MISS YOU ALREADY

UK, 2015, 112 minutes, Colour.
Tony Collette, Drew Barrymore, Dominic Cooper, Paddy Considine, Tyson Ritter, Jacqueline Bisset, Frances de la Tour.
Directed by Catherine Hardwicke.

At a recent conference, a speaker was very strong in her declaration that men did not really understand how women tick. It was an impassioned intervention. This came to mind while watching Miss You Already. It is very much a women’s film, writer, director, performances – a film that men should see to help them understand women.

That might not be such an easy thing to arrange when potential audiences hear that the film is about breast cancer, mastectomy, chemotherapy, illness and death. But it is also about strong friendship, love, family, fidelity and infidelity, hope.

This story of the friendship of two women, one who experiences illness and terminal cancer, the other who desperately wants a child and becomes pregnant, is enhanced by the strength of the writing, the sensitivity of the direction, and two very fine performances.

The opening traces the beginnings of the friendship between Jess and Milly, inner London setting, where the American Jess comes as a child and has to settle in, befriended by Milly, growing up with her, schooldays, some rather wild days, especially in their 20s, and settling down to family in their 30s.

Toni Collette, one of Australia’s most versatile actresses, gives a complex performance as Milly. she is an extroverted girl about town, falling for a roadie for a rock group, Kit (Dominic Cooper) and, surprising to herself and to others, settles down to married life and raising a family while keeping and promotions job. Drew Barrymore is Jess, happily married to Jago (Paddy Considine) trying all kinds of means to become pregnant but finally having to go for in vitro. She is a happy woman herself, generally content to play second fiddle to Milly, but always there as a confidant, always there to rescue if need be. Jacqueline Bissett plays Milly’s and believes flamboyant actress mother.

There have been a number of films about cancer, especially for teenagers experiencing it, The Fault in our Stars and Me and Girl and the Dying Girl. But this is a story of a woman turning 40, trying to deal with this experience in her life, undergoing chemotherapy (presented quite graphically for what is a movie entertainment), the issue of mastectomy and its consequences for herself, for herself-image, for her relationship with her husband and much of his bewilderment and unwillingness to cope with the situation. While there is some relief, it is only temporary and she has to face the realities of a short life.

The film is not all sweetness and light. Milly is not that kind of person. She takes up with an American barman, even going to Yorkshire and Bronte country (she and Jess are devoted to Wuthering Heights and Heathcliff), but it is Jess who has to confront her.

This is a story which most women will basically identify with, the reality of breast cancer or other cancers, ways of dealing with illness and coping with the effect on children and husband. This is a story which, in a comparatively brief running time, a men’s audience can allow itself to be challenged to empathy and understanding.

This reviewer found the film very moving, shared the joy in the women’s lives, was saddened by the reality of illness and the consequences, disappointed in Milly’s moments of give-up, but impressed by the sequences of what might be called in religious terms, confession and reconciliation.

1. Portrait of? Friendship? Illness, death?

2. London settings, the UK? London city, flats, the boat on canal? Workplaces? Pubs? Doctors, hospitals, hospice? Yorkshire scenes? Howarth? The musical score, the trendy songs for the characters?

3. A women’s film, writer, director, performances, themes?

4. The title, Milly and Jess and the bonds between them?

5. The problem, Jess coming to the UK, befriended by Milly, friendship, as kids, mischief?

6. Milly and Jess as adults, in their 20s, the styles, behaviour, moving with the groups, the roadies?

7. Tony Collette as Milly, character, outgoing, mischief, the relationship with Kit, pregnancy, marriage, settling down, domestic life, the children? Her promotions job?

8. Jess, Drew Barrymore and the role? Quieter than Milly? With Jago, and on the boat, his working on the rig, their wanting to become pregnant, the calendar and all the means? The friendship with Milly, Jago and his support and his wife? The emergencies? His patience? The insemination, the effect, the joy of the pregnancy, the decision not to tell Milly? Jago and his decision to go in the rig, away from home, work, storm, the contacts, the birth, the photo camera and his watching the birth?

9. The character of Kit, his work, busy, male approach to life, marriage and family, his past work as a roadie? Phone calls, going out? His marriage, social side, a father to his children?

10. Milly and the diagnosis, the discussions with the doctor, her keeping the news private? The consultations, the details of the chemotherapy and its effect, telling Jess? The issue of her hair, going to the wigs expert, the various wigs, the discussions, her hair being shaved? The support of her mother and her actress background? The illness, the effect of her self-image, her relationship with Kit, sexual relationship?

11. Her mother, her acting career, style, theatrical, the presence of her daughter, with the grandchildren and spoiling them? Her response to that the situation?

12. Jess, always available, listening, the, support?

13. The news of the mastectomy, her reaction, the decision, hospital and surgery, going home, the situation with her breasts, close-up sequences of the mastectomy? Kit and his response?

14. Kit, Milly at the bar, meeting Ace, discussions, meeting at the shop, the sexual encounter and its effect? His move to Yorkshire? The decision to go, the sexual liaison, confronted by Jess, having to face reality? And Jess falling on the rocks and the danger for the baby?

