HOME

US, 2015, 94 minutes, Colour.
Voices of: Jim Parsons, Rihanna, Steve Martin, Jennifer Lopez.
Directed by Tim Johnson.

Home is a pleasant animation film from Dream Works Studios. While parents may enjoy it – or, perhaps, pleasantly tolerate it – it is targeted for a children’s audience and younger children might respond happily.

In one sense this is a variation on ET. Except that this creature’s two letters are O and H, Oh. This is a variation on ET coming to earth as well as variations on close encounters and the War of the Worlds, G-rated, of course.

Out in space are a race of creatures, short and squat, multi-legged or, who feel that they are being pursued by other aliens and have to be on the move, continually finding somewhere for refuge. They are led by The Captain, voiced by Steve Martin. They are all assembled, the luggage in little balloon bags, ready to go to earth. And then Oh appears. He is voiced by comedian, Jim Parsons.

Oh is the hero of the film, an exuberant creature (his fellow-creatures are definitely not exuberant), the Boovs. In one way they are considerate, they don’t want to destroy the human race, simply remove every human from the face of the earth, sucked up by vacuum and relocated, suburban houses and all, on another planet, assuming that they all want to be there, which, obviously, they don’t.

In the meantime, the Boovs settle on earth, with Oh getting an apartment, wanting to host a party but everybody avoiding it and him.

Meanwhile, there is one little girl who was not sucked up with all the humans because he had her at pig-cat on her head and the vacuum couldn’t penetrate it. She is called Tip and, surprisingly, is voiced by Rihanna. In her search for her mother (Jennifer Lopez), she comes across Oh, clashes at first, then the beginnings of friendship as he mends her car. What follows are a lot of adventures, even to capital cities around the world. Oh becomes a bit more human, learning that one can make mistakes, seeing families bonding…

When a huge hostile alien craft threatens, Oh decides to defend everyone – only to find that the threat was not nearly as great as was thought. Which means then that humans and Boovs can get to know each other, become friendly, share Earth and its cities, and even want to dance!

Of course, it was inevitable that there would be happy ending, and there is. But, isn’t there an allegory about refugees, fleeing in fear, and finally finding a welcome?

1. Entertaining animation film – for children, for adults?

2. The style of animation, characters, planets and the universe, the world, world cities and the landmarks? The musical score?

3. The voice cast, appropriate for the characters?

4. The title, the theme, the Boovs and their trying to find a home, always on the move, a sense of persecution, the decision to go to earth? Making their home? Removing all the humans? Oh and his experience, his apartment, his home, feeling lonely, nobody liking him? Tip, not removed, the cat? Searching for her mother? The humans on the other planet? The restoration, interactions? True?

5. The situation, the Boovs, their appearance, speech and the mangled English, the assembly, loneliness, people on the mountain tops and not neighbours? Oh, his eagerness, everybody else’s reaction? The captain, his speech, his exhortations? Going to earth?

6. The humans, the cities, their all being sucked up by the vacuum? Relocated, all the homes, not wanting to be there, Tip’s mother?

7. Oh, his character, Jim Parsons and his voice, the reason for his name, everybody saying ‘oh’ in dismay when he turned up? On earth, wanting to throw the party, decorating his apartment, everybody avoiding it? Kyle, the police work, his not wanting to go?

8. The interrogation by the captain, assessing the situation, the behaviour of Oh?

9. Oh, the supermarket, Tip and the cat, eventually meeting Oh, in the freezer, letting him out, fixing the car?

10. Their adventures, Oh and his learning about making mistakes, human qualities? Tip, her character, African-American? background? The cat? Going from city to city, seeing families, bonding?

11. The threat from the aliens, the giant machine, Oh and his confrontation, Tip and her mother, finding each other, the joy, accepting Oh, the importance of Oh and the rock, containing the new aliens, giving it up? The retreat?

12. Happy restoration, the party and the guests, the Boovs and their being moved to dance, even the aliens, everybody happy, communicating, acceptance? True home?

THE GIRL

UK, 2012, 91 minutes, Colour.
Sienna Miller, Toby Jones, Imelda Staunton, Conrad Kemp, Penelope Wilton.
Directed by Julian Jarrold.

Alfred Hitchcock was always an interesting character while he was alive, not just as a consummate director but also as a personality, squat and heavy, bald, with a supercilious look, inserting a cameo of himself into every film, sardonic in his introductions to his television series and trailers for his films. He began his career in England making films there in the 1920s and 1930s, moving to the United States with his Rebecca winning the Oscar for best film of 1940, though he never won an Oscar for Best Director. Throughout his life and career, he was assisted by his wife,Alma Reville.

The 2012 film, Hitchcock, had Anthony Hopkins playing the director during his making off Psycho and his infatuation with Janet Leigh, with Helen Mirren as his wife, long-suffering, supportive of the actresses who became the targets of Hitchcock’s obsession with blonde actresses.

Donald Spoto wrote a biography of Hitchcock, focusing on his dark side, on his sexual obsessions, emotional infidelity. The screenplay for this film draws on Spoto’s book.

This time the girl of the title is actress Tippi Hedren, a model who fascinated Hitchcock but whom he treated very badly during the filming of The Birds, sadistically watching her as live birds pecked at her during a key scene. She was a glamorous model, with a young daughter, Melanie Griffith, who is eager to take the opportunity for working with Hitchcock. However, she was uncomfortable with his attentions and withdrew but he courted her to take the role of Marnie because Grace Kelly could not leave Monaco to play the role. He treated her badly in the making of Marnie as well.

