MONTANA BELLE

US, 1951, 80 minutes, Colour.
Jane Russell, George Brent, Scott Brady, Forrest Tucker, Andy Devine, Jack Lambert, Ray Teal.
Directed by Alan Dwan.

Montana Belle was directed by Alan Dwan, a veteran of genre movies from the silent era. This is a star vehicle for Jane Russell had made such an impact as the sultry heroine of The Outlaw and as a star, with Bob Hope, in Paleface and Son of Paleface. She was making thrillers with Robert Mitchum and was about to star in Gentlemen Prefer Blondes.

At first she is stiff and sultry in the role of Belle Starr but warms up when she goes to town, and dons blonde wig and beautiful gowns and sings in a saloon.

This is also a story of the Dalton gang, their being betrayed by Belle Starr, their finally being arrested.

George Brent appears as the owner of a saloon, after being one of the romantic stars of the 1930s at Warner Brothers.


1. A small, entertaining Western? A Jane Russell film? Belle Starr’s story?

2. Oklahoma Territory, colour photography, the country, the town of Guthrie, police, the Birdcage saloon, the hideouts? The musical score?

3. Jane Russell, her popularity of this time, the sultry lead, sometimes a stiff performance, other times seductive, as Belle Starr and her reaction to her husband’s death, as Montana Belle, the blonde wig, in the saloon, the showstopping songs and the impact?

4. The Dalton gang, the reputation, robbing the banks, the headlines, hiding out? The bonds between the brothers? Ringo and his helping out, his hideout? Mac, partner with the brothers? The headlines of the newspapers? The rewards offered? Bob, bringing home Belle, rescuing her from prison, the cutting of the chains? The reactions to Belle, Ringo against her, the wariness of the brothers? Living with them, working, her being exasperated? Not able to respond to Bob, the interest of Mac?

5. The Birdcage, Tom Bradfield, owner, his discussions with the Federal agents, the deal for the reward for getting the Daltons? Pete, informant, the deal with Tom, his going to the Indian, the setup for the robbery of the Birdcage, his going back to Tom? His travelling wagon?

6. The message, the Daltons decision to go, Mac and Ringo, planning with Belle, robbing the Birdcage before the Daltons arrived? Tom and his looking into Belle’s eyes? And the later recognition?

7. The Indian Scout, giving the information to the posse, the shootout, Belle and her thinking the Daltons had betrayed them? Bob coming into town, the confrontation with Tom, Bellel shooting his guns, his being put in prison, Belle learning the truth? The plan to get him out of prison, the success?

8. Tom, falling in love with Belle, her disguise, the blonde wig, the gowns, being partner after her winning at blackjack? Her accepting, the running of the saloon? Falling in love, Tom’s love for her despite knowing who she was, going out on the picnic, telling the truth, the plan for her to go to Mexico, marriage, return, serve her time?

9. The Daltons taking Belle, make her ride with them to rob the bank? Pete and his intervention? The setup, newspaper headlines and everybody ready to capture the Daltons? The shootout, their deaths? Belle, the rescue, the agent and his surprise at Tom, letting Belle go?

10. Outlaws, men and women, robberies, the law, the saloons, the songs in the saloons – typical western material?

TRUST THE MAN

US, 2005, 103 minutes, Colour.
David Duchovny, Julianne Moore, Billy Crudup, Maggie Gyllenhaal, Garry Shandling, Justin Bartha, Dagmara Dominiczyk, Ellen Barkin.
Directed by Bart Freundlich.

No particular reason to see this comedy of modern New York manners. On the other hand, it has a good cast and is something of a mirror affluent 30 or 40-somethings to see their foibles as well as their faults and betrayals.

The film was written and directed by Bart Freundlich (married to the star Julianne Moore) who directed an interesting film about dysfunctional families, The Myth of Fingerprints, and an objectionable film about larcenous children, Catch that Kid.

The screenplay generally consists of short bits, glimpses into the lives of the two central couples: the married, David Duchovny and Julianne Moore, with two children; and the 7 years together unmarried, Maggie Gylenhaal and Billy Crudup. The married couple have their problems – he ultimately realising he is something of a sex addict and goes for counselling and group work. The unmarried couple have their problems – she wanting children and he not really grown up and with a fear of death and commitment.

A lot of the sequences, brief as they are, seem rather inconsequential. This is one of those films that, if you are to appreciate it properly, needs to be seen right through to the end, where values and commitment prevail. Most of the scenes are conversations with a realistic look but a heightened dramatic dialogue sound. And the resolution, which literally takes place in a theatre and partly on stage, seems more than a little theatrically contrived, extraverted American style.

There are a number of cameos, some less than two minutes, with stars like Gary Shandling and Ellen Barkin. The supporting cast is strong and includes Eva Mendes, Justin Bartha and Bob Balaban.