15. Her birthday, at work, the surprise party, her offensive behaviour, dealing with the situation badly?

16. Finding the hospice care, the room, increasing illness? Jess and trying to phone Milly, getting through, her mother disguised as a doctor and the influence of her being in soap operas, getting to the hospital, present at the birth?

17. The importance of the break with Jess, the reconciliation? Her relationship with Kit, the explanations, his forgiveness, coping? The importance of her confession and reconciliation before she died?

18. Jess, with Milly, the sadness of her dying?

19. The upbeat note, the aftermath, Jess and Jago and their child, Kit and his children? Memories of Milly?

TWO NIGHT STAND

US, 2014, 86 minutes, Colour.
Analeigh Tipton, Miles Teller, Jessica Szohr, Scott Mescudi.
Directed by Max Nicholls.

To Night Stand is a film for younger audiences, audiences in their teens and in their 20s, who can identify with the characters and situations. Older audiences will be observing and, perhaps, remembering.

This is a film with 21st sensibilities about sexual relationships, casual sex, and issues of whether to deepen relationships or not.

As with so many comedies, romantic comedies from the United States in these decades, the initial emphasis is to be frank with the touch of raunchy comedy, going through a process of deepening understanding of relationships, moving towards some kind of commitment which is desirable – which gives the films a final moral perspective.

Analeigh Tipton plays a recent graduate, experiencing a break up, and confined to an apartment where she idles away the time. Her roommate is urging her to do something positive. When she goes out with the roommate and her boyfriend and is refused admission by a bouncer to a club, she goes home, goes on to the Internet, enters into a chat with an unknown correspondent, using some, come-on language, and then finally decides that they will meet after he comes on screen and looks at her room.

He is played by Miles Teller, who has been in similar films, especially Project X, That Awkward Moment but he made a big impact as the student drummer in Whiplash.

The film then over moves to the morning after, with some comic touches about alarms and security, radios going on and her attempt to leave and writing a note, but unable to get out the door. When he wakes, he assumes that this is not her first stand and she is offended. They clash considerably – but, when she tries to leave, there is a severe New York snowstorm and it is impossible to open the door because of the snow.

The bulk of the film is how they handle the day together, she blocking the toilet and it overflowing because of her putting down an offensive page from a magazine, he not having a flusher having lent it to a friend. Eventually, they get out of the room, go over the roof, break a window to get into the neighbours to retrieve the flusher.

He proposes that they have further discussion, to start again, and he talk about how he would handle the sex situation and her response – there is quite some revelation for him and his cavalier male attitude.

They listen to music, they dance, and decide that they will have a second night stand.

She discovers a picture of himself and his girlfriend and he has to confess that she was due back but held up because of the storm. She is offended, seeing herself as the other woman, and leaving him.

He has found a letter from the girlfriend, wanting to break off, and the girlfriend on her return finds the visitor’s note in the wastepaper basket. There is discussion, and a break up.

In the meantime, the girl returns, discusses the situation with her roommate and boyfriend, and decides, after they suggest it, that she move out.

In the meantime, he tries to track the girl down, can’t get her surname from the Internet service, has the brainwave to say that she broke in to his neighbour’s house and the police come to arrest her, put her in jail for the night. Her roommate and boyfriend arrive to get her out. He arrives with flowers and a balloon cushion putting himself down – but she storms off but does admit that she will phone him when she laughs at this situation. As she sits with her friends, she reads the putdowns on the balloon and laughs – which means that she has to ring him, he is waiting, and they walk off into a happy ending, we hope.

HOME SWEET HELL

US, 2015, 98 minutes, Colour.
Katherine Heigl, Patrick Wilson, James Belushi, Jordana Brewster, A.J.Buckley, Kevin Mc Kidd.
Directed by Anthony Burns.

Home Sweet Hell is not what an audience might be expected from Katherine Heigl, even though she appears as an assassin with Ashton Kutcher in The Killers.

The setting is suburban America, home sweet home where Katherine Heigl is Mona, obsessive about cleanliness in the house, her children’s discipline, where her husband, Don, Patrick Wilson, manages a furniture shop, assisted by James Belushi. He hires an assistant, played by Jordana Brewster, who seduces him – all part of a plan to blackmail him with her thug friends.

When Mona discovers the truth after Don’s confession, she is to wreak revenge on Dusty, trying to poison her, this failing and her urging Don to kill her with a hammer, which he cannot do. She can and does. There are further complications with the killing of the thugs, cover-ups with the police, which Don is particularly adept at, smiling and lying at the same time, leaving all the blood work to Mona.

The film was meant to be a tongue-in-cheek murder story, has its laughs as well is its bloodthirsty sequences.

1. A black comedy? Ordinary situations, heightened, romantic, macabre, violent and bloody?

2. The American city, affluent home, furniture shop, strip club, police precincts? The musical score?

3. The title and its irony?

4. The plausibility of the plot – and the exaggerations? Mona and her character, wife and mother, obsessive, vengeful, controlling, violent?

5. Don, average husband and father, manager of the shop, working with Les, hiring Dusty? Her come-on, the affair, the consequences, the experience of the violence?

6. The shop, furniture, Les and his work, Dusty arriving, asking for the job, the men attracted to her, her joy in her first sale?