Toby Jones is very good as Hitchcock, embodying the director, in his work of direction as well is in his obsessive pursuit of Tippi Hedren.

Imelda Staunton plays Alma Reville, and there are scenes with the screenwriter, Evan Hunter, later the novelist of the Precinct 87 novels.

The film was directed by Julian Jarrold, director of such films as The Other Boleyn Girl, Becoming Jane and Brideshead Revisited.

1. Audience interest in Alfred Hitchcock’s films, his classics? Audience appreciation?

2. Hitchcock and his life, his marriage and the years of working together, Alma Reville, the input in terms of stories, editing, advice?

3. The significance of blonde actresses to Hitchcock, Grace Kelly, Vera Miles, Kim Novak, Janet Leigh, the effect of his obsessions and interactions? Sexual obsession? The response, problems, Alma’s exasperation, communicating with the actresses, supporting them? Hitchcock’s not approving his actresses being pregnant?

4. Tippi Hedren? The work as a model, Hitchcock seeing her, and the invitation, his infatuation, the meal, the nature of the tests, the contracts? Her career, the divorce, Melanie, hopes?

5. Donald Spoto, his book exploring the dark side of Hitchcock, his sex drive, his obsession with blondes, emotional infidelity, his compromises, his sadistic and brutal treatment of his actresses, particularly Tippi Hedren, The Birds? His psychology, moods, promises, the filming of The Birds and the torture? Alma’s reaction, Peggy’s reaction?

6. His career, the success of Psycho, the choice of The Birds? Working with the novelist, Evan Hunter, writing, perspectives, changing the screenplay? His work with his producer, Jim? The role of the studio?

7. Tippi Hedren, at home, her assistant, Melanie and her age, her relationship with her mother? Hopes, auditions, Hitchcock’s kiss? The contract? The PR, the build-up, the effect for the film, on her as a person, pleasant, glamorous, competent, her ambitions, hard experience, Hitchcock and his control? The demands made for The Birds, for bringing her into Marnie, the filming of Marnie?

8. The filming of The Birds? The bird wranglers and their work? Setting the scene, the telephone box, her acting, the mechanical birds, the real birds, Hitchcock urging them on? Prolonging the scene? Day after day? The trauma for Tippi Hedren?

9. The framing of various scenes, the focus on Tippi Hedren and Hitchcock, as if they were intimate, the relationship between the two, alone – and the camera drawing back and revealing tests and normal scenes?

10. Hitchcock as director, rehearsals, scenes, his behaviour on-set?

11. Peggy, devoted assistant, meeting Tippi Hedren, on the set? Her reaction to Hitchcock’s treatment? The disapproval? Helping Tippi Hedren? But her devotion to Hitchcock?

12. Alma, her presence, leaving, returning, the effect on Hitchcock, his dependence on his wife?

13. Marnie, Grace Kelly unavailable, Hitchcock urging Tippi Hedren to come back, resisting his control, but her experience of leaving, asserting her independence? Sean Connery? The filming, the story, the development of the screenplay, the change from being a blonde? Her being icy and Hitchcock’s reaction, his dislike of it? Tippi Hedren giving in slightly, dyeing her hair, the details of the plot?

14. The film as a psychological study, the director and his drives, his behaviour and demons? An actress, her response, victim, change?

15. The subsequent information about Hitchcock’s career and Tippi Hedren’s lack of career?

BANKSY DOES NEW YORK

US, 2014, 79 minutes, Colour.
Directed by Chris Moukarbel.

One of the best-kept secrets in the world of art, or at least the world of graffiti and street art, is the identity of the British artist called Banksy. In this age of instant social media, it is amazing that over the years the identity of Banksy has not been revealed.

In 2010, there was an intriguing documentary called Banksy, Exit through the Gift Shop, a tantalising quest for the identity of Banksy but an opportunity to look at his Street Art, respond pro or con, and a chance to think about the nature of this kind of art, ephemeral or permanent, art or kitsch.

Now, several years later, Banksy is still a mystery. He is given a commission to spend a month in New York City, October 2013. He has contracted to do a piece of art each day, and fulfils the promise except for one day when the police obstruct his work.

The film makers, with no official connection with Banksy, take the opportunity to photograph each of the works of art, quite important since a number of them were removed or defaced. Mayor Bloomberg of New York City, other officials and the police, take a dim view of this work, considering it a criminal offence to deface buildings with this kind of art and graffiti. The police are in pursuit and try to prevent further art events.

Audiences may be in two minds about the work itself, but the variety of art-words and art-images, actual graffiti, actual paintings and, even a brick sculpture, the Sphinx, have an immediately arresting quality. Some of the New York papers decided to ignore Banksy. One critic, with a touch of the pontificating, dismisses the work as unsubtle, kitsch and hammering home social messages. A more benign commentator is inclined to offer more favourable perspectives. On the other hand, television news across the broad range are continually commenting on the artist, his work, and public response. It makes for instant television

What is intriguing is that each day Banksy goes to an unknown location and does his work of art. There are many Banksy fans who want to see each work each day and a number who refer to themselves as Banksy Hunters, tweeting, using Facebook and Instagram, to let people know where they might find the works with crowds hurrying there. On the other hand, on one day, a stall is set up to sell Banksy works and people pass by, only a few purchasing the art – for about $50 each, which may then be worth thousands later!

