SERENDIPITY

US, 2001, 85 minutes, Colour.
Kate Beckinsale, John Cusack, Jeremy Piven, Molly Shannon, John Corbett, Bridget Moynihan, Eugene Levy.
Directed by Peter Chelsom.

Serendipity is a light romantic comedy with the fairytale touch. It takes its tone from the title, happy fate and coincidence with a happy outcome. It has a brief running time, has attractive central stars plus a funny cameo by Eugene Levy. An American and an Englishwoman both want the same pair of gloves for Christmas at Bloomingdales. It is the last pair. They divided the pair but spend some time together at the Serendipity Cafe, walking New York streets and iceskating. They part but he writes his name on a five dollar bill and she on the inside cover of the book – and they give them away.

Years pass, each has a fiance, marriages impending, but they are still thinking of each other – and set out to find each other before the weddings. There are many coincidences which makes the film pleasantly surprising and attractive. With John Cusack and Kate Beckinsale has the stars, it has a charm of its own.

The film was directed by Englishman, Peter Chelsom, Funny Bones and Town and Country.

1. The title? Its meaning? Happy fate? Destiny? Coincidence, synchronicity? Its explanations in the screenplay? The cafe with that name?

2. The New York settings, the streets, apartments, cafes, Bloomingdales? The comparison with San Francisco? Musical score and songs ?

3. The initial meeting between Sarah and Johnathan, in Bloomingdales, the dispute over the gloves, the other customer wanting to take them, their taking one each? A keepsake for the future? The Serendipity Cafe, ice skating, Jonathan leaving his scarf, Sarah finding it? His writing his name and number on the five dollar bill? Her writing information on the inside of the book, Love in the Time of Cholera?

4. Time passing, Sarah and her work as a therapist, the discussion with the young man about companions available to him? Her life, relationship with Lars, his music, his friends, the tours, his attention to her but preoccupations? Engagement, but dissatisfaction? Her friendship with Eve and asking her advice? The build-up of the engagement, wanting a free weekend? Her preoccupation with Jonathan, still wanting to find him? Paying the trip to New York for Eve, Eve’s reaction in finding out Sarah’s motives? In New York, not having a place to stay, the taxi drivers, going to the Waldorf Astoria? About to return, in the plane, finding the five dollar note, hurrying? Looking for Jonathan’s address? The locals and giving her the information about the wedding, her hurrying, finding that the wedding was over – in both senses? Discussions with the neighbours, the attendant at the wedding? Going to the skating rink, Jonathan finding her?

5. Jonathan, his work, documentary ambitions, at the golf club, editing the footage? His friendship with Dean, the effect of his meeting Sarah, looking for the book over many years, engaged to have Halley, the parties, the parents, the preparation for the wedding? His having cold feet? The impulsive trip to San Francisco? Discussions with Dean? Going to the wedding rehearsal, not paying attention, Halley and her concern, her gift of the book and reasons? Sarah’s name? Going to Bloomingdales, the encounter with the shop attendant, having to pay all the money for the bride, buy the clothes, go to the depot to find the number, persuading the young attendant to examine the credit card address? Going to the apartment, the French artist and his explanations, his picture? Going to the Serendipity site? Discussions with Dean and calling off the wedding? Wondering? Waiting? Going to the skating rink?

6. Dean, friend, his humorous speeches, writing the obituaries, his relationship with his wife, listening to Jonathan over the years, aware of his search for Sarah? His broken marriage? Assisting Jonathan in all the details of the search, Bloomingdales, the documents, the apartment, the site? Admitting the failure of his marriage? His writing Jonathan’s obituary and Jonathan reading it while walking through the park? The effect of the friendship on Dean, his decision to woo his wife again, buying the flowers?

7. Eve, Sarah’s friend, wary, the hotel, meeting Halley, the past friendship, serendipity and coincidence? Going to the wedding rehearsal? Her return home?

8. Halley, in love with Jonathan, but his failure in responding?

9. Lars, the music, love for Sarah, following her to New York, his preoccupation with his music?

10. The comic turn by Eugene Levy, Bloomingdales, the counter, his severity, the bribe, selling all the clothes, assisting with the search for the credit card
number? Sarah’s visit and his making sure she was behind the line?

