JOHN WICK

US, 2014, 101 minutes, Colour.
Keanu Reeves, Michael Nyqvist, Alfie Allen, Willem Dafoe, Adrianne Palecki, Bridget Moynihan, John Leguizamo, Ian Mc Shane.
Directed by David Leitch, Chad Stahelski.

John Wick is a violent film. It is the story of a hitman, now retired, whose wife has died and he is in grief. When he is accosted at a service station by a smug and stupid son of a Russian gangster boss who wants his car and comes to his home to steal it, he goes into action. With balletic style, he shoots all the intruders and begins another journey of vengeance.

This is a film for fans of action shows, many of the bloggers calling it the coolest film of the year! Audiences who do not like a violent plot let alone continuous violent action, would be best warned to leave this film be.

It is a star vehicle for Keanu Reeves. For several decades, Reeves has had a penchant for action films. We think of him as Neo in the Matrix series. In more recent times he has appeared in martial arts films like 47 Ronin and Man of Tai Chi which he also directed. While his John Wick is a particularly American character, his dark clothes, his lithe movements, almost balletic as he moves, aims and fires all at once with deadly success, are a reminder of martial arts.

The villain of the peace, the Russian, is played by Michael Nyqvist who made an impact in the Swedish version of The Girl with the Dragon Tattoo and has now come to appear in a number of American films, Abduction, Mission Impossible 4. He gives a strong performance which gives a little more depth to the film. His wayward and self-indulgent son is played by British actor, Alfie Allen.

One of the interesting features is that a number of actors appear in cameo roles, including Willem Dafoe as another hitman, Ian Mc Shane as the manager of a club of hit-persons, John Leguizamo as the manager of a garage. An original feature of the film is a hotel in central New York which is not as it initially seems. The guests are all assassins who work by a code, administered by Ian Mc Shane. There is a solemn concierge who makes all the arrangements, especially for a service entitled “dinner reservations” which is key to ordering a company of “cleaners” who come in and restore a bloody crime scene back to normal.

While there is a lot of brutality about the film, there is a certain fascination with the story, the motives of vengeance of the retired hitman and the enigmatic style with which Keanu Reeves plays his roles.

1. A New York crime film? Russian Mafia? Hitmen?

2. An action film, the work of Keanu Reeves? Hitmen, vengeance, body count, balletic style? Musical score?

3. The focus on John Wick, his wife, love for her, collapse, her death? The dog in his grief? His car? Audience sympathy for him? At the garage, Iosef and his group, defying Wick, coming to his home, the attack, killing the dog, taking the car, the character of Iosef, going to the garage, meeting Aurelio, learning who John Wick was?

4. Viggo, the Russian patriarch, his henchmen and advisers, his son and warning him, yet loving him? The past, employing Wick? Wick’s visit, discussion, seemingly friendly? Viggo and putting up the contract? Contacting Marcus? Ms Perkins? The other gangland figures?

5. Keanu Reeves as John Wick, retired, his past, silent, and morose, the attack on his house, killing all the intruders, collecting the shells, phoning for dinner reservations and the cleaners coming to put the house in order? his going to the hotel? His friendship with Marcus: his coming to the funeral? Meeting Ms Perkins at the hotel?

6. The concierge, service, the rooms, the assassins at the hotel, the rules? The dinner reservations for cleaning up crime scenes?

7. Winston, at the club, the rules, meeting with John, the information, referring him to the club to find Iosef?

8. The club, the atmosphere, the members, the staff, the shootings, John not killing Iosef?

9. Marcus, lining up the rifle from the window? Ms Perkins and her attack, the discussions, Marcus killing her? The consequences? Viggo, the torture, fight, death?

10. John, tracking down Viggo, the confrontation, the cars, death?

11. Winston, Ms Perkins, her death, disobeying the rules of the hotel?

12. The line between violence and brutality in this kind of film?

A WALK AMONG THE TOMBSTONES

US, 2014, 114 minutes, Colour.
Liam Neeson, David Harbour, Dan Stevens, Boyd Holbrook, Astro.
Directed by Scott Frank.

Many of us used to enjoy reading the crime novels of Lawrence Block, especially back in the 1990s. It is surprising to find that, previously, only one of his novels had been brought to the screen, 80 Million Ways to Die, starring Jeff Bridges as the former policeman, private detective, Matthew Scudder. It would have seemed a very promising franchise, a series of films with Matthew Scudder.

It is only now that Liam Neeson portrays Scudder. In recent years Liam Neeson has been doing a lot of action roles, especially in his series, Taken, but also in, Unknown, Non-stop. While there is some action in the film, this is rather a private eye investigation film.

It opens in 1991 with an alcoholic Scudder involved in a shooting confrontation with some robbers, but also killing a little girl by accident. The action shifts to 1999 when Scudder has left the police force, has given up drinking and has been attending AA meetings for all these years. He looks a little bit more spruced up than previously but one wonders how many cases he has actually had.

He is approached by a young man who wants him to help his older brother, Boyd Holbrook and Dan Stevens. The latter reveals that his wife has been abducted, he has paid the ransom but the results have been disastrous. Scudder is reluctant to take on the case, because Kenny, Dan Stevens, lives in a luxury apartment and is clearly a drug dealer (or trafficker as he prefers). On a compassionate whim, he finally decides to take the case.

The film is interesting because there are several abduction cases which Scudder investigates. They also lead him to quite a range of characters, with the abductors revealed halfway through, which means than that from a detection story it becomes a pursuit story. The abductors are particularly ruthless, David Harbour, physically resembling Michael C. Hall as Dexter, a sadistic serial killer.