The film captures the ideas and responses of many of the enthusiasts and the Hunters. Audiences can check their own responses in comparison.

Some of the works are quite simple, there is a frequent use of black silhouettes interacting with local objects like fire hydrants, with fans getting their photographs taken in front of the works. One of the most striking is a large art piece reflecting on the WikiLeaks? revelation about American forces and helicopters in Iraq shooting down agents as well as innocent bystanders with shockingly callous remarks. It is well worth Banksy doing a work visualising the implications of this vicious event.

The film is short, but always interesting, our listening to the views, watching the reactions of the fans, and the opportunity to see the variety of works and build up an impression of and response to Banksy.

1. Who is Banksy? The mystery? Very well-kept secret?

2. Audience response to Street Art? In the United Kingdom over the years? Art and graffiti? Kitsch? Messages through street art, dramatic? Subtle or unsubtle?

3. Banksy fans, Banksy hunters, banks the dealers? Photographing and filming his street art? Sales?

4. New York, the views of the city, familiar, unfamiliar, the details of the location for the street art? Musical score?

5. Banksy in New York for one month? The indication of the days and counting? The mystery of where he would work, when? People tracking him down, Tweeting, Instagram, Facebook? Gathering to look at the work?

6. The range of comments of the observers and the fans, the means of discovering where the art was?

7. The range, words, images, social concern, philosophers’ sayings? The puppets in the truck? The WikiLeaks? images from Iraq, and the shooting of agents and people from the helicopter? The large painting dramatising this? The use of silhouettes, the characters? The scenes of selling the art in the street, the few customers?

8. The quality of the work, its impact, those who liked it, the art critics who disliked it and condemned it?

9. The New York authorities, Mayor Bloomberg, the police, highlighting that graffiti was a crime? The police and their antagonism towards the work, defacing it, bringing it down?

10. The newspaper reports, the television news, the highlights, the mystery, the commentary? Critics, for and against?

11. The dealer, his gallery, his going to visit the men who took the Sphinx, the discussions, the deals, his option, not selling the Sphinx?

12. The opening with the stealing of the artwork, the arrest of the men? Others taking the art on doors? The image of the Sphinx and those stealing it?

13. Banksy and street art as a contemporary phenomenon? Audiences enjoying watching it and the film? Judgement on the art – and Banksy in himself and his skills?

LUCKY THEM

US, 2014, 97 minutes, Colour.
Toni Collette, Thomas Hayden Church, Oliver Platt, Ryan Eggold, Nina Arianda, Joanne Woodward, Johnny Depp.
Directed by Megan Griffiths.

At one stage in the film, magazine journalist Ellie, Toni Collette, makes a remark that people who are able to live alone are “Lucky them”. Which means that she should be lucky because a lot of her time is spent alone despite her having friends, associates, and sexual relationships. But, at the opening of the film, she is far from lucky.

Toni Collette always gives a good performance as she does here. Ellie is a journalist for a magazine in Seattle, Oliver Platt playing the editor, who is becoming frustrated by Ellie’s unreliability, especially as magazines are changing, the influence of online publishing. He commissions her to do an investigation about a musician who was popular 10 years earlier, Matthew, who had made a great impact in the music world but had then suddenly withdrawn and there were reports of his death. He and Ellie had been in a relationship and his departure was emotionally hurtful for Ellie. She does not necessarily want to write this article but the editor insists that she must if she is to keep her job.

Helped by a good friend, she goes online to get some information about Matthew’s being alive or dead. She does get a lead and follows through but the informant seems rather unreliable and demands money. She actually has persuaded the editor to give her money to pay leads but she has lost the money.

Part of the job is to be a talent scout in Seattle and she comes across a man singing in the streets and is impressed by him, interviewing him, but failing to write the promised article. However, he does move in with her, sings in a club and is offered more appearances.

The tone of the film changes somewhat when an interesting if bizarre character arrives on the scene, Charlie, Thomas Hayden Church, a millionaire who had met Ellie years earlier. He is interested in all kinds of projects and wants to join Ellie in her search for Matthew, also offering to finance the search as long as he goes along, having decided that he would like to make a documentary about it. He years very (very) straight up and down, quite humourless, which makes his character interesting and a contrast with that of Ellie. They go on the road, interact with their different styles, he doing some filming, she doing the searching.

There is a surprise for the audience when she eventually does find Matthew – played by a top star in a modest cameo role, quite effective in its way. Probably his identity has come out but publicists were asking reviewers not to reveal who it was.

In many ways this is a small film, a local focus, a concentration on magazines and a changing styles, the research for articles. Citizen Kane it is not although it is somewhat in that vein – but audiences who come across the film will probably enjoy it.

1. The title? Ellie and her referring to people who live alone as ‘Lucky them’? Stories of life, stories of fate, stories of destiny?

2. The situation, Seattle, the magazine, 10 years earlier, Ellie and her relationship with Matthew, love, his music? Her work at the magazine, writing articles? His disappearance? Reports of his death?