1. The title? Which man? Men in general, trustworthy or untrustworthy? Men learning, failing, changing, succeeding?

2. A New York story, apartments, the streets, restaurants, the theatre, book publishing? The men at home? Schools scenes? The characters as types? The musical score?

3. The interconnection of the stories, relationships, meals and discussions, phone calls?

4. Tom and Rebecca, at home, the father at home, picking up the children from school, playing with them? The scenes with the young people? And meeting Pamela at school? Rebecca, cooking meals, at home, an actress, her life in the theatre, the theatre types, Jasper, rehearsals, her confidence and lack of confidence? Performance and acclaim? The outings, the couple talking with Elaine and Tobey, Tobey and the tensions? the yearly visit to the psychologist, sexual issues? Tom, flirting with Pamela, going out, the sexual relationship, breaking it? Rebecca and friendship with Jasper?

5. Tobey and Elaine, partners for seven years, her work, the boss, his staying at home, watching television? His slob style? Elaine wanting to have babies? His reluctance? His relationship to Rebecca? Yet conversations, meetings, phone calls to Tom? A man of moods, the breakup, his resentment at the new man in Elaine’s life, at the meal at Tom and Rebecca’s, going to the other room, arguing loudly with Elaine? Promising to change? Elaine, her work, success, the children’s books, Tobey and his advice? Her meeting with the agent, the sexual advances? The new partner?

6. And the past knowledge of Tom, her new husband, flirtatious, at the club?

7. Dante, with Tobey and Elaine, eccentric manner, Minister, performing the ceremony at the end?

8. Toby’s psychologist, their meetings, Tobey’s questions, ending the meetings? The psychologist walking along the road, talking on the phone, Tobey
following him and questioning him?

9. The theatre, the performance, the end, Tom trying to get the flowers and being pursued by the usher, the curtain call, Tom and his declaration, going on stage? Tobey, calling out to Elaine, his apology, the audience listening and applauding?

10. The future? optimistic, mistakes, but…?

BLAZING SIXES

US, 1937, 55 minutes, Black and white.
Dick Foran, Helen Valkis, Myra Mc Kinney, Glenn Strange.
Directed by Noel Smith.

Blazing Sixes is a small, Be-budget supporting feature from Warner Brothers in the 1930s.

Dick Foran was a popular singer, signed by Warner Brothers as a star, allowed to sing in this conventional western. He is a pleasant singing star, less convincing as a secret agent.

Gangs are robbing stagecoaches and getting away with gold coins. A seemingly respectable citizen in the town is masterminding a plot where the gold is melted down and sold as bullion.

In the meantime, Federal agents are trying to track down the gang. Dick Foran and Glenn Strange are the two agents undercover, making contact with the boss, trying to get a job and infiltrate and discover the truth.

In the meantime, a young woman and her straightlaced aunt arrive in town as owners of the building where the gold is being melted down. Needless to say, there is a romantic attachment between the leading couple – as well as the aunt becoming very amorous in her dealings with Glenn Strange’s character, Peewee.

There is some excitement, the women being locked up, the criminals discovering the truth, the hero riding to the rescue, getting the women free, and the building going up in an explosion.

Fairly conventional material, a glimpse of the small budget features of the 1930s and their role as supporting features.

HORRIBLE BOSSES 2

US, 2014, 108 minutes, Colour.
Jason Bateman, Jason Sudeikis, Charlie Day, Jennifer Aniston, Kevin Spacey, Jamie Foxx, Chris Pine, Christoph Waltz, Jonathan Banks, Lindsay Sloane.
Directed by Sean Anders.

There was a lot of funny stuff in Horrible Bosses, especially in the portrait of how horrible the bosses were and their treatment of their employees, the employees rebelling against the bosses and getting themselves involved in the crime world. There was plenty of plot, plot-twists and a great deal of farcical comedy. Not forgetting some jokes that we used to call ‘dirty’. Nowadays, the term is ‘crass comedy’, a signal to those who would prefer missing out on it, a signal to those who don’t mind and, as with so many of Hollywood comedies over the last 20 years, there is a big audience out there for crass comedy.

Actually, the above paragraph could have been written for Horrible Bosses 2.

This time, our three employees are out on their own. They have an invention, The Shower Buddy, which puts shampoo in the shower rose so that you get that as well as the water. They appear on a breakfast show (with satirical digs at the manner of the hosts) and seem to be on the way to success when a new boss phones them for a deal. We have seen Christoph Waltz as a villain so many times, we know that he is going to be a horrible boss even as they don’t. And he has a slimy son, Rex Chris Pine, who toys with the trio’s hopes, offering them a deal, then taking it off the table. It is Dad who does offer a deal and off they go, hiring staff (with Kurt, Jason Sudeikis, as lewd as ever), with Jason Bateman doing his now familiar, but acceptable, straight man shtick, and Charlie Day’s Dale as befuddled as before.