There is no romance. The main emotional support comes from the young African-American? lad, T.J., whom he encounters in a library. He is unwell though not admitting it, has some ambitions to be a detective and tries to tag along with Scudder. Eventually, he uses his wits and becomes very involved in the final confrontation.

A values perspective is offered during the final encounters with the killers. The AA 12 steps are voiced at each moment.

Liam Neeson is expert at this world-weary kind of character. On-screen as a character actor since the early 1980s, he has become a top-billing star for more than 20 years after his performance as Oscar Schindler. In his early 60s, he still has a commanding screen presence.

This all makes them very interesting but, of course, given the nature of the plot and the cruelty of the abductors, there are a couple of scenes of rather graphic violence. But, Lawrence Block would probably be pleased with the film as will fans of private detective stories.

1. The evocative title? Emphasis on death, the cemeteries, bodies?

2. Lawrence Block and his character, Matthew Scudder? A New York story, Washington Heights, steps, the neighbourhoods? Wealthy homes? Shops? Apartments, the roofs, the streets? Interiors? The score?

3. Introduction to Scudder, in the car, clash with his partner, going to drink and eat, the robbers, the shooting, his pursuit, the cars, in the street, his bedraggled look, drunk, shooting the girl? The repetition of these scenes in flashback? The effect, the AA meetings, 12 steps?

4. The 12 steps, his changing, the meetings? The different meetings, meeting Peter? And the aftermath and Peter lapsing? The final use of the 12 steps at each stage of the confrontation?

5. Peter asking for his help? Kenny, the situation, Peter asking him to go? Drug trafficker? The emotional appeal, the payment, Scudder deciding to take on the job? The portrait of Kenny’s wife on the wall? The story, the flashbacks, the graphic aspects of the abduction, the torture and killing, the body and the boot, in bags? Kenny and his reaction? The later meetings with Kenny? Bargaining for the amount of the ransom? Peter, his apartment, art, the AA meetings, the truth about his love for Kenny’s wife, the paintings? His being picked up by the DEA, the interrogations, his giving up Kenny? His helping at the end, the box with TJ, his Army background, the rifle, the Gulf War? The shooting, his being killed?

6. Matthew and TJ, the encounter in the library, Matthew and his research, the other cases, the discussions with TJ, his vegetarian life, the revelation of his illness? TJ following as Scudder was following Jonas? warning him off? The episode with the gun and its use? His being bashed? The phone call, Scudder going to the hospital, TJ going out, sitting on a chair, his office? His being asked to bring the box? Smart, hiding in the van, looking in the window, getting away, phoning, information about the criminal’s whereabouts? Scudder ensuring finally that he was safe?

7. The visit to the cemetery, the dead women, gravestones? The pieces found in the lake? Interrogating Jonas, his story about the pigeons, his lies? Matthew confronting him, the flashbacks about his being made to participate in the abduction, his running away, giving a name? Jumping to his death?

8. The actor, his girlfriend being abducted and murdered, his wealth, his drug trafficking? His window visible from the roof? The visuals of the abduction and torture?

9. Going to the diner, Scudder being bashed, the owner and his son? The encounter with the DEA officials, trying to track their van, no phone number, his being taken into the vnd, interrogated, let go?

10. The killers being seen, the DEA information, the planning of their targets, only affluent drug dealers, wanting the money, knowing that the victims would want the women saved, the abductions, the sadistic behaviour, the cruelty, the deaths? The two men at home, together, in action? The abduction of the Russian girl? Scudder entering the phone? The scenes of them scouting the house, seeing the nurse, the paralysed woman and the eyedrops, effecting the abduction? Scudder intervening, the planned meeting, the counterfeit money, the confrontation, the shooting? The girl safe? The abductor and his bullet-proof vest? Peter and his intervening, being shot? TJ arriving, giving the information of the address? Kenny and Scudder in the room, the basement and one killer murdering the other? Kenny, Scudder leaving him with the decision about the killer’s fate? Tying him up, getting free, the confrontation and Kenny’s death? Scudder’s return, the fight with the killer, Scudder at a disadvantage, seeing the Taser on the dead body? Calling the police? TJ safe? The use of the 12 steps throughout this confrontation?

11. A tough private eye thriller with reference to Sam Spade and Philip Marlowe?

EDEN A L'OUEST (EDEN IS WEST)

France/Greece, 2009, 110 minutes, Colour.
Riccardo Scarmaccio, Ulrich Tukur, Juliane Kohler, Anny Duperey, Eric Caravaca, Michel Robin.
Directed by Costa Gavras.

Eden used to be in the Middle East, the old paradise, but with invasions and unrest, refugees from the same Middle East are now looking westwards, to Europe for their Eden and new paradise.

It is forty years since Costa Gavras won an Oscar and international acclaim for his powerful dramatic critique of the Greek generals in Z. This led him to a series of strong, politically stirring dramas in the 1970s and into the 1980s with The Confession, Section Speciale and Missing. In the 1980s, he also looked at political situations in the US in Betrayed, The Music Box and Mad City. But the 1970s was his political heyday.

Eden is West is also political and contemporary, but it is shot in bright colours and is 'softer' in story and treatment. One of the reasons for this is that the story is of one illegal (middle eastern country not specified) who survives the capture of a boatload of people stranded by the boat's captain and crew who abscond with the handlers' fees.

Elias (Riccardo Scarmaccio) jumps overboard, swims to shore, ironically arriving at the nudist beach of a lavish Greek resort, the Eden where, by shedding his remnant of clothes, he is like a contemporary naked Adam who has to begin his sojourn in the West with absolutely nothing. Elias is played very sympathetically by Scarmaccio so that audience sympathy and concern for him is constantly felt during the film.