7. Mona and Don, the children, at home, meals, Mona and her discipline and threats? The party?

8. The truth about Dusty, her colleagues, the plans, the seduction, the blackmail? Thugs and their house, going to the strip joint, drinking, sex, violence?

9. Don and the affair, Dusty and her come-on, Don wanting the money, trying to borrow from Les? Telling Mona the truth? Dusty appearing at the party, Mona’ behaviour towards her?
10. Mona, her background, her parents – and Don later asking about her parents effect on her and how she had become the way she was? The abduction of Dusty? The poison in the drink, Mona and her reaction to Don, collapse? The failure of the murder? Don getting the hammer, unable to kill Dusty, Mona doing it, the apron, all the blood? Cutting up the body? Later putting it in the freezer at the thugs’ home?

11. The police officer, his visits, friendship, enquiries, Don and his continued ability to cover up?

12. Dusty missing, the behaviour at the shop? The thugs coming to the shop, attacking Les thinking it was Don? The thugs wondering about Dusty and her absence? At the strip joint, the girls, their discussions, suspicions, the relationship with the girls, at home and at the bar?

13. The police officer, questioning Don about being at the bar, his suggestion of an affair, not telling Mona, the police agreeing?

14. Going to the house, Don in the car, Mona going into the house, stabbing the thug, and his bleeding and ringing and warning the others? The sword and
the death of the girl?

15. Mona and her calm, her hold over Don, the continuing at the shop, Les and his injuries?

16. Meanwhile, everything covered up – driving away from the house and the thug pursuing them? Leaving the future to the imagination of the audience?

EMMA

US 1932, 72 minutes, Black and white.
Marie Dressler, Richard Cromwell, Jean Hersholt, Myrna Loy.
Directed by Clarence Brown.

Not a film version of Jane Austen’s novel.

In 1931, Marie Dressler had won an Oscar for Best Actress for Min and Bill. She was also nominated for this film, a much more subtle performance than for her Oscar-winning role. She plays a maid who is also a nanny in a rich family, bringing up the children, devoted to the father, helping bring the youngest into the world when his mother died. She is a simple woman, a hard-working woman.

20 years later, the children are adults, one married to a French count, the younger son, Ronnie, to whom she is devoted as a mother (Richard Cromwell) is devoted to her but is a man about town. When she goes to Niagara Falls for a holiday, her first, the father proposes to her and they marry. He dies and the ungrateful children are angry at his will, leaving everything to Emma. They rely on the witness of a maid to accuse her of murdering their father.

Ronnie, always devoted to Emma and not sharing the attitude of his sisters and brother, tries to reach Emma but is killed in a plane crash. In a plea to the court, her character is presented and she is found not guilty. She gives all her money to the children and their attitude towards her softens.

Jean Hersholt is Mr Smith (an unlikely name for his character) and the young Myrna Loy is the older daughter.

1. A small film from MGM in the early 1930s, but with Oscar nominations.

2. Production values, black-and-white photography, the interiors, homes, the court? The scenes of Niagara Falls, the river? Musical score?

3. The title, Marie Dressler’s performance? Her age, character, appearance?

4. Emma’s story: in service, looking after Mr Smith, the pathos of his wife giving birth and dying, her smacking Ronnie and his surviving? Her devotion to the children? After 20 years?

5. The children growing up, becoming snobbish, marriages? Her going on her holiday, the first time to Niagara Falls? The fuss at the station, the issue of the ticket, her concern about Mr Smith and taking his medicine, things falling out of her suitcase, her deciding not to go on the holiday, his buying a ticket, their going, his proposal to her, her accepting, the wedding, the happiness of Niagara Falls, on the river, her rowing, his rowing, his collapse, the medicine, her words and later misinterpreted by the maid? Her response to his death?

6. The will, everything left to her, the anger of the children, arrogant attitudes towards their maid, Emma angry with them the witness of the maid, the accusations of murder? Going to the court, her bewilderment, in the court, the interventions, the witness, her words about the pills and seemingly giving her husband an extra pill, killing him? The pathos, her being found not guilty?

7. Ronnie, his love for Emma, the money for the plane, his going hunting, his discovery of the court case, his decision to fly, the advice, flying into the storm, his death?

8. The children relenting from their selfish attitudes, Emma and her looking for a job, going to look after the elderly, a committed woman, hard work and caring for others?

THE ROOKIE


US, 2002, 127 minutes, Colour.
Dennis Quaid, Rachel Griffiths, Jay Hernandez, Beth Grant, Angus T.Jones, Brian Cox, Rick Gonzalez, Russell Richardson.
Directed by John Lee Hancock.

Many parents would like to see more films which offer role models for children - and for themselves. The Rookie has been particularly successful in the United States in this regard. It has the great advantage of being about baseball, the great American game. While this puts it at something of a disadvantage for audiences who do not play the game or understand it, it is the universal values it offers that are worthwhile.

The Rookie is based on a true story. As a boy, Jim Morris dreamed of playing in the Major League. His father, however, was continually on the move for the navy, finally settling in Texas where there were very few opportunities. Jim Morris did try out for selection in the 1980s but had to retire from the game with severe arm injuries in 1989. He became a high school science teacher, happily married with three children and serving as the local baseball coach.