It is no secret that the boss will renege on his contract, so what are they to do? They make a phone call to that horrible boss, Dave (Kevin Spacey) but he takes the opportunity to berate them again. So, some advice from Dean (MF) Jones, who counselled them in the previous film, a welcome return by Jamie Foxx. Why not kidnaped (Kurt writes kidnape) the obnoxious Rex, hold him to ransom, and get some of their money back!

Before they develop their plan, they decide to use laughing gas, so, of course, back to Dale’s dentist office, with Julia returning as well, a brittle Jennifer Aniston, who is conducting a sex addicts’ meeting in the office. Plenty of opportunity for ‘crass humour’ here.

This is also one of those films which visualises the perfect plan so that we admire what they intend and then are dismayed at, and laugh at, all that goes wrong in the execution. It does include one of the funnier car chases you are likely to see, especially when they want to lead the police away from their warehouse and have to wait a long time because they had just got across a level crossing and the police have not.

There is a good twist towards the end, and we realise that it’s not going to be an all’s well that ends well story. New situations, Kevin Spacey getting in on the act, and Jamie Foxx complicating matters… So, if they are all up to it, will be Horrible Bosses 3.

1. The popularity of the original film? The past horrible bosses, the dumb employees? Crime? Comedy, farce?

2. The familiar characters, Julia, Dave, Jones returning?

3. The re-working of the plot, the kidnapping plan, the reality carried out? Farcical aspects, the twist at the end? Using the same characters and their characteristics?

4. The style of comedy, character comedy, the foolish and the straight man? The elaboration of the plan, mistakes in reality? Pratfalls and arguments? The kidnapping gone wrong? The inclusion of the sexual jokes? The blend of these ingredients?

5. The past, the bosses, the three on their own, the Shower Buddy, the invention, the plann for marketing? Going on the talks how, Dale and his outbursts, Kurt and his foolishness, Nick trying to keep the discussion on track? The comperes and the giggles? The doubletake about the name, Nick-Kurt-Dale? (niggerdale)?

6. Phone call from the new boss, Rex at the meeting, his manner, offering a lump sum, the deal off the plate…? The meeting with the boss, his antagonism towards his son? The order? The hiring of the staff, the lewd aspects from Kurt, the sympathetic hiring of Hispanics? Success, the completion of the order, going to the golf course, the cake and the balloons, the boss and his offhand manner, the cancelling of the order? Taking the cake?

7. The three, the desperation, the plans, writing kid nape, visiting with Jones and his ideas and suggestions?

8. The plan, the laughing gas from the dentist’s office? Going to the office, getting inside, Julia turning up, the sex addicts’ meeting, Nick going in, his thinking it was an AA meeting? His story? The homosexual overtones? The reactions of the group? Of Julia? The sexual encounter with Nick, and the surveillance footage?

9. Going to the house, ringing the bell, all the mistakes, the foolishness, the arguments? The maid? Rex at home? Their hiding in the cupboard, the laughing gas leaking, the effect on the three? Driving home, Rex in the boot of the car? His taking over the plan? His devious and ruthless character?

10. Nick and his being careful, but consenting? Kurt, sex perspective, low IQ? Dale, his stupidity, the misunderstandings and arguments? His concern about Stacey and the triplets? Julia and her turning up? The discussions about sexual behaviour, Julia and her relationship with Stacey?

11. The plan, the visualising of the details, the perfect crime? The reality, Kurt forgetting to take the phone because of looking at the girls, the lack of uniforms? The phone calls? Rex and his suddenly killing his father? Blood on the trousers and his changing with Kurt – with the phone finally giving him away?

12. The police, the chief, the surveillance, the discussions with the boss, following, finding the body? Jones and his turning up? Getting away with the money, the police and the chase, the farcical aspects, still carrying the wire from the gate, dangling over the overpass and falling…?

13. Waiting for the train to pass so that they would lead the police away, Rex being smart and still getting there first?

14. The discussions with Rex, the phone call, his giving himself away?

15. The previous contacts with Dave in prison, his attack on them? The final call, the irony of his buying the company and the potential for another sequel?
Jones and his having the money and buying the franchises?

WHEN THE QUEEN CAME TO TOWN

Australia, 2014, 78 minutes, Colour.
Lorraine Bayley, narrated by Bert Newton.
Directed by Maurice Murphy.

It was in February 1954 when the young Queen Elizabeth and her husband, the Duke of Edinburgh, toured the Pacific, New Zealand and Australia. That was 60 years ago! To celebrate the event, this documentary compilation of newsreels of the time has come to Australian screens. The interesting question is, who would like to see this film?

For anyone 20 or under, the Royal Tour will seem like ancient history, a kind of antiquarian exercise. Actually will seem this way to people under 30, perhaps even under 40. But for those who were there, it will be a nostalgia tour.