The second reason for the softer approach is that Europe is not ravaged by war. It has its kind people and its selfish people, but life in the European Union countries is comfortable enough and Elias can survive if he tries.

What the screenplay does is have him know some French so that Paris is his goal. Elias has a series of encounters during his odyssey which represent contemporary comfortable, as well as exploitive, Europe.

Able to steal some available clothes at the beach, Elias is mistaken for one of the staff and carries bags, unblocks a toilet and gets his first tip, is befriended by a middle-aged German woman from Hamburg (Juliane Kohler) and helps in a performance by a friendly visiting magician (Ulrich Tukur, so good as John Rabe) who gives him his card and invites him to look him up in Paris. He also has to participate in the hotel search for illegals including one of this friends.

Elias becomes a kind of 21st century Candide. He is robbed by a passing driver who promises a lift. He is treated kindly by a Greek woman and her children. He gets a number of lifts including one from a quarrelsome couple in the Alps and from two friendly German truck drivers. He narrowly escapes the police at several junctures. This becomes more difficult in France where he spends two weeks working earning cut wages in a factory. A disillusioned fellow countryman, returning home, gives him enough money for a train ticket to Paris.

Elias is able to elude pursuers and does experience the kindness of a number of strangers.

Costa Gavras pictures the plight of the lone illegal and the critique of a materialistically self-absorbed Europe. Then the film stops rather than ends - though sparkling light on the Eiffel Tower offers a final enigma.

1. The title, the focus on Eden, the new creation, the new man, naked? West and the emphasis on the lifestyle of Western Europe in the 21st century? The prospect for refugees?

2. Costa Gavras, his career, his political perspectives?

3. The sea, the resort and its luxury, the roads in Greece, travelling through Greece, into France, the village, the cars, the snow, the truck, the village and the factory, the trains, Paris, the city, the familiar locations, the underground, the Lido, the school? The musical score?

4. The refugee situation, the anonymous country of origin, the many people on the boat, mainly men? Elias and his friend, learning French? The captain leaving the boat, taking the fees, the refugees stranded, the coastguard, Elias and his deciding to jump in Sweden?

5. The resort, the luxury, Greece, the beaches, the sea, affluence? The staff, the nude beach, the nude security guard? Elias stripping, becoming one with the clients, taking the clothes, putting on Western clothes, getting some food, mistaken as on the staff, the blocking of the toilet, the tip? Christine, from Germany, the attraction, the water in her unit, the sexual encounter? The search for the refugees, the manager, his making advances on Elias? Elias and his survival tactics? The encounter with the magician, becoming part of the act, the applause, his card, the symbol of his hopes, thinking had lost it, always keeping it? The confrontation with the authorities, seeing his friend taken by the police, the dead bodies on the beach, his running away?

6. The driver of the car, the promise, stealing his money and driving off?

7. The cart, the family in Greece, the children, the mother looking at Elias in the night?

8. The affluent couple, the husband, the wife and her continual complaints? Ousting Elias in the snow? The friendly truck drivers, concealing him at the border, letting him off so that he could get Paris?

9. Elias using his wits, arriving in the village, the work in the factory, the men considering he worked too hard, the canteen? The clashes at the factory? The threats? Elias and his payment?

10. The police pursuits, Elias invading, the stranded car, the man’s mistake in thinking Elias was the owner, taking him to the next town, his running away?

11. The gypsies, their help, prejudice against them, Elias going into the woods?

12. On the train, arriving in Paris, asking people, the different responses, those who helped, the wealthy lady who saved him, gave him the clothes? On the Metro? Eventually finding the Lido?

13. The kindly old man, chatting, pointing Elias to the magician?

14. The magician, with the children, Elias and his eagerness, watching, the card, the arrogant magician, saying that Elias was in Paris and that he had seen him and driving off?

15. The magician giving him the magic stick, the glowing of the Eiffel Tower, and Elias marching off to…?

A STRANGER IN TOWN

US, 1943, 67 minutes, Black and white.
Frank Morgan, Richard Carlson, Jean Rogers, Porter Hall, Robert Barrett, Donald Mac Bride, Chill Wills.
Directed by Roy Rowland.


A Stranger in Town is an interesting film for its under 70 minutes. It is a star vehicle for Frank Morgan who made quite a number of films but is best remembered as The Wizard of Oz.

Here he portrays a busy Supreme Court Justice who goes on holiday to fish, keeping his identity a secret. In the town, he is pressured by a local official to pay a fishing tax and pay extra for a stamp from the town. This brings him into the court, where he listens in to a case where a man is made to forfeit his tractors because of lack of funds. The man is defended by Bill Adams (Richard Carlson) who is good-natured not yet successful in his work, but is standing for Mayor in protest against the corrupt mayor and his henchmen around the town.

The Mayor evicts Bill from his office, and tries to eliminate him from the mayoral election. In the meantime, the Justice becomes more interested, urges Bill to research his law, helps him in a case which the corrupt local judge reluctantly agrees to. In the meantime, the Justice’s assistant comes with documents, with Bill meeting her at the station with all kinds of pratfalls. The secretary, Lucy (Jean Rogers) is not welcome at the hotel, Bill protests and they find themselves in jail.

The townspeople are on his side, supporting Bill, especially Chill Wills who acts as his campaign manager.

With success in the courts, and the antagonism towards Bill, even getting him into jail so that he could not come to the final campaign speeches. The Justice revealed his identity and order is restored – but, for a vindictive-feeling audience there are not enough scenes of the humiliation of the baddies!

This is the first feature film from director Roy Rowland who had directed short films for nine years and then was to stay, mainly at MGM, with some good feature films in the 1950s, a variety from Many Rivers to Cross to Hit the Deck.