Nothing particularly special there. It is what happened when he was in his later 30s that is the subject of this film. His baseball team make a bet with him. If they win the district championship, he must go for Major League trials. What had happened was that his arm had strengthened as he grown older and could pitch sometimes at 98 mph. Would he, at an age more than twice that of the other rookies, be selected to play? Not hard to guess the answer to that question.

The important thing about the film, which has been geared to the widest family audience with a U Certificate, is that it shows that people need affirmation in their gifts and should be encouraged to try them out and develop them. Morris's stern father gives him the advice that he needs to do what he wants and then do what he was meant to do. This kind of parent thinks that what the child wants to do (which is not what the parent wants for the child) is not what the child is meant to do. In The Rookie, Morris is close to his eight year old son, taking him to all the practices and matches. He is like a mascot. But he also has the chance to be close to his father, to admire him, to grow up truly and lovingly bonded to his father.

It should be said that at 128 minutes the film is quite long with lots of shots of pitching the ball and game sequences which are a bit of a mystery to the uninitiated.

Dennis Quaid portrays Jim Morris, showing both his age and his athleticism, his devotion to his students, his love for his wife (Rachel Griffiths), his cherishing his children. In this regard, The Rookie is what the Americans call an 'inspirational' film for family values. But it is also an encouragement to parents to reassess what they are doing, whether they have looked at their dream and asked whether it was possible for it to become a reality and to see the repercussions for their family.

1. An inspirational American film, a live-action Disney film? Sports film? The opening voiceover and the yarn about the nuns crossing the desert, investing their money and asking the priest's advice - and it coming to fruition?

2. A true story, the history of Jim Morris, his relationship with his father, baseball, marriage and children, teaching, coaching? His opportunity for the Major League?

3. The Morris family, Jim and his growing up, the support of his mother, his military father, not showing interest, not affirming his son, the continually moving from state to state, the effect on the boy, on his playing baseball, love for baseball, the moment when his baseball glove was not packed for the move?

4. Jim and the arrival in Texas, going to the store, the talk about socks, but his wanting to buy baseball gear, the support of the owner of the store – continuing through the years, and with the support of his card-playing friends?

5. Texas, the Morris family settling their, mother and father separating, the hard taskmaster father, devotion to his work and job? The loving mother? The father in his retirement, a devoted grandfather, yet still warning his son about what he wanted to do and what he was meant to do? No support for the Major League? Jim and his discussions with his mother, walking along the road, her remembering her marriage and her relationship with her husband?

6. Jim, teaching science in high school, the lesson on the atom, the response of the students? His coaching, the baseball team, not very good? The issue of the grounds, the deer eating the seed, the store owner and his sowing the seed, growing the pitch? With the boys, the devotion of his son, Hunter?

7. The place of Hunter, his age, following his father around, and admiring his father, at the baseball field? Lorri, the marriage, her devotion to her husband, the children in the household? Her office job?

8. Jim, at night, practising his pitching, testing it with the road sign and speed? The member of the team knowing about this, urging Jim to pitch, the proud player and his shock at the speed of the pitch? The boys and their losses at games, the pep talk, the bargain, their winning every game, his making an application for professional playing?

9. The effect of collages, especially of all the pitches that Jim made? The matches, the victories, the final victory?

10. Discussions with Lorri, her memories of his playing 20 years earlier, his injury, having to withdraw? Yet his physical condition improving? The speed of his pitches? Her thinking things over, her agreement, his going to see his father, his father not supporting him?

11. The application, his age, the reactions of the other players? His being with the children, looking after them, going to pitch, the consistent speed? The reaction of the coaches and the selectors?

12. His playing, travelling, the various matches, the commentators, remembering his past? His watching the television interview, the review of his life, his hopes and ambitions?

13. The clash with Brooks, at the telephone, explaining he was helping his child with homework, the bond between the two, friendship with the others?

14. His been called in by the coach, Brooks being selected, Jim having to tell Brooks – and the coach telling him that both had been selected?

15. The match at Arlington, the crowds in the town, his pitching, success, acclamation?

16. The American dream, hopes for success, giving one’s all, Hunter and his wife supporting him, the presence of his father?

17. A film of encouragement?

LEMONY SNICKET'S SERIES OF UNFORTUNATE EVENTS

US, 2004, 108 minutes, Colour.
Jim Carrey, Liam Aiken, Emily Browning, Kara Hoffmann, Shelby Hoffmann, Jude Law, Timothy Spall, Catherine O' Hara, Billy Connolly, Meryl Streep, Luis Guzman, Jamie Harris, Craig Ferguson, Jennifer Coolidge, J Adams.
Directed by Brad Silberling.

When you glance again at Jim Carrey's performances of a decade earlier (Ace Ventura, Mask, Cable Guy), you realise how hard he is mugging and caricaturing his way through physical slapstick and over-emphatic enunciation. He is still capable of that but, after The Truman Show, Man in the Moon, The Majestic and Eternal Sunshine, he can do subtlety as well as broad comedy. His Count Olaf in this series of Unfortunate Events gives him ample opportunity for both.