Sharing a personal note with others who remember the events. We stood for a long time outside St Vincent’s Hospital in Sydney to catch a passing glimpse of the Queen, which was probably the main experience for most Australians, though one man in the film says, as she passed, it was like watching her in slow motion, a glimpse of her that he would never forget. Be that as it may, as schoolchildren, those from the Southern Highlands as well as the coastal area, were all gathered in Wollongong Oval. This means that we had, rather distantly, a 360° view of the Queen as she was driven round the Oval. In the film, we see only the young girl who made the speech for the Queen in Wollongong, battling the wind blowing her hat off her head. You will see what I mean about the kind of film that it is and who will enjoy it.

It should also be said that for monarchists this experience will be majestic. For Republicans, it could well be rebellion-rousing!

One of the aims of the film is to show what Australia was like 60 years ago, most of the oldies being interviewed (and there are quite a lot of sharing their memories) have a deep hankering for the niceness and peacefulness of the 1950s. Someone mentions there was no need of Neighbourhood Watch. Perhaps it was. Perhaps we were rather isolated from the rest of the world and that did not matter too much. We do see scenes of Torres Strait Islanders dancing as well as the Pitinjara men performing a corroboree, the first in the presence of a woman to whom they confided the secret meaning. But Bert Newton reminds us that aborigines were not citizens in their own country.

The film is narrated (more nostalgia) by Bert Newton and his text makes him sound like a deeply royalist fan. Then there is a classroom set, with Lorraine Bayley (more nostalgia) narrating to a group of little girls, all dressed as little princesses, what the Royal Tour was like in terms of fairy tales. And the film is divided into several chapters, each introduced with a pale pastel colouring. Speaking of pastel, one of the chapters talks about the Australian passion for fashion, praising her Majesty for wearing ordinary clothes that women could, and did, imitate (she had 100 outfits and I think we saw most of them during the film).

There is historical background of George VI becoming King, his death in 1952, the Coronation of the Queen and her setting out on a six month voyage at the end of 1953, with glimpses of her time in Fiji and in Tonga. There is also some coverage of the visit to New Zealand.

It looks as though every town and city that she visited gets a look in in this film, some visuals as well as comments from those who are there and remember. These remind us that England was the mother country, we were all loyal, the flag-waving was extraordinary. She is seen in public receptions, opening State parliaments, opening the Federal Parliament – as well as seen cattle in Royal Show, meeting Don Bradman and cricket greats, watching a surf carnival on Bondi Beach…

Director Maurice Murphy wrote the script for the film as well as directed. Interestingly, while we see Robert Menzies, the Prime Minister, accompanying the Queen and on covers of the Women’s Weekly (quite a number of these), he is not mentioned in connection with the Queen except for one of those oldies, laughing and reminiscing, quoting his, “I did but see her passing by…”.

There is a great line from one woman who presented the bouquet to the Queen and remembers that when the Queen fact her, she said “that’s okay”.

It is interesting for those looking at the Queen, her energy, her etiquette and protocol, and to remember that she was only 27. And the Duke of Edinburgh seems unfailingly smiling.

60 years is a long time in anyone’s lifetime, especially judging from the members of the audience during the screening. It was certainly another world. Australia has changed extraordinarily. But, the Queen is still there. The Duke of Edinburgh is still there. But the film does remind us that Australians welcomed the Queen as Queen of Australia in those days but so much has changed, so much, that one wonders how relevant the monarchy is, in fact, to present-day Australia.

NIGHTCRAWLER

US, 2014, 117 minutes, Colour.
Jake Gyllenhaal, Riz Ahmed, René Russo, Bill Paxton.
Directed by Dan Gilroy.

With “crawler” in the title, there is the association of “creepy”. And this is true of the central character, his behaviour, and the development of the plot. But, for this review, this is a very well made film and one of the best films of 2014.

The night crawler of the title refers to photographers who listen in to police radio information, especially at night, know where the accidents have occurred, where crimes have been committed, and are almost immediately on the spot, taking photographs, intruding, with little sensitivity towards the reality of what is happening, only interested in haste, rushing to the television station, making financial deals. These are the night paparazzi who are not interested in celebrities but in blood… If it bleeds, it will make the headlines.

Jake Gyllenhaal gives another tour de force performance, after Prisoners, as Louis Bloom, about 30, a loner, with the touch of the autistic. In a prologue to the film, we see him at night cutting through wire, stealing wire and other goods from a building site, selling them to another builder and asking to be hired. The buyer asks why he would employ a thief. But Louis has ambitions, and is prone to take notice of potential role models for work. He is an avid user of the Internet, reading a great deal of self-help material, gleaning maxims for business and success, and how to use them with potential employers.

When he comes across an accident one night and sees the photographers in action, he questions, gets advice, buys a camera and a listening device and off he goes. A manager at a television station, Nina (René Russo), takes an interest in his work which encourages him to bring her more and more material, as he chases crime scenes and accidents. With his rather acute business sense, he decides to take on an intern, advertising in the media, and interviewing a young man, Rick (Riz Ahmed, British actor in a number of films including The Reluctant Fundamentalist), who is eager to get a job and to get some pay. Sitting in his car, Louis acts with Rick as if he were in a fine office, discussing situations, payments, even the possibility for Rick to become vice president of the company.