1. An entertaining drama? In the Frank Capra tradition about stories of ordinary people and corrupt authorities?

2. The black-and-white photography, short running time, Supreme Court, the town, fishing? Musical score?

3. The title, sounding like a western – with the basic plot something like the corruption in the American West and the need for law and order?

4. Judge Grant, busy, going on his holiday, fishing, going to the town, being asked to pay for the licence, his going to court, his observations about the people in the town, Bill and the case and his client losing his machinery? An interest in Bill, guiding him to legal decisions, and Bill winning in the court? The Justice’s dislike of the corrupt mayor and his henchmen, the considering him just an old-timer? His secretary, his treatment of her in Washington, wanting to resign, happy to stay, bringing the documents, her being put in jail with Bill, the Justice’s pressure in getting them out? His taking the side of ordinary people, of Bill, getting Bill out of jail, his speech, finally people knowing who he was, the mayor blustering away with the local judge trying to warn him? And a happy ending for the Justice going back to work?

5. Bill, earnest young man, against the corruption in the town, practising law, his not winning cases? Standing for mayor, the posters, his campaign, some money for putting up a poster, the campaign manager? The encounters with the Justice, in court, looking at the law books, winning a case? Meeting Lucy, his awkwardness, and of not being allowed into the hotel, his protest, their being in jail? Getting out, his being evicted from his office? Back in jail, the Justice getting him out for the campaign speeches? His fainting when he found out who the Justice was? the scenes with Lucy, their working together, the dance, the quick romance?

6. Lucy, working with the Justice, arrival in town, disdainful of Bill, jail, not telling the truth? Falling in love, the social, the dance? The happy ending?

7. The people in the town, the mayor, his corrupt henchmen, their brutal tactics, threatening the Justice, evicting Bill, Lucy in prison? The mayor and his long speech? Comeuppance? The Justice, dealing with the mayor,the local judge trying to warn the mayor?

8. The good people in the town, hard done by, supporting Bill, the campaign?

9. The defeat of the bad, the triumph of good over evil – with a touch of romance?

OBVIOUS CHILD

US, 2014, 88 minutes, Colour.
Jenny Slate, Jake Lacey, Gaby Hoffmann, Richard Kind, Polly Draper, David Cross.
Directed by Gillian Robespierre.

The title of this film comes from a song by Paul Simon.

It is the story of Donna (Jenny Slate) who attempts to be a stand-up comedian. The film opens with her routines at a club, the personal story, the sexual and physical emphases.

In this brief film, we see various episodes in Donna’s life, relationship to her pleasant father, Richard Kind, to her rather superior mother, Polly Draper. She becomes involved in a one night stand with a pleasant young man, Max, Jake Lacey, who admires her performance. She does not expect to see him again but later discovers that she is pregnant. He also turns up a number of times, wanting to keep the contact with her, going out on a date. She resists him, even going out to the apartment of a sleaze at the club, played by David Cross.

She is uncertain about her life, working in a bookshop which is closing down, getting advice from various friends. Her pregnancy becomes the focus of the end with the decision to get an abortion. She has two weeks to consider the situation, trying to sort out things, but finally deciding to have the abortion. At the end, she has calmed down and is seen with Max, watching Gone with the Wind.

Her character has been criticised by number of bloggers, accusing her of complete self-centredness as regards the birth of the child.

1. The story of a stand-up comedian, the topics, physical and sexually oriented, relationship to her actual life? The humour, seriousness?

2. The title, from Paul Simon’s song? Meaning?

3. New York City, apartments, comedy clubs, restaurants, clinics? The songs, the score?

4. Donna, the introduction, her show, the range of jokes, focused on her vagina, bodily functions, feminine perspectives, feminist? Wry, the response of the audience? In the clubs?

5. Donna, the support of her friends, Natalie and her coming to support her? The gay friend and his chatter? Meals? At the bookshop, the owner, given notice, the woman at the shop, helping her? The sleazy man at the club, going to his apartment, the effect on her? Her age, experience, maturity?

6. The scenes with her parents, her father a nice man, separated, cooking spaghetti, conversation, making the puppets, supporting her? The mother, Professor, intellectual, offhand with human issues?

7. Donna, at the shop, her job, lonely and awkward, the ironies of her life? The chance encounter with Max, in the audience, talking, the one night, her waking up, leaving, the effect on her? Not expecting to see him again?

8. Her moods, the pregnancy tests, reactions, not telling people? Max, coming to the shop, seeing her in the box? Max returning her mother’s book and admiring her? Donna going to her mother, telling her, her mother’s offhand response? Max inviting her to dates, or avoiding them? Her performance on the stage, leaving, finding Max outside but going to the sleazy man’s apartment, his behaviour, her leaving?

9. Max, the reality of the situation, response?

10. The visiting the doctor, the two weeks, the request for the abortion, going to the clinic, the procedures?

11. The final sequence with Max, quiet, watching Gone with the Wind? What future?

12. The criticisms of the character of Donna, irresponsible, self-centred, deliberate and easy with deciding on the abortion?

RETURN OF THE FRONTIERSMAN

US, 1950, 74 minutes, Colour.
Gordon Mac Crae, Julie London, Rory Calhoun, Jack Holt, Frank Clark.
Directed by Richard Bare.

Return of the Frontiersman is a routine Western of 1950. What makes it a little different is that Gordon Mac Rae plays the central character, the son of the local Sheriff, getting himself into all kinds of trouble, a lot of fistfights which he generally loses, and being sent to prison. He is also being framed for murder and a series of bank robberies.

