command. The geography of the film is not accurate, a city on the river with a large American Embassy is only a few minutes away down the river to the border with Vietnam.

This is one of those stories for American audiences focusing on an American family in an alien situation, continually under threat, showing a skill for survival when most of the locals are threatening, violent. It could have been set in Indonesia, Myanmar, Cambodia…

The Dwyer family have had some difficulties in finances and the father, Jack (Owen Wilson surprisingly convincing in a non-comedy role as something of an action hero) has accepted an engineering job in the Asian country, working on its national water system. Towards the end of the film, audiences will realise that this is a message film about American corporations, their role in Asian countries, building up systems, banks organising loans which are difficult to repay and the corporations taking possession – with anti-American sentiment in the country.

While everything seems nice and sunny in the morning after their arrival, Jack wanders down the street to buy a newspaper only to be caught in the middle of a rioting mob and helmeted truncheon-holding military marching to confront them. He has to use his wits, and some local help, to escape back to the hotel, only to find the mobs rampaging already, killing the guests in their rooms. While he manages to get to his wife and children, he has to go downstairs to the pool where one of his little girls has gone swimming. From then on for the next hour or more the film shows the ordeal of the family and the struggles, ingenuity and luck for them to survive.

They do encounter a friendly scruffy-looking man on the plane, played by Pierce Brosnan. He helps at the airport to get a lift with his associate, a local whose nickname is Kenny Rogers – which is also the name of his van which is plastered inside with photos of the singer.

The steps of the survival are going to the roof, enduring a helicopter attack, killing many people on the roof, the adults leaping from building to building and Jack throwing his daughters across to his wife, climbing down a building, finding office workers trying to save documents only to be bombed by a tank, the continued search by masked rebels, going down to basements, disguising themselves as locals and riding a motorcycle, even through an advancing group in the night, trying to reach the embassy… Luck does intervene when Pierce Brosnan and Kenny Rogers turn up again, enabling them to get some refuge before the final, perilous attempt to get to the river and the Vietnam border.

Lake Bell is strong as the mother, supporting her husband, continually trying to keep the daughters safe and quiet – but the film does raise the issue of the defence of family and the exercise of violence, even to killing someone who is a threat.

The story may seem remote to many Americans for whom Asia is a long way away – but for audiences who live in the region and are aware of uprisings, the story may seem only too real. And, at the end the family claim to be refugees as they arrive in Vietnam by boat.

1. The title, expectations, story of survival?

2. The Thai settings, the city, hotel, the streets, the demonstrations, the police, rioters and killings, bashings?

3. The credibility of the plot, American issues in Asia, corporations, building, loans and repayment, inability, American takeovers? The role of the American government? CIA and other international agencies?

4. The situation, the President, the discussions with Cardiff about the water system, the strict security, testing the drinks, reaching the agreement? The guard escorting the visitor to the car? The shooting, the presence of the rebels, the security man slitting his throat?

5. 17 hours earlier, the flight, Jack and Annie, Lucy and Bees, the discussions, the long trip, the toy, Hammond and his being pleasant, the arrival, the crowds, the offer of the lift? Kenny Rogers, his name, genial, the van, the posters, singing? The hotel, settling in? The light not working, the phones and television not working? Jack in the bar, Hammond and Kenny Rogers and the karaoke?

6. Jack, his company, failing, needing the new job, his skill as an engineer, the banner in the foyer and the welcome? Expectations? The rebel later holding the banner and pointing to Jack’s picture?

7. Going to get the paper, three days old, the lack of language? The sunny morning? Suddenly the crowds, the cause, the masks, the weapons? The police, helmets, shields? The violent clash? Jack using his wits, finding the building, entering the hotel, the intruders killing and bashing? In the rooms? His finding the family, having to go down to the pool, to rescue Lucy? Meeting Hammond, advice to go to the roof? The people on the roof, bewilderment? The helicopter, not friendly, the massacre, its crash? The tank firing into the office?