The key elements of the latter part of the film involve Louis trespassing on a crime scene, lying to the police as to how much he saw, deciding that he would follow the criminals after filming them and their car numberplate, discover where they lived, follow them and then ring the police, filming all the time, with Rick sent down the street in a more dangerous situation.

Louis has no real emotions for Rick and puts him in danger. However, he is attracted to Nina despite the age difference but she wants to act professionally.

Louis will keep going as long as he can, building up his own video company, become more becoming more and more expert at crime scenes and filming – and wheeler dealing with the television companies for higher fees.

Louis achieves the American Dream at no cost to himself but as a cost to others – if he were to see this film he would be in admiration of his own character without realising how ugly is the world that the film is creating and how it is critiquing unscrupulous American dreams.

1. The impact of the film? Acclaim? The story, characters, performances, photography?

2. The title, the creepy element as well as the crawling? The work of these photographers, sensitivity and lack of sensitivity, exploitation of accidents and crimes? Payment?

3. The implication of this photography for customers, the television stations, for management, the personalities commenting on the events? For audiences and their appetites for sensational material?

4. The night photography, the sense of place, people, action? Los Angeles? A photo essay on the city? Musical score?

5. Jake Gyllenhaal as Louis Bloom? Age, experience, his psychological state, the touch of autism, his language, vocabulary, expressions, from self-help material, his business maxims? His self-image, pushing himself, persuasive, looking to role models?

6. The introduction, cutting the wire, on the watch, stealing the material, going to the buyer, his accepting the material, refusing to hire Louis even despite his self promotion? The interview, and his not hiring Louis ?

7. The accident, watching, seeing the photographers, talking to Joe Loder, headlines,… If it bleeds…? Situations, camera equipment, Joe’s advice, to buy a camera, equipment for listening to police information? Further advice, his success? Later rivalry with Joe? The contacts? Going to the television station, the staff, referred to Nina, discussions, the manager? Looking at the footage, editing it? The using it, some payment? His saving this and other files to his computer? Louis and his computer, often online, gleaning information, gleaning styles, his being clever?

8. The further accidents and crimes, his greater daring, the sales, talking to Nina, meeting the personalities in the station? At home at the station? At home, his life at home? Filming the scene of the crime, finding the door open, going in, finding the bodies? His exhilaration? Nina’s support? The interpretation of the crime scene as domestic violence? Later identified as drug crime?

9. His advertisement, Rick, interrogating him in the car, sounding professional? Rick’s interest? Poor, not having a TV? Mark his GPS? His being hired, issues of pay, the low pay and his realising he could have asked for more? His being on the job? The possibility of promotion, Louis and his way of rebuke? Using company language and incentive? The offer of the Vice Presidency?

10. The police, interviewing Louis, the plausibility of his account, of being on the spot, going in the house, wanting to help the injured? His ease with lying?
The police not believing him? His not getting descriptions of the assailants?

11. The reality of his action, photographing the men, the car numberplate, online finding the address? Employing Rick for the enterprise, the discussions and arguments, the tension, following the men in the car, waiting, at the diner, phoning the police, his photographing the men? Rick to go down the street at a distance to film? The police arriving, the quiet, the guns and the shootout? In the street, Rick and his coming to the car, his big being shot, Louis attending him, yet callous, not caring about his death, saying that the ambulance came to take him away? The dramatics and recklessness of the car chase? The final confrontation and the criminal killed?

12. Louis and his relationship with Nina, personal, and the meal, the discussions, the sexual implications, talk about difference in age, Nina and her wanting to be professional in relationships?

13. The final footage, Nina’s excitement, legal questions, the manager and his caution, discussion of ethics? Where did audience stand?

14. Louis, the final police challenge, his explanations?

15. The fulfilment of the American Dream, a critique of the American Dream, people as callous, unscrupulous, emotional or not, lacking ethical stances, self-centred? Louis’ future?

NORBIT

US, 2007, 102 minutes, Colour.
Eddie Murphy, Thandie Newton, Terry Crews.
Directed by Brian Robbins

Definitely an Eddie Murphy film. He co-wrote the story and screenplay, produced and takes three major roles. It obviously has a huge audience on home ground and has been very successful in the US. But, whether it travels well is another question.

A distraction during the screening was to wonder who was the most irritating, screeching character in films recently, whether Diane Keaton as the mother in Because I Said So or Eddie Murphy as the humungous and monstrous Rasputia here. It’s an almost impossible decision. Rasputia is at first a helpful little girl, well a rather big little girl, who helps the harassed orphan Norbit, also Murphy. They grow up and marry and she turns into a dominating harridan in collusion with her brutal brothers who have the town under control. Norbit is a pleasant nerd who loves orphans and pines for his childhood sweetheart, Kate (Thandie Newton) who turns up to bring some sweetness and light.