Jack Holt plays his father, the sheriff, who has to imprison his son and take a posse to pursue. Julie London is visitor from St Louis who is accosted by Mac Rae, forced at gunpoint to help with an operation to remove a bullet, taking her as a kind of hostage until she realises that he is innocent and, of course, by the end of the film, so brief, romance.

The villain of the piece is played by Rory Calhoun, a gambler and the editor of the local paper, but who has organised a gang and letting his friend be the fall guy.

These brief westerns were entertaining as supporting features in the 1950s.

1. A popular and entertaining western of the period?

2. Colour photography, the town, the scenery outside the town, the mountains, the canyons? The musical score?

3. The total, 1872, the end of the desperado period, attempts at imposing law and order? Gunfighters versus Frontiersmen.

4. Logan, the fight the bar, Larrabee taking his side, the court sitting in the saloon, the guilty verdict, the sheriff sending his son to jail? The brawling gambler also sent to jail? His whistling, Logan having the opportunity to sing? His friend bringing the gun, his escape?

5. Logan being blamed for the death of the gambler, Ryan and his leading the forces against Logan? Pressuring sheriff, his criticisms of him? The policies?

6. Logan, the escape, the previous encounter with Janie, holding the gun, her firing and the posse pursuing? Going to the house, drawing the gun, the pressure from the doctor to withdraw the bullet? His taking Jenny, the buggy ride?

7. The bank robbery, the injuries, blame on Logan, especially with the clothes that he wore?

8. Logan and Janie seeing the robbery of the Stagecoach, her realising the truth? Tracking down the gang? The men dressed in Logan’s clothes, his being shot?

9. The posse, following Logan, seeing the gang at the stagecoach, the shootout?

10. Larrabee, his place in the town, not going with the posses, the irony of his having the gun which shot the gambler, the truth, Logan seeking his help, their
fight, at the waterfall?

11. Justice done in the town, the truth told, the sheriff punching Ryan for his outspokenness, the happy romantic ending?

ZIG ZAG

US, 2002, 101 minutes,.Colour.
John Leguizamo, Wesley Snipes, Sam Jones III, Oliver Platt, Natasha Lyonne, Luke Goss, Sherman Agustus, Elizabeth Pena.
Directed by David S. Goyer.


Zig Zag is a slice of life focusing on a 15-year-old boy, played by Sam Jones III, suffering from autism, sensing that he has inner powers and the capacity for noticing detail, but bashed by his crack-addict father, Wesley Snipes, and humiliated in his kitchen workplace, by the co-workers and by the boss, Oliver Platt.

He has some kind of hope because he is in a Big Brother program, with Singer (John Leguizamo) as his Big Brother. But, Singer is suffering from terminal cancer. There is a complication when the young boy, Louis, Zig Zag, takes money from his boss’s safe which is then stolen by his father to pay off a loan shark, Luke Goss. A detective explores the case and realises what has happened. With the help of a rather quiet cook, and with the help of a prostitute who is involved with the boss but who becomes friendly with Zig Zag (Natasha Lyonne), the situation is rectified. However, Singer dies. Zig Zag’s father is arrested, but there is some hope for Zig Zag.

The film was written and directed by David S.Goyer, best known for writing and directing horror films including some of the Blade series and Hellboy.

1. A film about a young boy, autism, abuse by his father, his Big Brother, his work in the kitchen?

2. The city, the dingy apartment, the restaurant and kitchen, the hospital? The outdoor sequences and the exhilaration for zig zag? The musical score?

3. The story of a 15-year-old? His autism? What was going on in his mind? Time standing still, his hand in the sun? His awareness of special powers? Watching the numbers on the safe and remembering them? Singer’s suggesting some things happened in his mind? His dealing with his condition, self-confidence? His age, experience, riding his bike, his father and the crack, the brutal beatings, his voice-over explaining how he could survive? The others at the apartment?

4. His work in the kitchen, the mockery by the workers, making fun of him, breaking the mirror, the attitude of his boss, ridicule? His hard work, watching his boss, taking the money, bringing it home after hiding it, the bags, his father’s reaction, taking the money, re-paying the loan-shark?

5. Zig Zag and his working with Singer? The Big Brother program? Singer’s taking him out, to the movies, their talking, confidence, the real bond? Singer and his concern? The money, wanting to return it? The visit to the loan shark, British, the loan shark’s reaction, later giving the money? The plann to return it, the boss changing the safe number, the silent worker and his collaboration, helping him to get the new number, returning the money?

6. The boss, a sleaze, with the workers, his racist vocabulary, bigoted attitudes, mocking Zig Zag, thinking the young girl robbed the safe, not contemplating Zig Zag could? His bringing Jenny into the store, the kitchen, sexual encounters, his being married?

7. Jenny, with the boss, meeting Zig Zag, learning more about Zig Zag, meeting Singer, her going to the hospital, Zig Zag and his concern about Singer’s sexual experience? the meeting, helping with the return of the money? Zig Zag saying that he could meet Jenny later?

8. The loan shark, British, the club, the dancers, Zig Zag’s sexual curiosity, Singer explaining breasts, in class, asking about breasts, the reaction of the
teacher?

9. Singer, the authorities, his collapse, hospital, the pathos of his illness, his knowing that he would die, his death?

10. Zig Zag and his father, going to jail, getting out, the confrontation about the money, Jenny and hitting him, his being arrested for breaking parole?

11. A slice of life, sympathetic characters, unsympathetic characters, a story with sadness but with hope? Zig Zag at 18 and in the institution?

BEFORE I GO TO SLEEP

UK, 2014, 92 minutes, Colour.
Nicole Kidman, Colin Firth, Mark Strong, Anne -Marie Duff.
Directed by Rowan Joffe.