3. The musical score, the range of songs? Busking, on the streets, records?

4. 10 years later, Ellie and her life, living with the hurt, the passing of the years, slacking in her work, interactions with the editor, his demands, the article, reconstructing Matthew’s career, the commission? Her work as scouting talent, the singer in the street?

5. Ellie in herself, sexual relationships, partners, alone, her best friend? The response to talent, the singer, interviewing him, not writing an article, his moving in, their relationship, his playing in clubs? His success? Travel? His finding the money and using it? Later returning it to Ellie?

6. The editor, his magazine, the range of changes, the different styles, commissioning articles, his relationship with Ellie, her failure, his anger, threats? His response to the final article?

7. Ellie and her friend, the discussions, her encouragement?

8. Her following through for the article, the Internet information, her response, following up, the visit, getting the money from the editor, losing it, going to the lead, his asking for money, getting the name of the club? Going to visit and the singer who sounded like Matthew?

9. Charlie, the past meeting with Ellie, friendship? His character, one-note, humourless millionaire, his infatuation with his girlfriend, his reflection on his relationships, his wedding, the breakup? His interest in the case, travelling, sharing the visits? The financial support? His intention to make a documentary, his filming, the visit to Matthew’s father, in the house, the father’s dislike of Ellie, ousting?

10. Charlie and his character, the changes through the trip? The discussions as they travelled, filmed, did interviews?

11. Going to the house, the meeting with Matthew’s wife at the diner, her phone call, following up? Matthew, wife and family, retreating from music? His character, a new life? The relationship with Ellie and his leaving her? A fond farewell? Johnny Depp doing the cameo role?

12. Ellie, writing the article, putting herself into it, the response of the editor? A new lease in life?

GET HARD

US, 2015, 100 minutes, Colour.
Will Ferrell, Kevin Hart, Craig T.Nelson, Alison Brie, T.I.Harris, Edwina Findley Dickerson, Ariana Neal, Paul Ben- Victor, John Mayer.
Directed by Etan Cohen.

This is one of those American comedies which will divide audiences. Many will find it very funny and enjoy the targets and the satire. Many will be repelled by various elements, especially the treatment of race themes, homophobic themes, American class themes.

In the reviews, some writers have commented that the film is attempting realism and so its exaggerations do not work. however, this is satire and spoof, not meant to be taken literally, heightened for the sake of making the points and making the jokes. It may be that the points are not well-made as intended, and the jokes are not as funny as intended. What the screenplay seems to be doing is to taking up the stereotypes and the way they are presented in the movies: class, sexuality, violence, racism. By its pairing of the two central characters and their differences, the film is actually making many points against classes, homophobia, alleged prison violence, racism.

We know that Will Ferrell has played quite a number of idiot types in his career, especially remembering Ron Burgundy, and this is a variation on the theme. His James King, living in luxury, sexy fiancee, a benign father-in-law who makes him a partner in the firm, but caught in the many stupidities of class snobbery, doing all the trendy things including exercises, and everything that is expected of a financial adviser and executive. Actually, in his chosen sphere of finance, he is very well-educated and throughout the film has a sophisticated vocabulary and turn of phrase. But his doom, and his being manipulated await him. During his engagement party, where he tries to upstage singer John Mayer, he is arrested for fraud.

In the meantime there is Kevin Hart. In some films, like Ride Along and About Last Night, his shrieking comedy routines and in-your-face personality are fairly repellent. It was interesting to see him in The Wedding Ringer, that he could subdue the eccentricities and do a credible comic performance. And this is what he does here, playing a straightforward manager of a car-wash business, pleasant wife and daughter, no criminal background, needing $30,000 to pay off the mortgage of the home.

The race jokes start when Darnell knocks on the window of James’s car and James is afraid that he is a victim of race violence. And he advises Darnell to start saving money. But, after his arrest and his fear of prison where he is sentenced to maximum security and 10 years, he decides that he needs to prepare.

The bulk of the film and the comedy are in attempts at preparing James, and Darnell, pretending he has spent time in prison, consults his cousin, Russell, for ideas. And what ensues are a number of comic routines, according to the audience’s sense of humour or not. Darnell makes James do lots of bodybuilding and exercise, trying to get him to make Mad Dog Faces to intimidate, getting the rough and crass language that is expected to be used in prison… Then there are the allegedly popular expectations that there will be a lot of homosexual exploitation among the prisoners, so a lot of discussion, a visit to a gay restaurant where James goes to a toilet for experience but a gay man does approach Darnell who offers a sympathetic ear, and later communicates by mobile phone. To cap it all, there is a scene where Darnell takes the role of an African- American, a Hispanic and a gay prisoner, stands James in the centre while he impersonates each character and their interactions.

The preparation also involves a visit to Darnell’s home where his wife persuades Darnell to tell the story of his alleged imprisonment and he recounts the plot of The Boys in the Hood. They visit Russell and all the tough African- Americans as well as going to the headquarters of a racist white bikie gang.

Meanwhile, it is not too difficult to work out that James is innocent and who has been framing him – with a scene on a yacht where James’ training comes to full force and he and Darnell overcome the villains.

This reviewer was inclined to give the benefit of the doubt to the all the spoof and send-ups.

1. US comedy, crass style? For Will Ferrell and Kevin Hart?

2. The title, ambiguity, prison, sex?

3. Satire – politically correct, not politically-correct? Exaggerated? Spoof, the attack on targets? Racism, homophobia, class?