There is quite a lot of plot, plenty of crass jokes and innuendo which puts it beyond the younger audience who might relish the slapstick. It is with great relief to read at the end that the characters bear no similarity to any real person – so, we are reassured there is no such real Rasputia.

PRIMAL

Australia, 2010, 80 minutes, Colour.
Zoe Tuckwell- Smith, Krew Boyland, Lindsay Farris, Rebeka Foord, Damian Freeleagus, Wil Traval.
Directed by Josh Reed.

Primal is a top candidate for a horror Festival, like Monster Films or a Screamathon.

It is an Australian production, set in the outback, though filmed in and around Sydney. It opens with a prologue, 12,000 years ago, with an aboriginal doing paintings on rock, suddenly attacked by a monstrous animal. There are also brief flashbacks during the film indicating an expedition in the 19th century to find the paintings with disastrous results.

The convention is the familiar one, from films like Friday the 13th, where a group of young adults goes to a remote area, are set upon by something mysterious with devastating results and the deaths, one by one, of the group. We see the group travelling by car into the outback to find the paintings, one of the group doing a thesis on them. There is a lot of banter in the car, with one of the girls, Mel, being rather brazen using four letter words. One girl, Anya, objects and says that swearing should have context – which is taken up, right at the end, by Anja as she survives.

All seems well enough when they arrive. Anya, who has had a bad experience with a boyfriend, being trapped in a basement for a week, suffers claustrophobia as they try to take a short cut through caves. The group arrive, set up camp, Anya drives the car around to the rendezvous. All seems normal. They go to visit the paintings, photos taken, notes taken, different interpretations of the central part of the picture. It is only when disaster happens that they realise that the painting is a warning to leave.

The brash Mel goes into a billabong for a swim and is covered in leeches and is gradually transformed into a sharp toothed monstrous version of herself. They had found a large rabbit with similar monstrous teeth and had impaled it near their campsite.

For a lot of the time, when Mel is transformed, there is a lot of effort to warding her off by fire. There is a joker amongst the group, Darren who is supportive of Anya, but he is attacked by Mel, killed and devoured. It would be expected that her boyfriend would be the next to go, even when she bites his arm, but he survives almost to the end. In many ways, it is rather arbitrary who gets killed next – perhaps the cast picking straws as to see whether they survive or not!

We are surprised when Dace, the leader of the group who has been skilful in making a trap to get Mel, is attacked by her and becomes infected, prowling with her to attack the rest of the group. For the rest of the film, the three pick straws as to who will kill Dace, Anya getting the short straw but unable to kill him. They are urged on by Chad, Mel’s boyfriend, who still thinks that he can save her.

Ultimately, Chad suffers the same fate, Chris goes to get the machete, is trapped in the car. Anya overcomes her claustrophobia, goes into the cave, finds Chris, but it is tied to the ground by snakes and Chris gives birth, cutting herself for a Caesarean, to an enormous monster. Some bloggers have complained that the ending is too pat, with Anya overcoming all difficulties and surviving.

Is interesting to note that in the final credits the owners of the land around Manly where the film was made are acknowledged and gratitude expressed to them. Perhaps there is a subtext about venturing into aboriginal sacred grounds, mixed motives, and a certain vengeance wrought.

TAMMY

US, 2014, 96 minutes, Colour.
Melissa Mc Carthy, Susan Sarandon, Kathy Bates, Alison Janney, Dan Aykroyd, Mark Duplass, Gary Cole, Nat Faxon, Toni Collette, Sandra Oh, Ben Falcone.
Directed by Ben Falcone

This is very much a take-it or leave-it kind of comedy. It all depends whether you like Melissa McCarthy? or not. She has been around for quite a while but came into wide prominence with her comic turn in Bridesmaids. Since then she has been successful in such films as Identity Thief or as Sandra Bullock’s contrasting police partner in Heat.

Tammy was co-written with her husband, Ben Falcone, who also directed the film (and appeared in a cameo role as the manager of a fast-food outlet who sacks Tammy and is pelted with food by her). Melissa McCarthy? often plays larger-than-life roles and this one is no exception. But the trouble is that Tammy is not a very likeable person at all (either by many of the characters or by the audience). She is moody, childish and her behaviour, generally self-absorbed, as well as being something of a slob. It is very surprising to find that she is married to Greg (Nat Faxon) who, perhaps understandably but not justifiably, is in a relationship with, of all people, Toni Collette.

But this is a road movie because Tammy is so exasperated with every one, everything and her life, that she decides to go on the road, but having to borrow a car because the opening of the film shows her crashing into a deer because of a distraction and smashing the car. And, because she was late, and so many times, she has been sacked.