A more accurate title for this film would be When I Wake. In fact, when Christine (Nicole Kidman) wakes every morning she cannot remember anything from the past, especially anything from the day before when she had gone through the whole routine of waking, being puzzled, being told her she was. She is suffering from a strong form of amnesia.

In some ways this is a very old-fashioned type of thriller, set in England, with a strong cast, memories of psychological thrillers like those of Alfred Hitchcock. It is based on a novel by S.J.Watson.

Nicole Kidman is again paired with Colin Firth, after their successful performances in The Railway Man. When Christine awakes, her husband, Ben (Colin Firth) is by her side and explains what has happened to her, using photos and names and dates on a panel in the room, reassuring her about her life. But, as the day goes on, she receives a phone call from a Dr Nash (Mark Strong) who tells her he has been treating her for several weeks. He advises her to go to her cupboard and retrieve a camera, on which, each day, she has added comments about her experiences in the possibilities of her memories. In the novel, she keeps a diary. The novelist has said he is very pleased with this idea, much more visual, of her keeping a camera diary.

In her meetings with Dr Nash, she gradually finds out a little bit more about her life before amnesia. Gradually, some flashes of memory return, especially about the bashing she received which has caused the amnesia. Ben explains to her that they were married in 1999, that they had a son, Adam, who had died at the age of eight or nine.

The other main character in the film is Christine’s friend, Claire (Anne- Marie Duff) and they make contact after many years. Through speaking with Claire, she discovers some aspects of the past which had been obliterated from her memory. But, she seems to be content that she now has a grasp on all the facts and can deal with them, especially relying on Ben.

Since this is a thriller, it is obvious that not everybody will be actually what they seem to be. So, it is a drama about identity, discovery of identity, surprised by facts, and becoming embroiled in more danger and violence.

The writer-director of the film, Rowan Joffe, made a version of Grahame Greene’s Brighton Rock in 2010.

This is a film which will appeal to older audiences, where they will feel familiar enough with the style of film and enjoy it. One of the problems is whether there are holes in the plot, especially where the loss of memory is concerned over several years, but given the strong performances, the interest of the characters, the difficulties may not come to the surface until well after the film is over.

1. Thriller? Psychological study? Detective work?

2. British drama, the British home, the hotel, near the airport, the cark, the school, hospital? Credible? Musical score?

3. The plot as realistic, far-fetched? Credible?

4. The premise of amnesia, waking up each day having forgotten everything from the past? The repetition? The waking sequence, Christine and her husband, the photos on the wall, names and dates, his reassuring her? Dr Nash ringing, talk, explaining the camera in the cupboard, Christine getting it, being filled in from the past sequences? The visual diary? Continually adding to it?

5. Christine, Nicole Kidman and her age, appearance, style, hair and clothes? Finding out she was married in 1999, her son, his illness, his death, the physical attack on her, the unknown assailant? Her character, her past, trying to find out – and audiences seeing the best about her and her life?

6. Ben, asleep beside her, waking up each day, his reassurance, going to work, his care for her, love, explaining the photos? His not knowing about the camera and Dr Nash? Claire, the contact, the meeting, the talk about Ben? The divorce, Claire giving her the letter from Ben?

7. Claire, her story, the revelation about Adam being alive, Ben’s scar? Her confessing to the sexual episode with Ben? Chris, realising that she herself had had an affair? The mystery of the bashing?

8. Chris, satisfied with the explanations, about Adam and his death, about her life? Talking to Ben, saying that she loved him? His suddenly punching her?

9. Ben, going to the hospital, encounter with Dr Nash, warning him off?

10. Dr Nash, each day contacting Christine, the camera, the meetings, the discussions, trying to get her to remember, the glimpses of flashes of the past? Especially the assailant? The issue of countertransference and the doctor warning her against it?

11. Special day, the anniversary, Ben taking her to the hotel, the airport? Her remembering? The fact that Ben was really Mike, the affair with him, his violence, the attack, the repetition, the fighting, Mike and his madness, the threats, Christine hitting him, the iron?

12. Her setting off the alarm in the hotel, in hospital, the doctor and his explanations? The real Ben, the fact of the divorce, his saving Adam, the reconciliation? Adam, quoting the lines from Winnie the Pooh, mother and son together? Her recovery?

13. Interesting characters, interesting themes, nobody really being as they appeared?

THIS IS WHERE I LEAVE YOU

US, 2014, 103 Minutes, Colour.
Jason Bateman, Tina Fey, Jane Fonda, Adam Driver, Rose Byrne, Corey Stoll, Kathryn Hahn, Connie Britton, Timothy Olyphant, Daz Shepard, Debra Monk, Abigail Spencer, Ben Schwarz.
Directed by Sean Levy.

Some years ago, there was a Jewish film called Seven Days/Shiva, about a family observing Shiva, sitting in the house for the week, mourning the dead. This film is a very American version of Shiva, often raucously so. It is based on a novel by Jonathan Tropper, who wrote the screenplay for the film.

This is a story of the death of the father of the family and the assembly of brothers and sister as seen from the point of view of the second son, Judd, with Jason Bateman in the role, using his talent for comic timing but having a much more serious role than usual. Within minutes of the opening of the film, he discovers that his wife has been having an affair with his boss. He sits glumly and then receives the news that his father has died.