4. Stereotypes, going beyond them, the humour? Situations, poses, dialogue, wisecracks, jokes? The targets has the representation of the stereotypes in the movies? Sending-up the stereotypes?

5. James King, his name, waking up in luxury, everything perfect, his personal stupidity but well educated, his vocabulary and phrases, his relationship with Alissa, the sexual encounters? Naked at the window? The staff, his exercises, driving to work, smug, arrival at the office, people’s reactions? Martin praising him, offering him the partnership? The reaction of the others?

6. Setting up the contrast, Darnell, at home, his wife, daughter, taking her to school, the tough school in south Los Angeles, his needing $30,000 for the mortgage on the house?

7. The meeting between Darnell and James? The company, in the car, James being terrified, Darnell offering the car keys? The discussion? Darnell asking for $30,000? James refusing?

8. The engagement party, John Mayer, his singing, the gift of the guitar? The sudden arrest?

9. The charges, Martin reassuring him, the lawyer, in court, the judge imposing the harshest sentence?

10. The opening with James weeping, the sentence, 30 days before prison, his attempt to escape, the brace on his leg, the disguise, confronting Alissa, her
friends, her being a gold-digger, her abandoning him? His breaking the bracelet? The arrest?

11. His hiding in the boot of the car, Darnell finding him? The discussion about prison, the need for preparation, James and the statistics that one in three African Americans went to prison? Therefore Darnell? The request, agreeing to the money? Darnell and his ringing his cousin, Russell, for information about prison?

12. The days for the countdown on the screen? The staff participating in the training, enjoying roughing up James? The contract, the construction of a cell, the notices outside the mansion?

13. The sex focus, the talk, the jokes, imagining prison, the gay attacks, the lunch at the gay restaurant, going to the toilet, James willing to experiment, his reaction? Darnell and chatted up by the gay man? The serious talk, Darnell’s advice, earnest, the man contacting him and talking on the mobile phone?

14. Visual violence, his Mad Dog Faces, language, toughing it out?

15. Darnell, the role-plays, the African- American, the Hispanic, the gay prisoner and James in the centre, Darnell and his representing each character?

16. James at night, study, developing his attitudes? Sitting on the toilet and reading?

17. Darnell, his wife, the situation, his being tough, her reaction? The daughter? Inviting James to dinner? Wanting the truth – and Darnell recounting the plot from Boys in the Hood? Russell and the others recognising the story later?

18. The visit to Russell, the men, the women, the stereotypes, the reaction, James and the attraction to the girl, the sexiness? His explaining finances to them, using the computer, the interest?

19. Recommendation to visit the White gang, the bikie club, the confrontation? Suspicions that James was a cop? Darnell and his setting the fire, their escape?

20. Martin, his lawyer, playing golf, the gunman? Martin and his conspiracy? His smooth talking to James?

21. James and his disillusionment with Martin? And disillusionment with the fact that time Darnell had never been to prison? Going back to Russell, getting
the nickname Mayo, initiation, the drugs? Darnell to the rescue? Giving him the nickname Chocolate?

22. The whiteboard with Martin and all his connections, the arrows rose, Martin as villain, his island, yacht, escape plan, his daughter? The memory of the computer, dressing up as cleaners, stealing the computer, the thug catching them, their escape?

23. Speeding to the yacht, trying to get on board, falling, the other side, fighting the crew, James and his Mad Dog Faces, the knockout, his having the bracelet, threatening the police would arrive – and their arriving?

24. His being arrested with the illegal gun, six months in jail, the dance, getting out? The irony of Martin and the lawyer going to jail?

25. The new life in the future, Darnell and his car wash, enterprise and the dedication? James and his relationship and learning something of the reality of life?

CHAPPIE

US, 2015, 120 minutes, Colour.
Sharlto Copley, Dev Patel, Hugh Jackman, Ninja, Yo- Landi Visser, Jose Pablo Cantillo.
Directed by Neill Blomkamp.

For years now, there has been an increasing interest in the stories about Artificial Intelligence and a range of films about robots, robotics, androids, and the possibility of creating an android with self-consciousness. In this futuristic science-fiction fable, there is a company at work in Johannesburg producing a wide range of android Robocops who keep down the crime rate.

But there are two men working in very different experiments, one an ex-army militaristic type, Vincent, played by Hugh Jackman with an Australian accent and strange brown hair, who is building a rather gigantic robot which can take to the air, survey crimes and uprisings and swoop down and fire at will to destroy the criminals (and it does get an extensive tryout). The other is an Indian South African, Deon, played by Dev Patel, now well-known for Slumdog Millionaire as well as the Best Exotic Marigold Hotels. He is desperately doing experiments which will give his androids human intellectual capacities, personality and the ability to learn.

When one of the robot police is partially destroyed, and the severe boss of the company, Sigourney Weaver, forbids both men from progressing with their work, Deon takes the shattered robot and works at home creating the desired android. The way that his programme is designed means that the android begins his life as the equivalent of a child and has to go through a process of learning.