The Harry Potter stories opened up a different world of childhood, contemporary versions of myths and legends as well as the dark side of fairy tales. These are the kinds of Gothic stories that Lemony Snicket tells (and we see Jude Law as Lemony Snicket in his attic writing and explaining this to us and urging everyone who wants a happy ending to leave the theatre!).

The three talented but bereft Baudelaire children are left to the mercy (well, no, the lack of mercy) of Count Olaf who wants to adopt them and inherit their wealth. Timothy Spall as their kind of guardian-lawyer wants to protect them but is cajoled by Olaf into believing his lies. The children's Unfortunate Events lead them to seek the help of their eccentric snake-loving Uncle Monty, a very kind and genial Billy Connolly, who is dispatched by Olaf, and the reclusive aunt Josephine, a pantomime dame Meryl Streep. Olaf turns up in various disguises to dispose of uncles and aunts and to persuade his judge neighbour to act in a play about a wedding while really marrying Olaf to his niece thus ensuring his inheriting the money.

Fires, snakes, giant leeches - there is plenty to make younger audiences to go happily 'ugh'. The cast enjoy themselves. This is a contemporary grim fairy tale.

1. The film based on novels, the target audience, older children? Children’s story? Sinister adults? Dangers?

2. The production values, the illustrations for the credits? The bright elf story at the beginning? The darker tone? Realism and Surrealism? The city? The streets, the burnt building?’Count Olaf’s house, interiors? Uncle Monty’s house and the snakes? Aunt Josephine’s house? The precarious house and its collapse? The orange sea, the cave and interiors? The boat? The room of the writer and decor, in shadow, his desk and typewriter? The musical score?

3. The warning of the narrator that this was a grim film, urging people to go to see something lighter if they wished? His continued narration, the dramatic points, his typewriter, continuing on?

4. The Baudelaire children, introductions, Violet as an inventor, Klaus and all his reading, Sonny and her biting – and the humorous subtitles with her ironic comments and noises? The news of the death of their parents, the burnt out house? Mr Poe and his driving them, their parents’ will?

5. The lady across the street, later appearing in the play as a judge? The house, sinister looking, the doorbell, Count Olaf, his bringing the children in, sinister behaviour, wanting the inheritance, the oddness of the house, locked in their room, doing all the chores, having to cook the meal and his dissatisfaction?

6. Jim Carrey as Count Olaf, his appearance, manner of speaking, comic, sinister, absurd? Wanting the inheritance, the treatment of the children? His troupe and the play, the rehearsal, having the central role? Wanting the dinner, dissatisfied? The contacting Mr Poe? The response of each of the children, Violet responsible, Klaus serious, Sonny and her being called a monkey? The Count taking them a drive, the stop for the treat, locking the car, on the train line? The training advancing? Their ingenuity, changing the points for the train to pass by? Mr Poe and the rescue?

7. Uncle Monty, welcoming them, all the snakes, the news of his assistant, the experience of the snakes, the Count disguised as the assistant? The children seeling through him? The snake, the upset, the death of Uncle Monty? The embracing the dangerous viper?

8. Aunt Josephine, her character, the touch of the absent minded, with the children, her caring for them? The sea captain, his wooden leg, the children knowing he was the Count? Aunt Josephine not believing? The return to the house, the open window, her disappearance, reading the letter, the coded letters and the message? In the boat, going across the sea, and achievement, finding the cave, rescuing Aunt Josephine, the threat of the leeches, overboard? The rescue by the captain, his setting aunt Josephine adrift?

9. The play, the performers, the preparation for the marriage, the judge, the devices for the Count to inherit the money?

10. Mr Poe, the final threats, finding the letter from the parents, the return home, the fact that they were alive?

11. The ending of the story, open-ended, the storyline during the animation of the final credits?

FROM THE MANGER TO THE CROSS

US, 1912, 71 minutes, Black and white.
R. Henderson Bland, Gene Gautier.
Directed by Sydney Ollcot.

While there had been quite a number of biblical short films between 1896 and 1911, this was the first full-length gospel feature, directed by Sydney Ollcot who had made quite a number of short films already and was to continue in silent films, written by Gene Gautier who takes the part of Mary in this film.

One of the important features was that it was filmed on location in Palestine and Egypt, in Jerusalem and Bethlehem, even with scenes of the pyramids and the Sphinx for the flight into Egypt sequence. The film uses these locations, the deserts, the mountains and rocks, stone buildings and villages to great effect. A map of the area is shown at the beginning of the film.

The film relies on the Biblical texts for descriptions of the scenes and also for any dialogue.

The film uses the device of a series of tableaux with the use of the tripod and fixed camera for each sequence, often with the framing having the characters in the bottom half and leaving background for the top half. The acting style is very much of the period, huge gesticulation, especially with the performers arms, pointing, reaching to heaven, in prayer, for emphasis…

With some of the high priests, especially in the scene plotting with Judas, the representation of the authorities is somewhat caricature Jewish – perhaps a touch of anti-Semitic.