The sister is Wendy (Tina Fey), unsatisfactorily married with two children (one of whom is continually seen with his potty, doing his training in public – and one wonders what this little actor will think and feel when he watches this film in 10 years time, 20 years time!). The older brother, Paul (Corey Stoll), has stayed close to his father, managing the family store, and trying with his wife, Annie (Kathryn Hahn), quite intensely, to become pregnant. Then there is Philip (Adam Driver), much younger, brought up by Wendy as a mother figure, now irresponsible, self-absorbed, bringing his former therapist Tracy (Connie Britton) who thinks she is in love with him.

As can be seen by this small summary, the potential for conflict is mighty – and is seen in many sequences, verbal clashes, physical clashes, comparisons, psychological rivalry…

And all is presided over by the matriarch, Hillary, who is played by Jane Fonda, still looking glamorous in her mid 70s, but, as part of the humour of the story, she has silicone enhanced breasts (of which she is not at all ashamed). She has written a book in the past about families, with thinly disguised portraits of her own children. She has now called them together, loves them, tries to help them, while still rather airily going about her carefree way of life.

As if the family is not enough, there is the neighbour, Horry (Timothy Olyphant) who was in love with Wendy but suffered brain damage in a car accident and is still at home. His mother, Linda (Debra Monk) is in and out of the house, providing some of the refreshments. And yet another character. Rose Byrne is Penny, who still lives in the town, has had a crush on Judd in the past, finds matters complicated when he returns, but is a woman who is very direct, speaks her mind, and often with commonsense.

Stir all of this together, and we have the close family sitting in the one room, forbidden to go out of the house (which is interpreted exceedingly freely), have them go to Temple, presided over by the siblings’ friend, now a rather trendy Rabbi resenting his family nickname of Boner.

Here we have multi-multi problems, often taken seriously, sometimes exuberantly, and sometimes treated farcically. Many audiences may think it too much – especially a final revelation much too late, dramatically speaking, in the film and barely prepared for, which makes it somewhat implausible.

Some years ago there was a film called Life as it Is. A religious reviewer found it very objectionable, stating that it is better to have stories about Life as it should be. In fact, our lives are life as it is, messy, sinful, hurtful as well as striving for some kind of happiness and decency. This is what this film is like, raucous and rude, silly and serious, with an underlying family warmth that does not always come out the right way.


1. A slice of American life? Jewish life?

2. The town, family, the past, the parents, the children growing up, memories? Those who stayed, those returning? The effect?

3. The house, the interiors, the group confined in the house, the room, for Shiva? The rooms, the basement? The family going out, the homes, roads, shops, the ice skating rink? The musical score?

4. The death, the decision of the mother? To observe Shiva? The ceremonies, and the Temple, the role of the Rabbi, friend of the family, his comments?
The home visits of relatives and friends? Sitting together? Sharing? Seven days in the house?

5. The potential for clashes? Dysfunctional families?

6. The mother, not Jewish, husband, at his death, pulling the tube out? Her book, recounting the lives of the children, thinly disguised? Fame, copies, autographs? With each of her children, love, interactions, assessing their lives? The surgery, false breasts? The jokes? Her wanting the children to be altogether?

7. Judd and, his story, perspective? Work at the office, relationship with his boss, the cake for his wife, discovering them in bed? The effect, grim and glum? Cutting off his wife? Decision to divorce? The past, the miscarriage, the effect on each of them, his becoming more distant? His place and his family, with Wendy children, Paul as older, Philip as reckless? Encountering Penny, the talk, the past, going out, the sexual relationship? Wendy’s prediction about Judd, with Penny, the reconciliation? The brothers and the fighting? Temple, finding marijuana in his father’s coat pockets office? Sad, his wife’s visit, the clashes, the pregnancy, the miscarriage, contacting him, also his boss? Paul and the talk about the future, the store, Philip and his job? The final discussion with Penny, the possibility for return?

8. Wendy, mother, the children, husband and his absence, going to England publicity for business? The baby, the little boy and his potty? Horry, the past, his accident, Wendy leaving, marrying? Visiting him, regrets, sexual encounter? Her philosophy of life, cherishing the few happy moments?

9. Paul, the eldest, the store, staying, marriage to Annie, her past relationship with Judd? The efforts made to get pregnant? The fight between the brothers? Smoking pot at Temple? Catching Annie with Judd? His hopes, promises fulfilled? The father’s will, the division of the estate?

10. Philip, young, irresponsible, being brought up by Wendy? Bringing Tracy, therapist? His eyes on the girls, driving with Judd and, leaving him at the rink, bringing with the girl? The fights between the brothers? Tracy realising his immaturity and leaving? His new job in the store – lasting or not?

11. Penny, the past, staying in the town, her frank and direct speech, talking with Judd and, his going to the skating rink? Their sexual encounter, its meaning? Penny and the futurel? The final advice, Judd possibly returning?

12. Horry, the accident, staying the town, the store, the mental disabilities? His mother? With Wendy?

13. The character of the Rabbi, friend with the boys in the past, his role Temple, the visits to the house, his trendy style, his resentment of the boys nicknamed him, Boner?

14. Hillary, Linda in the house, the revelation of the relationship? Credible? Too much and this particular moment of the drama?

15. Life is it is – rather than life as it should be?

GONE GIRL

US, 2014, 145 minutes, Colour.
Ben Affleck, Rosamund Pike, Neal Patrick Harris, Tyler Perry, Kim Dickens, Patrick Fugit, David Clennon.
Directed by David Fincher.

Gone Girl seems too slight and juvenile for a title of a novel and film about adults in deep crisis. There is often a problem when a book is a bestseller and audiences find that the cinema interpretation does not live up to their expectations and imagining of characters and plot. This review is based on the film rather than the novel, which was given as a gift, and has been left to read after the cinema experience.