Her parents are played by Dan Aykroyd and Alison Janney. Her grandmother is played by Susan Sarandon. Her grandmother’s friends, a lesbian couple, are played by Kathy Bates and Sandra Oh. And then there is Gary Cole who is attracted to grandma and Mark Duplass, a nice fairly simple soul, who is genuinely attracted to Tammy. If nothing else, the film boasts a very, very strong cast with Susan Sarandon standing out as the extroverted, alcoholic, few-holds-barred grandmother.

Of course, there are all kinds of incidents along the road, especially because of grandmother Pearl, which includes a jail sentence and robbing a diner to get bail to get her out.

The culmination is at a fourth of July party held by the couple where grandmother behaves very badly, Tammy feels hurt, and the host, Kathy Bates, gives her a few solid words of advice.

Happy ending is implied – and reconciliation with mother, father, grandmother, and the nice young man. But, whether it will work out that way…?

1. A film for fans of Melissa Mc Carthy? Her collaboration with her husband, co-writer, director? A screen presence? Her popularity?

2. The title, overtones of the old films about Tammy?

3. The American South, the towns, the road and the injury of the deer, the diner, a road movie, the various landscapes, other towns, the bank, the mansion and its grounds? 4th July party? The musical score?

4. Tammy as a character, appearance, clothes, a slob, her driving, hitting the deer and her reaction, late, getting the sack, abusing the owner, throwing things at the food? Going to see her husband, his being with Missi? Reactions, their reactions to her?

5. Going to see her mother, wanting to move in, getting the car? Picking up her grandmother, a relationship with her, the drive? Conversations with her grandmother, the grandmother drinking, the police, the bank, going to Lenore, the party, drinking, her grandmother humiliating Tammy? The presence of Earl? The presence of Bob, his being attracted to Tammy, the conversations with him, awkward? His comforting, his reassuring her? Lenore and her good advice? Tammy and her moods, her father coming to get her, the return home, visiting her grandmother, thinking she was in a home, reconciliation?

6. Her parents, the response to, reactions, care, her father coming to get her?

7. Greg and Missi, the credibility of Greg marrying Tammy? And Missi walking out of him?

8. Susan Sarandon as grandmother Pearl, her life, talk, the old hippie days and her behaviour? Drinking? The car, the clash with Tammy, yet bonding, interested in Earl, the money, the bank? Her friendship with Lenore, the party, her humiliating Tammy, sobering up, forgetting what happened? Her change, going to the home for the elderly, working with the residents?

9. Earl, his type? Bob, laid-back, friendship with Tammy, interest in her, turning up, the ending?

10. Lenore, her partner, the lesbian relationship, their ease, hospitality, the party, the group gathering, 4th July, the celebrations?

11. The various characters along the way, Keith Morgan and his sacking Tammy from the diner, the police, the law, the guests of the party?

12. Very American comedy?

THE DROP

US, 2014, 106 minutes, Colour.
Tom Hardy, Noomi Rapace, James Gandolfi, Matthias Schoenaerts, John Ortiz.
Directed by Michael R. Raskam.

The Drop has a screenplay by Dennis Lehane, whose novels, Mystic River, Gone Baby Gone, Shutter Island, have been made into significant and powerful films by Clint Eastwood, Ben Affleck and Martin Scorsese. This film has been directed by the Belgian, Michael R. Raskam.

Early in the film, there is an explanation of money collection in Brooklyn, the Italian standover thugs having been replaced by migrants from Chechnya, still keeping up the tradition of violence and brutality. Money is collected from various enterprises, put in small brown paper bags, covered with newspaper, and taken to various bars in Brooklyn and quietly dropped into a concealed safe. The gangsters have a random choice of bars so that any robberies will not be anticipated. The money is collected in the early hours of the morning.

The audience finds itself in a particular bar, managed by Marv (the final performance by James Gandolfini, reprising similarities to his role as Tony Soprano but this time, something of a failure, desperate for a last chance). Behind the bar is his cousin, Bob, who has worked with Marv for many years. The bar is generally busy, has its regulars like a group toasting a dead friend or Millie, who Marv once thrown out until she pays her bills but Bob, he is that kind of person, pays for her drinks.

Bob is the central character for the film. He is played by Tom Hardy who has proven himself a significant actor over the years, an actor who can take on a variety of roles and whose facial expressions, body language, communicate with subtlety the inner life of his characters. He was the brutal Bronson, one of the moonshine brothers in Lawless, significant in Inception, the villain in The Dark Night Rises.

One night, masked robbers steal the money and the Chechens are not very happy. There is a twist in discovering who organised the robbery and the consequences for the robbers, one being run over, the other being set up for a big robbery, on the night of the drop. This character, Eric, is played by the Belgian actor Matthias Schoenaerts who was the star of Michael R.Raskam’s Bullhead. He also appeared effectively in Rust and Bone, a good actor who can bring the sinister to his roles. The other central character is Nadia, (Noomi Rapace,The Girl with the Dragon Tattoo), Eric’s former girlfriend and now a friend of Bob, especially when a pitbull terrier has been bashed by Eric and put in the garbage, Bob hearing it as he passes by and rescues it. (The name of Denis Lehane’s short story is Animal Rescue.)