8. The atmosphere of siege? Jack and his search for Lucy, Annie holding the fort, barricading the room? On the roof, the decision to leap from one building to the other, Annie’s attempt, failing? Her being urged, Jack throwing the girls, Lucy and her fear, almost falling? Hiding, climbing down, the office, the bomb, the deaths, down to the basement, surviving? The importance of Jack’s defence, killing the intruder, his conscience and repercussions?

9. The effect on each of the members of the family, the girls and their fear? Not understanding? Needing to go to the embassy, the map, Lucy pointing out the embassy? The key, finding the bike, disguise and masks, riding through the crowd? The embassy, the destruction, over the fence, the man hiding him, the personnel dead? Hammond, his being caught, pleading, shooting his captors?

10. Hurrying the family to the building, refuge for the girls, cleaning up, on the roof, the chicken – and seeing the roast dog? The gun tower and the shooting, Hammond being wounded? Through the door, into the street, Hammond on the street, urging them on, the oncoming truck, he shooting then being hit?

11. Going to the river, hiding, Jack and the deal with the boat, his watch and the shoes? The rebels, putting the gun in Lucy’s hand, wounding Jack, wanting her to kill, Annie hitting him on the head? Hurrying into the boat, rowing?

12. The border, the Vietnamese warning, the rebels pursuing, continuing, going through the barrier, appealing as refugees?

13. The happy ending?

14. The message of the story about American interventions? Personal aspects of defending families? And refugees by boat?

STALKED BY MY NEIGHBOUR

US, 2015, 90 minutes, Colour.
Amy Pietz, Kelcie Stranahan, Katrina Norman, Grant Harvey, Ethan Erickson, Kelly Packard, Dorien Wilson.
Directed by Douglas Campbell.

Stalked by my Neighbour is something of a routine murder mystery and investigation but entertaining in itself.

Jodi is a young high school student, rather carefree, communicating with her mother by Skype and suddenly there is an intruder and she is assaulted and raped, her mother watching and calling the police – and the audience finding that the police had shot the intruder. They then move to Santa Clarita.

Jodi has an expensive camera, likes taking pictures, photographs the neighbours without their permission – setting up her way of investigating when the murder occurs, always with pictures. The neighbour across the street is welcoming, along with her niece, but soon the neighbour is brutally murdered. Jodi suspects a man working at home whom the neighbour clashed with and mentions this to the police, especially after he takes her camera because she was photographing him.

Clearly it is not going to be as simple as that. Halfway through, audiences may well suspect the niece, and the screenplay then does reveal that she is in link with another neighbour, planning the murder of her aunt, wary of Jodi and her suspicions, setting of a man up by hiding the murder weapon.

There is a climax in the woods, involving Jodi and her mother, and overcoming the niece – and happy ending.

1. A brief and entertaining murder mystery and investigation for the wide audience?

2. California settings, city apartments, Santa Clarita, the streets and the suburbs, homes? Clubs? The woods? The musical score?

3. The title, audience expectations – as to who the stalker would be, from whose point of view?

4. Jodi, bright, at home, communicating with her mother at work, going to the door, the violent man, the vicious attack, and the later flashbacks and remembering his face, her mother watching, calling the police? Later information that the man had been shot by the police? The effect on Jodi, on her mother?

5. Their moving house, and to Santa Clarita, moving in, Jodi watching the neighbours, Lisa and Kristen, Nick and his working from his garage, Ted and his wife leaving? The background for the suspects in the murder case?

6. Jodi, her camera, the range of photos of the neighbours, their interactions? Without permission? Invading privacy? Stalking?

7. Lisa, friendly, the visit, the cookies, introducing Kristen and explaining her parents being dead, the friendly meal?

8. Lisa, wealthy, her work, the clash with Ted and urging him away from Kristen? Her clash with Nick, his work, complaining to the police? The set-up for suspects?

9. Jodi, with the camera, seeing Lisa, seeing the hooded figure downstairs, hurrying over, warning Lisa, the search of the house? Lisa having a bath – and the murderer emerging from hiding in the car in the garage? Her murder?