The sequences are listed:

1. Annunciation, a rather older Mary dressed very sedately, looking particularly like a nun.
2. the introduction to Joseph, Mary carrying a pitcher, a camel passing through.
3. Joseph, his dream, waking.
4. the arriving Bethlehem, with crowds.
5. blue tint: no room at the inn, and the stable, the donkey prominent.
6. the shepherds.
7. the birth of Jesus, Mary and Joseph in prayer at the manger.
8. blue tint: the sheep in the fields.
9. blue tint: the wise men walking through the desert.
10. blue tint the wise men riding.
11. the stable, the donkey, the shepherds and the sheep and the gifts of the shepherd.
12. Herod, extreme right, looking sinister, his advisers, he says he would go to worship the child.
13. blue tint: the travel, the wise men and their entourage.
14. Brown tint: the Magi, the gifts, the predominance of incense.
15. Herod, the Magi returning, riding home?
16. Blue tint: the flight into Egypt, the house, Mary and Joseph coming down the steps, the touch of drama, the escape, Joseph looking out, some editing with close-ups?
17. A prolonged sequence: Brown tint: the pyramids, the Sphinx, Joseph reading with the Sphinx in the background?
18. The period of Jesus’ youth: the leaving of Egypt, the glimpse of Mary with the young Jesus.
19. Nazareth, the pitcher, life in Nazareth?
20. The travelling to Jerusalem, Jesus in the temple with the elders, Mary and Joseph searching with the caravan, the long line in the caravan, returning to Jesus.
21. the ramparts of Jerusalem and the entry.
22. Jesus sitting and discussing, Mary and Joseph glimpsed outside the window looking in.
23. the Temple steps, Jesus, Mary and Joseph coming down, Mary and Joseph with their arms on Jesus’ shoulder?
24. Jesus back in Nazareth, the carpenter shop.
25. John the Baptist, his cry to the hills, the make way text, preaching, wild beard, gesticulating, pointing to Jesus in the distance, Behold the Lamb of God.
26. green tint, the calling of the disciples, the sea, the fish nets, Jesus walking by, the fishers of men, his gesticulations, Peter and Andrew, the boat and the nets, James and John leaving the boats.
27. the beginning of the miracles, Jesus and the crowds, their being carried into him, the very quick cures.
28. Cana, the vats and the tables, Mary not making the request, the filling of the vats, the bright spotlight on Jesus’ face with the miracle, Mary present at the end of the table when the wine is served.
29. the leper, the streets, touching the hem of Jesus’ clothes.
30. more crowds, lifting the paralytic, Jesus preaching, on the roof, the vista of the hills, his taking his bed and walking.
31. the widow of Naim, the action, the bier, the mother, touching the young man, his rising, the embrace.
32. the woman in the city, pouring the ointment, kissing Jesus’ feet, Jesus pointing to her, reaching out to her.
33. Scenes in the Ministry: green tint, Jesus on the boat preaching.
34. blue tint: Jesus walking on the water.
35. the village, the wall, the houses, people.
36. Martha, Mary, cutting between them, the gestures. Martha busy, Mary listening, Jesus smiling, his words, both smiling.
37. the crowd, Jesus’ comments about before Abraham, I am.
38. Lazarus, Jesus sitting on the rocks, with the disciples, Mary pleading, the kiss.
39. Jesus praying, weeping heartily, going to the tomb, the mourners, heavy work taking back the stone, Jesus praying, inviting Lazarus to come forth, his coming out, clothes, removing the binding, embracing Martha and Mary.
40. the crowds from Jericho, the very long file following Jesus.
41. the blind man in the street.
42. the alabaster, Jesus reclining, his head and his feet, Judas picking up the coins, denouncing the woman, Jesus and the poor always with us, the long focus on Judas, his going out.
43. Last days in Jesus’ life: the Mount of Olives, the palms, crowds, hosanna, the mats , Jesus and the donkey.
44. the buyers and sellers, the crowds, Jesus vigorous with the whip.
45. Chief priests, plotting, the balustrade, looking sinister, the Semitic look/stereotype.
46. The blind and lame at the Temple.
47. blue tint, and the Mount of Olives mud, the vista of Jerusalem, Jesus outside the city.
48. Judas coming to betray Jesus, the Chief priests and the balustrade, Judas and his obeisance, the plan, the sinister official playing with his beard and wringing his hands.
49. mauve tint the Last Supper, the washing of the feet, Judas at the edge, Peter’s objections, Judas turning and looking.
50. the supper, some sitting, some reclining, the dipped sop and handing it to Judas, eating, going out
51. the description of the Eucharist as First Communion, Jesus distributing Communion, distributing the chalice.
52. blue tint Judas, the darkness.
53. crucifixion and the death of Jesus .
54. Blue tint: Gethsemane.
55. the three lying down, Jesus praying, the police, the, the gesticulation, bowing in submission.
56. Judas arriving, the s sleepers waking, Judas and the kiss, Jesus asserting himself, the soldiers going, Jesus taken, the sword, Jesus healing the serpent serpent.servant.
57. Judas, his plea, to take the money back.
58. Judas, running, hanging himself.
59. Pontius Pilate, the soldiers and guards, Jesus found bound.
60. Pontius Pilate, the appeal to the people, Jesus rejected.
61. Herod, the mockery, Jesus belted, the crowds.
62. Pontius Pilate, schedules in the background.
63. scourging, the soldiers, the blood.
64. Behold the Man, the rabble, the hands raised, calling out for Jesus to be crucified.
65. Pontius Pilate washing his homes, driving them, Jesus and the soldiers. Pontius Pilate standing, defiant, leaving.
66. the crown of thorns, the reed, the mockery.
67. way of the cross, Jesus, flogged, his mother and the women, continuing to fall, flogged.
68. women watching from far off.
69. , the crucifying, the lifting of the cross, Jesus clothes, casting lots.
70. the good thief and the promise.
71. I thirst.
72. Yuri and John at the port of the cross.
73. red tint the sponge, the earthquake, the clouds, the rocks, breathing – and the three crosses on the screen.
74. mauve tint: Jesus dies.
75. the quotation from John 3:16, God so loved the world.
,