The dog is important for the film, appealing to ob’s warm instincts, his treating it, is Marv taunts him, like his child. Nadia is happy to help with the dog.

These are all elements that commentators make explicit on the film – but it is interesting that no one talks about the role of the Catholic Church in Bob’s life. It is interesting that Denis Lehane has introduced these elements and that the director has portrayed the contemporary church and its liturgy quite accurately as well as some of the controversial issues of the time. Bob goes to Mass every day but does not go to Communion. He sits in the church, prays, one day the priest letting him in early. In the church there is a statue of St Roch, St Rocco, with his dog – which means that Bob’s dog is given the name of Rocco. The detective (John Ortiz) investigating the robbery and other crimes in the neighbourhood is also a Mass-goer, and discusses this with Bob, asking why he does not go to Communion. The detective himself is not keen on the Sign of Piece (which is shown in one sequence) and is all against the style of contemporary hymns. He is also concerned, and discusses this was Bob, that the church, with its small attendance, is about to be sold and turned into condominiums.

As we learn more about Bob, and the complexities of his life and attitudes, especially violence and his loyalty to Marv, we realise that, under a seemingly serene surface, he is a man of violence but yet having convictions about justice and right. He is a character that Graham Greene, with his novels’ tormented religious characters, would appreciate, especially Bob speculating as to whether, after his death, God would turn him away from heaven.

Audiences interested in this kind of New York crime film will find much to appreciate in the plot, its twists, the central characters, their dilemmas, all presented in dark shades, where life is complicated, and there is more grey than black and white.

1. A Dennis Lehane story, script? A crime story, a story of conscience?

2. Brooklyn, the atmosphere, bar, houses, streets, church? The musical score?

3. The title, the explanation about the money, the bars, the bosses, the Chechens, taking over from the old racketeers, new rackets, money collection, bags and newspapers, the collection into the safe, slipping the money in? The random choice of bars, the links to the Chechens, they hold? Security cameras? The collection in the early hours of the morning?

4. Marv, his bar, his cousin Bob, Millie and her drinking, ousting her, Bob paying for her drinks? The group toasting their dead friend? The range of clients, the temps at the bar, the crowds, watching the Superbowl? The empty bar? The past, Marv owning the bar, the gangsters taking over, Bob and his role with Marv?

5. Bob, Tom Hardy’s performance, cousin to Marv, working in the bar, kindness towards Millie, a quiet and slow man, yet shrewd? Covering his past? His going to Mass, in the church, not receiving communion, visiting the church early to pray? Seeing the statue of St Rocco with his dog, hence the name for the dog? Hearing the dog in the rubbish, finding it, asking help from Nadia? Her willingness, the help, minding the dog until the weekend, going shopping in the pet shop, the book? Bob going home, setting up the cage, scooping up the droppings, training the dog? Going to the park, the dog on the leash, Nadia watching? His attachment to the dog, Marv saying he treated the dog like a child? Eric, his threats, $10,000 for the dog, Bob having the cash, preparing to pay? Eric in the bar, with Nadia?

6. Marv, James Gandolfi’s last film, his age, owning the bar, losing it, the robbery in the bar, the Chechens demanding repayment, Marv running over one of the robbers? Marv and his reputation, killing the man who won on the poker machines and repaid his debt? Marv using Eric, Eric claiming credit for the murder but the news that he was in an institution at the time? Bob and the explanation that he did the murder for Marv? Marv, with Bob, the experience of the robbery, the contacts, the setup for Eric to rob the drop? Living with his sister, her concern about his having something to eat, his retiring, setting up the robbery, waiting outside, the phone call and Bob and answering, his being executed?

7. The robbers and the masks, the talk before going in, Bob and his noticing the watch and that it had stopped? Telling this to the police? His later recognising Eric and his voice?

8. The detective, coming to the bar, the interrogations, the discussions with Bob about the church, mass and not going to communion, the closing of the church and its being sold for condominiums?

9. Nadia, the encounter with Bob, the dog, Eric having been her boyfriend, minding the dog, going to the pet shop, losing her job, offering to mind the dog for pay? Eric, appearing in her house, her dressing up, going to the bar with Eric for the Superbowl, her fear, witnessing Bob shoot Eric, giving him the information? Her fear, tears, leaving, Bob going to her house, her response and staying with him?

10. The robbers, their plan, talking with Marv, the robber being run over?

11. The police, partners, reading the files about Eric, the detective and his surmising?

12. The Chechens, the threats, killings? Executing Marv?

13. The film immersing its audience in the atmosphere and feel for this part of Brooklyn? Understanding?