That would be no problem but we have already seen some thugs and gangs around the city, taking advantage of crime possibilities, drug-pedalling and three rather dim-witted villains in debt to the gangster leader. When they have the brainwave that they should rob a bank to pay back their debts, they realise that they can get the help of a robot and so abduct the experimental android. Which means that he has a strange learning process, partly from Deon, but strongly influenced by the gangsters, their language, their stances. But, as he grows up, he has been told by his maker always to do the right thing.


Which means that there are a lot of complications, the maker trying to visit his creation and educate him well. The woman in the gang find she has maternal instincts, especially towards this chap, whom she names Chappie. But the leader of the gang is a complete moron, and a violent one as well, abandoning Chappie to the mercilessness of young gangsters on the outskirts of the city with Chappie having to find his way back, increasing his learning experience. The gangsters begin to become a shrewd and find a way of getting him to participate – and the transformation of the moronic gangster to something of a friendly hero more than strains credibility.


These two characters played by South African celebrities, Ninja and Yo- Landi Visser – using their celebrity names for their characters, but whatever their popularity, acting ability is not to the fore.

It is Dev Patel as Deon who is the most convincing. Hugh Jackman turns out to be a kind of comic-book villain, even turning off the power to all the Robocops who collapse in heaps with ultimate riots in Bedlam in the city, and Sigourney Weaver who has either to look extremely bossy or apprehensive.

The premise is quite interesting but, as the film goes along, it becomes more comic-book, even silly in some of the situations as well as the characterisations. Which is a pity because there are many things going for the film.

Directed by Neill Blomkamp, who made a huge impact with his science-fiction drama, District 9. His follow-up film, Elysium, had some interesting ideas in terms of communication between earth and a super resort satellite. But, there was some incipient silliness in that film as well. While Blomkamp is right in designing his science-fiction for a wide audience, his films need to be more intelligently stimulating rather than a reliance on some corny dialogue at times and very effective special effects.

1. Artificial Intelligence? Androids, robotics, developments, risks? Human control, human error, motivation? Training? Human attachment? Android attachment?

2. Neill Blomkamp, his films, science-fiction, South African backgrounds, Johannesburg, characters, situations, use of city locations? An Australian and an American in the film? South African performers? The musical score?

3. The title, Deon and his making the android, being abducted, Ninja and Yo -Landi, naming the android Chappie, Sharlto Copley, his voice, creating a character?

4. Johannesburg, law and order, the authorities, the company, Vincent and his plan? Deon and his research? The Robocops in the city, in action, bringing down the crime level? Vincent turning them all off, the collapse, mayhem, looting? The need for the human police? Vincent and his motives?

5. The gangs, tough, drugs, the gang boss, Ninja and his debt, with The Yo- Landi, with Amerika, as characters, Ninja as moronic? Yo- Landi and the brains? The debt, the plan, the robbery, using robots? Stealing Chappie? The talk, the attitudes, the language, the plan, using and deceiving Chappie, abandoning him with the gangs, his return home? Yo- Landi as maternal?

6. Deon, his work, his relationship with Michelle Bradley, taking the wrecked robot? His computer work, the program, the success, implanting the intelligence in Chappie? Chappie as a child, having to learn? Deon and his attempts with the basics, the principles of integrity? Chappie and his using this, but with the information from the gang, and the gang’s swagger?

7. Michelle Bradley, forbidding Vincent to proceed, with Deon? The Mayor, the speech, the increase in orders? The workers? Vincent and his computer, Deon and his desk, Vincent suspicious, following Deon, stealing the hard drive?

8. Deon, coping, the visits to Chappie? Friendship with Yo- Landi?

9. Vincent, jealousy, closing down the robots, his cover-ups? Interviews with Michelle Bradley? Pushing his project, getting it into action, in the air, surveillance, shooting – and its being shot down and wrecked?

10. Ninja, America and The Yo- Landi, going to the boss, the confrontation, the aerial robot, deaths?

11. Chappie, his disappointment, the plan with Deon, to download the intelligence into another failed robot, finding it, the insertion? Deon, his being shot, the experiment and his intelligence captured, downloaded? His surviving as an android? Ninja and his help? Yo- Landi and her death, downloading her intelligence? Preparation for a sequel?

12. The plot, credible, touches of silliness, situations and dialogue? But offset by the special effects and the action sequences?

INSURGENT

US, 2015, 119 minutes, Colour.
Shailene Woodley, Theo James, Kate Winslet, Naomi Watts, Ansel Elgort, Miles Teller, Jai Courtney, Mekhi Pfiffer, Octavia Spencer, Zoey Kravitz, Tony Goldwyn Ashley Judd, Janet Mc Teer, Ray Stevenson, Maggie Q, Jonny Weston.
Directed by Robert Schwenke.

Last year audiences learnt about a post-apocalyptic world, confined to a city, with a social structure of five communities: Dauntless, Erudite, Candor, Amity, Abnegation. Individuals belong to each of the groups according to their personality and talents. in the first film of the series, based on novels by Veronica Roth, Divergent, we saw that Abnegation was eliminated, that the military types of Dauntless were in command.

The central character was Tris, played with great energy and determination by Shailene Woodley. It emerges that, though she was from an Abnegation family, she was really different and was a Divergent. The power in the city was Jeanine (Kate Winslet). One of the ways of control was simulation games, akin to some of the heroics now familiar from The Hunger Games. Tris, put through extraordinary physical paces, was drawn to Four, actual name Tobias (Theo James) and, by the end of this first episode, Tris’s parents (Tony Goldwyn and Ashley Judd) were dead. Rebels went into exile.