THE SEEKER: THE DARK IS RISING

US, 2007, 99 minutes, Colour.
Alexander Ludwig, Christopher Eccleston, Ian Mc Shane, Frances Conroy, James Cosmo, Jim Piddock, Amelia Warner, John Benjamin Hickey, Wendy Crewson, Emma Lockhart.
Directed by David L. Cunningham.

On paper, this looks like a cross between Harry Potter and Lord of the Rings. On screen, it is a slight fantasy that has its moments – but loses a lot more. (Writer of the original novels, Susanne Cooper, must be disappointed that the material is reduced to less than a hundred minutes and, while set in England, is very Americanised.)

A young American boy, the seventh son of a seventh son, is revealed as The Seeker, a boy with hitherto unknown talents to find the hidden signs to save the world from an overwhelming darkness. A group of elders, who have lived in many historical periods, appear to protect him from the power of Darkness, The Rider, who wants to get the signs and control the earth. The Seeker has five days and the film highlights the drama in discovering each sign. In the meantime, the weather, darkness and storms, begin to play havoc with civilisation as we know it.

The family will seem too American for a non-American audience: mother, father and six children in an English village. The boy (Alexander Ludwig) lacks the oomph for this kind of hero. The elders do a lot of standing about in a group and talking, though Ian Mc Shane is strong and Frances Conroy brings some motherly charm. Christopher Eccleston, having abdicated his role as Dr Who, is the Rider and seems to be enjoying some villainy.

Like Eragon, this is a fantasy that misses out on its intended grandeur and is reduced to something of a Saturday matinee show.

1. A fantasy for young audiences, based on a popular novel and series?

2. Fans of the novels and their deep criticism of this film? Feeling that it is a travesty of the books? The impact for those who have not read the books and take it at face value?

3. Production values, the British cast, the American cast, the British setting? Filming in Romania? The realism of the present? The time travel, the different locations, the Middle Ages, the 15th century, the 17th century? The church? The tombs? The battles in the Middle Ages, costumes and weapons? The musical score?

4. The plausibility of the plot as fantasy, concerning a young boy, 14th birthday? And the story of the disappearance of his twin brother?

5. The family, moving from America, the father and his study of science, nerves, neglecting his children? The devotion and support of his wife? The older son away in the Navy? The next son, Max, and his studies, returning home, the story of his failing exams, being honest with his father? The twins, the older brother, the younger sister? William as the seventh son of a seventh son?

6. School, the school bus, Maggie and the attraction? The family home, meals, the decision to move from America? The effect of England?

7. The invitation to the reception, Merriman Lyon, his role in the household, Miss Greythorne? Mr Dawson and Old George and their helping with the tree? At the mansion?

8. William, the sense of something special, the antagonism of the dogs, his wandering from the reception, the Old People encountering him, his walk, taking him to the church, explaining his mission? The encounter with The Rider on horseback?

9. Lyon and his explanation of the situation, the thousand years of darkness and light, the role of the signs, William having to seek them out, getting them in time to avert darkness enveloping the earth? William and his lack of self-confidence, the mission, his time travel and the effect on him, think he was not a seventh son, the discussions with his mother, discovery about his twin brother and the disappearance?

10. The details of the quest, the gift of the belt, the visuals of the signs, their appearing in different places, his travelling, the struggle to get each of the signs and put them on the belt? His sister time traveling with him, the dangers?

11. Maggie, the attraction, William succumbing, her being an agent of The Rider, the final confrontation with him, the struggle, wanting the signs, his standing up to her? The promise that she would not age, falling into the water, aged?

12. Max, his problems, being taken over by The Rider, the confrontation with his brother, time travel, come to his senses, William’s advice, talking to his father?

13. The Rider, sinister, yet appearing in ordinary life, with his mother, the celebration of Christmas, in the church, singing Joy to the World? William and his disappearance, the old people also disappearing, his quest, the tomb of his ancestor, the confrontation with The Rider’s mother, Dawson and the bet about a dragon, her appearing as snakes, William using his strength, recovering the sign? The severity of Lyon and his advice? Miss Greythorne more moderate?

14. Time coming, the desperate finding of the fifth sign, not knowing what the sixth sign was, coming to his senses, realising that it was him in himself, his
strength, convictions, standing up to The Rider, letting loose the darkness, William holding out his hand and repelling it? Light coming over the world?

15. The survival of the Old People, the family reuniting, the father not being preoccupied with his studies, the bonding of the family? The world saved?