10. The police, the investigations, Jodi and her antagonism towards Nick after his stealing the camera, phoning her, returning it, coming to the door? Her voicing her suspicions, telling the police about the camera? Setting up the police and her mother not believing her readily?

11. Taking Kristen in, caring for her? Audience suspicions about her?

12. Jodi following In Nick, going to the club, his protecting her from police and ID check, his explanation about his job, his crush on her? His not having an
alibi?

13. Audience seeing Kristen and Ted, the relationship, and doing the killing, Kristen the mastermind? Jodi following them out into the woods, unable to see what they were doing? Kristen, her shrewdness, Ted and his putting the murder weapon in Nick’s house, Nick’s father arriving, the police, the arrest?

14. Nick in jail, Jodi taking her mother to verify his speaking the truth, her wariness about believing?

15. Kristen, warning Ted in the house, seeing Nick and Jodi kissing, setting Nick up?

16. Jodi confined to the house, leaving, with the camera, going into the house, photographing Kristen and Ted, the sexual relationship, Kristen shooting Ted? Kristen taking Jodi in the car, her mother seeing it, following?

17. In the woods, the scuffle, Kristen forcing Jodi to dig her grave, her mother following, the gun, her being wounded, the scuffle, the mother hitting Kristen with the shovel?

18. The detective believing Jodi, Nick’s release, the happy ending?

19. The Nancy Drew Detective kind of story, with the girl who cried Wolf?

SCOUTS GUIDE TO THE ZOMBIE APOCALYPSE

US, 2015, 93 minutes, Colour.
Tye Sheridan, Logan Miller, Joey Morgan, Sarah Dumont, David Koechner, Cloris Leachman, Halston Sage.
Directed by Christopher Langdon.

If the title sounds off-putting, then be off-put. If the title sounds somewhat intriguing, then perhaps it might be worth trying out since you are a zombie movie fan on the lookout for something zany.

This could be called something of a Night of the Living Dead Junior.

It opens with a zombie-like cleaner at an experimental lab who, of course, unleashes a zombie who then goes on a rampage, biting and creating a town full of living dead.

But, the film also introduces the local Scout team, three young men in their mid-teens and a very earnest scoutmaster, played by comedian David Koechner looking quite strange with a hairpiece (which soon gets knocked off). The three boys are a mixture, the last remnants of the Scouts squad, unable to recruit anyone knew and staying on for the sake of the scoutmaster. The sympathetic one is Ben, played by Tye Sheridan, who looks too smart and serious to be acting in this kind of film. On the other hand, Logan Miller as Carter is pretty hormonal, horizons fairly limited by sexual longings and curiosity. Then there is Augie, the earnest nerd Scout, accumulating his badges, loyal to the scoutmaster, pudgy and eating too much – but, it must be admitted, the screenplay gives him plenty to do in combat.

The two Scouts want to leave Augie and sneak out to a party but have been given the wrong address, going back into town where they have previously found a glamorous stripper, oops, cocktail waitress, from the local joint who has bought them beer. Going back into town, and seeing the bouncer from the club absent, in they go, only to find the place empty – except for a zombie dancer – and then the pursuit is on. The film does give quite a lot of extras the opportunity to lurch around the town as zombies, pursue humans and get bashed, shot, decapitated etc.This includes the scoutmaster as well as a cranky old lady, played by Cloris Leachman who perhaps is fulfilling a life’s ambition to play a zombie!

It probably helps to appreciate this film if you are a boy aged between 12 and 16, enjoying the kind of bodily function jokes, sex anticipations, that are generally attributed to the imagination of boys of this age.

The cocktail waitress helps the boys in their various attempts to find the party, to report the apocalypse to the authorities, to save anybody they can.

Which means there that this is something of the tail end of a long resurgence of zombie stories on our screens, some slapstick and juvenile humour, with the touch of the rights of passage themes.