With the second episode, Insurgent, we find the rebels living with the Amity group, led by Octavia Spencer. While the rebels agree not to disturb Amity, Jeanine’s forces invade the outpost with Tris and Tobias escaping, pursued by the relentless Eric (Jai Courtney). They take refuge on a goods train going to the city where again, they are confronted. Peter (Miles Teller) betrays them and Triss’ Erudite brother, Caleb (Ansel Elgort) thinks he is doing right by going to work for Jeanine.

So far, so expected – except that there is a revelation that Tobias’s mother has not died when he was a little boy, as had been thought, but has fabricated her death to escape her tyrannical husband, Marcus. It is then that we realise that she is played by Naomi Watts, almost unrecognisable in a dark wig. She wants to lead a revolution with her group, and the Factionless, against Jeanine.

Then the film becomes more interesting and arresting, as Jeanine, Kate Winslet offering a performance of Aryan tyranny without any charm, is testing Divergents hoping to find the perfect candidate who embodies all the factions. The sequences where Tris goes through successive simulation experiments and demanding experiences, showing her capacities of 100% Divergent, focus the attention. We admire the ingenuity of the special effects people as they create extraordinary visual situations for the tests, especially a block of floating rooms on fire with Triss showing that she is a strong female super-hero, in her attempts to save her stranded mother.

With various twists in the plot and changing loyalties, we are introduced to a mysterious box which was in the care of Tricia’s mother and is now opened, seeming to offer good news and a happy ending and an improved future for all factions. But, then, there is one brief final scene which leaves us watching the final credits on edge, wondering where the sequels, Allegiant will lead us as the inhabitants move beyond the wall of the city. The two-part Allegiant is to come.

1. The impact of Divergent, situations, characters, conflict? Disaster and remedy?

2. The title, Tris, Tobias, the group? The Factionless and Tobias mother? Lies? The stances, the confrontations? Peter and his betrayal and change of heart? Caleb and his leaving, with Jeanine?

3. The situation, the city, the wall? The role of the Council, Jeanine and domination? Her armed guards? Max and his leadership? Eric, relentless, pursuit – and his death? Caleb, with Tris? Going to Jeanine? Her control, her Aryan look and to any? Her experiments with the Divergents? With Tris or?

4. The factions, Dauntless, Erudite, Candor, Amity, Abnegation? The destruction of Abnegation? The death of Tris’s parents?

5. The group of rebels, taking refuge with Amity, Amity and the hospitality, Johanna, her fears, the ethos of Amity? Tris and Tobias to leave? The trucks invading, the attack, the guns, Eric and the pursuit, fleeing through the woods, getting on the train? The confrontation with the leader of the Factionless? Being taken to Evelyn?

6. Evelyn, her character, her story, the clashes with Marcus, his brutality, her leaving, engineering her death, abandoning Tobias? Her new role, leadership, Tobias and his confronting his mother, despising her, his argument that she was leading the rebellion for herself? Her plan? Her rivalry with Jeanine?

7. Jeanine defying the Council, her image of the buildings, her speeches?

8. Peter, his role, his critique and betrayal, working with Jeanine, her promises, not keeping them? His decision to save Tris and Tobias, unlocking the doors, the escape?

9. Asking for refuge with Candor, the leader, his firmness, the truth serum, Tobias and the truth, Tris, her unwillingness, her friendship with Christine and the other members of Tender, the truth about Will’s death, the judgements made, the leader, Tris and her capture?

10. The test on the Divergents, testing each faction? Tris 100%? The impact of the tests, the visuals, the simulations, Tris and her mother, on fire, the house going through the air? Her gymnastic abilities, her heroism, saving her mother? Her proving her intelligence? Her Candor in telling the truth? The role that Tobias played in the simulations, his being shattered? Her selflessness?

11. The further test, her room, the box and its being opened? Her dream and the opening of the box? Tobias, Peter, his change of heart, Tris and the test, going back for the box? Confronting Jeanine?

12. The projection and the voice from the box? The crowds leaving the city? Hope, the test, the past, the hope for the future?

13. The confrontation between Evelyn and Jeanine, the shooting? The end of the film – and anticipation of Allegiant?

THE GIRL FROM MONACO/ LA FILLE DE MONACO

France, 2008, 95 minutes, Colour.
Fabrice Luchini, Roschdy Zem, Louise Bourgoin, Stephane Audran, Jeanbe Balibar.
Directed by Anne Fontaine.

The Girl from Monaco is a slight and wry comedy. It is a star vehicle for one of France’s best character actors, Fabrice Luchini. He plays a Parisian lawyer who comes to Monaco to defend a woman accused of killing her lover. He was part of the Russian Mafia in Monaco and so a bodyguard is assigned to protect the lawyer. Luchini plays Bertrand, the lawyer and Roschdy Zem portrays the bodyguard, ever vigilant, deemed unnecessary, but continually protecting the lawyer and becoming his confidante.

The main complication comes from a very flirtatious young woman with television and film ambitions, played by Louise Bourgoin, who continually comes on strongly to the lawyer, he succumbing to his infatuation, then wanting to be rid of her. She is killed in a car accident, the bodyguard arrested, but the lawyer claims to be responsible and goes to prison.