THEY CAME TOGETHER

US, 2014, 83 minutes, Colour.
Paul Rudd, Amy Poehler, Bill Hader, Ellie Kemp, Cobie Smolders, Jason Mantzoukas, Michael Ian Black, Christopher Meloni, Ed Helms, Norah Jones, Adam Scott, John Stamos, Michael Murphy, Jeffrey Dean Morgan, Michael Shannon, Judge Judy.
Directed by David Wain.

This is a romantic comedy for film buffs rather than those looking for a romantic comedy.

This is a collaboration between Paul Rudd and writer-director, David Wain, with previous collaborations including The 10 Commandments and Role Models.

Paul Rudd and Amy Poehler portray a couple having dinner in a restaurant telling their story to another couple, Bill Hadar and Ellie Kemp. They tell a story of rocky encounters, change of heart, falling in love, hesitations and difficulties, relating to other people, the storming of a wedding ceremony, marriage… And news of a separation. but the film ends with an upbeat note – possibility for starting again.

Fans of Paul Rudd and Amy Polar will enjoy the performances, some serious moments, some comic moments, some romantic moments. Rudd portrays an executive with an expanding candy company who want to buy up surrounding buildings when they propose a new store. Amy Poehler plays an eccentric woman whose life ambition was to open her private candy store, which she does. They encounter one another by accident on the way to a fancy dress party, both as Benjamin Franklin, then discover that are going to the same party, clashing but nevertheless attracted to each other.

Rudd’s company is portrayed as ruthless, with Christopher Meloni in charge, and Michael Ian Black, a smarmy executive who is having an affair with Cobie Smulders, Rudd’s girlfriend to whom is about to propose. Meloni has a very awkward sequence when he is trapped in his costume and has a toilet accident, creating a mess but trying to blame everyone else. Contrary to all expectations, he turns out to be the good guy at the end, fostering private enterprise and supporting Rudd and Poehler.

Rudd has various friends at work, clashes with his younger brother who is out of work and sponging on him but who turns things around. For a moment, it is revealed that Amy Poehler has a son who immediately takes a shine to Rudd as a substitute father.

There are a lot of comic moments, a lot of romantic moments, including a test whether Poehler wearing a Groucho Marx nose and glasses is noticeable or not – and her prospective fiance, Ed Helms, not recognising her at the wedding ceremony.

There are some cameos at the end with Jeffrey Dean Morgan turning up as a former boyfriend and Michael Shannon turning up, sinister as usual, for a fight with Rudd as Poehler’s ex-husband. There are also some cameos by Adam Scott who appeared with Poehler in Parks and Recreation, with John Amos and Norah Jones singing, a recording session with touches of the music video.

There are some amusing lines and situations – and some very corny ones as well. Some outrageous situations, especially with Michael Murphy as Poehler’s Neo Nazi father. Which means that an audience looking for a romantic comedy may well be disappointed not understanding what is going on, but for the fans of the star stars and the writer-director, it is often quite amusing.

EASY MONEY II: HARD TO KILL/ SNABBA CASH II

Sweden, 2012, 99 minutes, Colour.
Joel Kinnaman, Matias Varela, Dragomir Mrsic, Fares Fares, Madeleine Martin, Dejan Cukic, Joel Spira, Lisa Henni.
Directed by Babak Najafi.

Easy Money II is not a stand-alone film. It depends for its characters and situations on the original film from 2010.

Once again, Joel Kinnaman plays the young JW, a student from a poor family, infiltrating himself into gangs in Sweden, presuming on his charm but being put in his place by his upper-class associates. He has driven taxis, given shelter to a criminal, Jorge IMatias Varela) who has a prominent role in this film. He had also tangled, violently, with a member of the Serbian game,Mrado (Dragomir Mrsic), also a prominent character in this film.

The opening finds JW still in prison but about to be released on parole. He has made friends with Mrado who is now confined to a wheelchair because of gunshot wounds. During his time in prison, JW has been working on software which he proposes to sell, along with his upper crust friend, Nicolas/Nippe, but when he goes to the interview with the company, he finds that Nippe has gone the previous day and sold the material as his own. Part of the drama is JW going to a restaurant and confronting Nippe.

Also in the picture is his girlfriend from the first film, Sophie.

Jorge appears more prominently in this film, making contact with his sister who has given birth to a child, with her husband who is antagonistic. He contacts his mother who dies. He gets a job as a chef and encounters a prostitute who escapes into the kitchen after being interned by the Serbian boss. They fall in love, go through various difficulties, but are attacked by gunmen and shot. However, both survive.

The Serbian gang is also prominent, the boss, Radovan, as well as the thug who kept Nadia as a sex slave. This also leads to interventions by Jorge and shootouts and executions.

Mrado escapes from prison, wants to see his daughter, but dies.
Further complication is with the character, Mahmoud, who has stolen an amount of money from the Serbs but is hired by Radovan, the boss, to repay his debt by tracking down Jorge – but it leads him to a confrontation with JW with whom he formerly worked in the first film. And his death
.
The action moves quite rapidly, at times perhaps too rapidly and straining credulity, especially with the shootouts, the woundings and survivals.

While Joel Kinnaman is still billed as the star, his appearances in this film, as in the third film, are very limited. For more information and discussion, it is necessary to check with the first film.