This is a very difficult film to review because of the plot complexities and some twists, not that many audiences, whether readers of the book will not, could not anticipate where the plot would go. The interest is in seeing how the twists are introduced and developed. The screenplay is written by the author of the novel, Gillian Flynn – so we presume she knows what she is doing.

The first sentences of the film indicate that Nick Dunn would like to kill his wife, asking her what is going on in her head and in her feelings. It is their fifth anniversary and Nick goes to The Bar, which he owns, and is managed by his twin sister, Margot. Ben Affleck is Nick and Carrie Coon is Margot. Both give very effective performances.

But we also see Nick’s wife, Amy, in a series of flashbacks, writing her diary of the past, talking about experiences with meeting her husband, the initial exhilaration, the difficult times, and his statement that she fears her husband could kill her. While the leads give solid performances, it is Rosamund Pike as Amy who gives a tour-de-force performance, obviously committed to reflecting the intricacies of her complex character.

When Nick arrives home and finds a room in disarray, with traces of blood stains in the kitchen, he is puzzled and goes to the police to report his wife missing. The main officer in charge of the investigation is played by Kim Dickens, again a very strong performance, especially in comparison with that of Patrick Fugit, her partner, who obviously needs a bit more training in police and detective work.

The screenplay shows each day passing, more and more evidence arising against Nick, including envelopes with clues provided by Amy for the celebration of their anniversary. Margot offers complete support and understanding. And then the media get onto it, especially an interviewer played by Missy Pyle, practically a caricature of this kind of interviewer, until we realise that some interviewers actually are like this, especially American interviewers. She not only goes with the flow, she creates the flow, targeting Nick and eliciting all kinds of sympathies for Amy from her seemingly insatiable audience. Then Amy is discovered, to have been pregnant, information eagerly given in a the evidence from her neighbour, her best friend.

It gets very hard for Nick. He goes to visit one of Amy’s school friends who was infatuated with her, a good acting performance by Neal Patrick Harris as a lover, rather than as a compere of American award shows. He also goes to the best lawyer in Missouri, played by Tyler Perry.

This review will now try to make a comment on the second part of the film without giving any of the plot directions away. All that might be said is that it is quite fascinating as we watch the explanations given of what happened and how it happened.

The two central characters are in no way heroic, rather, each controlling the other, Amy more so than Nick.

Probably what can be said is that Gone Girl, directed by David Fincher, director of Seven, The Game, Panic Room, and The Girl with the Dragon Tattoo, is a very interesting exploration of two people, their psychological states and what those states compel them to do.


1. The popularity and acclaim for the novel? The author writing the screenplay? The tone of the title?

2. Missouri, the town, homes and streets, the residence for the elderly, the lake house, the resort and hotel, the contemporary atmosphere? The musical score?

3. The structure of the film: the abduction of Amy, the days listed since it happened, the contrast then with the days of Amy’s re-appearance?

4. Thriller, abduction, possible murder, actual murder? Amy’s plan, madness? The contribution of the media, media frenzy, television commentators, reporters and paparazzi?

5. The introduction, Nick saying the words about killing his wife – and their coming back at the end with more meaning? The presumption that Nick could well kill Amy? Then the end of the first half of the film and Amy’s reappearance?

6. Ben Affleck as Nick, his age, would-be writer, stories? His father, old, alienation from him? His mother’s death, his return to Missouri from New York to be with her? Close to his sister, the co-owning of the bar, his visits to the bar and talking with her, confiding in her? Waking on the anniversary day, seemingly normal, going to the bar, the discussions about divorce? His return home? The chaos in the house? The blood and its being cleaned up? The envelopes with clues, something Amy did? His going to the police, the response, support?

7. Amy, her picture, her words, the diary? The perceptions? Her fears? The flashbacks to meeting Nick, the excitement, the romance, discussions, sexual relationship, being together? Her parents, the famous Amy books, the popularity, people’s responses? Her writing, audience response to her diary? The tensions? The audience having in mind that Nick said that he could kill his wife?

8. Rhonda Boney, as a person, her job, efficiency, the interrogations, believing Nick, the issues of the increasing evidence, the story, growing suspicions? Her dealing with her partner and his unnuanced responses? Going to the house, the shed, the forensics, the explanations? Following the clues? The revelation of Amy’s reappearance, believing in Nick, willing to help him?

9. Nick’s sister, her personality, support, relationship to the father, to the mother? The bar? Supporting Nick, the issues of the evidence, having to deal with them? The media pursuing her? The arrest, the time in prison? With Nick? The issues of the law, bail?

10. Public opinion, the crowds, voicing reactions, liking Nick, turning against him, support for Amy?

11. Amy, alive, her explanations of how she prepared everything, anticipating police reaction, Nick’s reaction? The details of the blood, washing it up, other aspects of the house, the clues? Nick following the clues, to the shed, to his father’s shed, always incriminating himself, the murder weapon?

12. Amy at the resort, lounging, the wealth, the television, the girl and the man at the pool, her interactions, keeping private, the girl working things out, Amy leaving?

13. Her going to Desi Collings, Nick and his going to visit him and Collings turning him away, the relationship in the past, her violence towards him? His success in business, receiving her, the plausibility of the story? Her explanations to him, his listening, expressing her fears, staying, support, their time together? His complete trust in her, love? The brutality of her killing him?

14. Her reappearance, public opinion, sympathy, her story? The murder and her defence of herself, arranging the CCCV footage to implicate Desi as brutal?

15. Nick, his response to her return, his private comments, his public comments, their being seen in public? Her parents – and the other television interviews with her parents about her disappearance and murder? Nick knowing the truth? Her vicious control?

16. Boney, further investigations and suspicions?

17. Amy and her hold over Nick, his possibility of controlling her? A future?