The director is Anne Fontaine, director of How I Killed my Father, Coco Before Chanel, and the Australian-set Adore/Adoration.

1. A light and colourful comedy, French style?

2. The Monaco settings, the city of Monte Carlo, the buildings, streets, views of the sea, the hotels, the courts, prisons? Musical score?

3. Bertrand’s story, his background as a lawyer, coming from Paris, his relationship with Helene and her arriving, impetuosity, sexuality? Arrival in Monte Carlo, accommodation, talking with friends, discovering that he had a bodyguard, his unwillingness, getting used to him, relying on him? His knowing Bertrand’s program, getting rid of Helene? The intrusion of Audrey, her flirting, television work, filming him, the sexual attraction, his response, succumbing, the ambiguities, needing the bodyguard to get rid of her? The bodyguard continually challenging him? His work in the court, the accused, the encounters with her son, the conflict at the club? In court, his appeal, cross-examination, pleading for a short sentence? His growing exasperation with Audrey, meeting her, talking with the bodyguard, changing cars, the pursuit of Audrey, the accident and her death? His memories of the bodyguard and the bad lawyer for his father and their losing everything? His taking the blame, his time in prison, exercising, pottery, seeing the accused woman leaving? The postcard from his bodyguard? His time in prison? Happy?

4. The bodyguard, his work, following, 6 metres distance, the program, his own private life, devotion to duty, getting used to Bertrand, helping him? His past relationship with Audrey? Breaking off, antagonism, getting rid of her for Bertrand? Following her in the car? The death, his being arrested, let go, looking at Bertrand, leaving Monaco, the postcard?

5. Audrey, television, vivacious, flirting, imposing, filming, Bertrand and the bodyguard watching the terrible film, her wanting to screen it? Her past with the bodyguard? The attraction to Bertrand, the sexual encounters, his reactions? Her death?

6. The case, the mother, her relationship with the Russian, her son, his relationship, his mother and the news, her killing the Russian, silent in court, going to prison, getting out?

7. The credibility of the plot – but its French-style panache?

MONTANA MOON

US, 1930, 89 minutes, Black and white.
Joan Crawford, Johnny Mack Brown, Dorothy Sebastian, Ricardo Cortez, Benny Rubin, Cliff Edwards.
Directed by Malcolm St Clair.

Montana Moon is an early talkie, indicating that not all directors had adapted to the sound technology.

The film is a star vehicle Joan Crawford who had been appearing in number of MGM films and was soon to move into more serious roles and a more serious screen persona, winning an Oscar in 1945 for Mildred Pierce. Here she is a wealthy socialite, luring men, including a rather villainous Ricardo Cortez who professes his love for Joan’s sister, a sub-plot element that is not resolved by the end of the film. But, initially, to give her sister a free hand, she gets off a train and wanders from a town to discover a cowboy and his fire. He is played by former footballer, Johnny Mack Brown, who gives a fairly, sometimes intentional, stolid performance as a man who is captivated by Joan, suddenly marries her – which does strain the credibility for the audience – and she reveals who she is and take him home to her wealthy father for whom he works. The father is delighted that someone has tamed his erratic daughter.

Needless to say, like those many films where a bush girl goes to town and discovers evils in the city, this time he is the innocent with a group of over-wealthy, over-spoilt, young people who have too much time to party. He finds them hypocritical, clashes, fights, get into arguments with his wife and walks out and goes back to his life with the men who work the property. Amongst these is a character who has to do comedy, including the extracting of the tooth, with Benny Rubin, who plays a wandering, rather camp-style doctor – the comedy routines are fairly corny.

There is a lot of pre-Code sexual innuendo, a very flirtatious Joan Crawford with quite a number of innuendo lines, made all the more forceful by the sometimes dumb, sometimes knowing response of Johnny Mack Brown.

The director, Malcolm St Clair, worked with Max Sennett and made quite a number of low-budget films but then worked extensively on television during the 1950s and 1960s.

Something of a museum piece from MGM.

LADIES’ DAY

US, 1943, 62 minutes, Black and white.
Lupe Velez, Eddie Albert, Patsy Kelly, Max Baer, Jerome Cowan, Iris Adrian, Joan Barclay, George Cleveland.
Directed by Leslie Goodwins.

Ladies’ Day is the slightest of entertainments released during World War II. It is notable for the presence of Mexican star, Lupe Velez, best known as the Mexican Spitfire. She was from Mexico and starred in many American films during the 1930s, featured in a series of Mexican Spitfire comedies, directed by Leslie Goodwins, director of this film.

Eddie Albert was making his mark at this time, in a number of comedies. He is joined by a number of character actors including boxer, Max Baer, and Jerome Cowan as the owner of the baseball team, bespectacled and timid, an unusual performance from him.

Eddie Albert plays a champion pitcher in the baseball league, his team being very successful until Albert encounters Pepita, Lupe Velez, and is infatuated. Everybody tries means, physical and psychological, to distract him from his infatuation. Even the wives, form a club together especially for watching the matches, kidnap Pepita, organise for the owner to get her back to Hollywood to make a film which she does in rapid time. Ultimately, they spray a mercuachrome scent on her face, red spots indicating that she is sick – but, that does not daunt her – and Albert is able to succeed in winning the championship.

So this is what light supporting features entertainment was like in the 1940s.