11. A pleasant romantic comedy – with a touch of the contemporary fairytale?

OCEAN’S ELEVEN

US, 1960, hundred and 27 minutes, Colour.
Frank Sinatra, Dean Martin, Sammy Davis Jr, Peter Lawford, Joey Bishop, Richard Conte, Angie Dickinson, Cesar Romero, Akim Tamiroff, Buddy Lester, Patrice Wymore, Henry Silva, Red Skelton.

Directed by Lewis Milestone.

Oceans 11 was an entertainment generated by the group of friends in Hollywood known as the Rat Pack, Sinatra, Martin, Davis Jr, Lawford, Bishop. This is a heist extravaganza, old World War II army buddies who were skilled as commandos deciding to rob all the casinos in Las Vegas. The first half of the film is an introduction to each of the characters and bringing them together. The second half is the actual heist, the big plan, the details of the action and timing – with some ironies about their being discovered and the money going up in flames at a cremation.

The group went on to make a number of other films, with numbers in the title, Four for Texas, Sergeants Three, Robin and the S even Hoods.

Direction is by Lewis milestone who 30 years earlier had made the Oscar-winning All Quiet on the Western Front, a director of many genres who found great difficulty, two years later, working with Marlon Brando in a version of Mutiny on the Bounty.

The remake of the film brought together a number of Hollywood stars who were friends, George Clooney, Brad Pitt, Matt Damon. And they went on to Oceans 12 and Oceans 13, all films directed by Steven Soderberg..

1. The classic status of this film? A film of the 1960s? The Hollywood Rat Pack and their kinds of films? The impact of the remake?

2. The Las Vegas settings, the casino, the background of casinos, the workplaces, kitchens, electrical centres…? A sense of realism within the fantasy of this large heist?

3. The cast, their status at this time, their friendships? The comic cameos Shirley Mac Laine, Red Skelton and his gambling.

4. The background of World War II, the commando group, the friendships over the years, contacts? The idea of the heist? Drawing on their military background? The leadership of Jim Foster, Danny Ocean? Contacting the men? Their range of jobs? Tony in prison? Josh and his work? Jim and his easy life? Danny and the tensions with his wife, with his girlfriend? The skills of the other men? Those working in Las Vegas? In the casinos?

5. The idea of the heist, the military background, the planning, the personnel? Selling it to the various men? The meetings, the interviews, their being persuaded, gathering together?

6. Spyros, the racketeer, his anxiety, getting the men together, sponsoring it?

7. The first half of the film introducing the characters, their relationships, their plans? The second half of the film with the heist, the timing, the detail, the afternoon, Santos and his working out what it happened, his hold over the group? The various manoeuvres to outwit him?

8. Anthony dying, his widow and the $10,000, the funeral parlour and the director, persuading her to have the service in Las Vegas transporting the body, the attendance of the men? The phone call to Santos and his turning up?

9. The placement of the body, the money? The irony of the cremation?

10. The characters and their lifestyles?

11. Danny, something of a gambler, easy going, the scenes of discussion with his wife, her refusal to come back, the discussion with the girlfriend? The girlfriend and her pressure on him?

12. Jim Foster, born into wealth, his mother pampering him, many husbands, the demands of him, the phone calls? His military skills? The idea of the robbery? His friendship with Danny and Sam? Sam’s suspicions of him? Easy-going, making demands of his mother for money? His explanations about her pressures?

13. Sam, the musical background, his songs, performance, initial scepticism, agreeing to go along with things, the aftermath, suspicions of Jim, the apology?

14. Tony, being in jail, getting out, his illness, the doctors, the time to live, his agreeing to help, his electrical skills, the timing, the execution of the job? his death?

15. Josh, black, cheery, driving the garbage truck? Roger and his being the contact? Vince and saving his wife from stripping? Mushy as the sidekick?

16. The various men and their skills in the hotel, their friendships, working to time, the blackout, the robbery? The aftermath with the money?

17. Duke Santos and his criminal background, intention to marry Mrs Foster, discussions with her, forgiving him his past, the meeting with Jim, their instant dislike? His suspicions about the robbery, Mrs Foster telling him about the meeting of the commandos, his putting two and two together confronting, wanting
half the money, their attempts to outwit him, everybody at the funeral centre, is the cremation?

18. Life at the casino, the details, target robberies?

19. The amoral tone of the film, heists, getting away with robbery – and not?

IMOGENE

US 2012, 103 minutes, Colour.
Kristen Wiig, Anette Benning, Matt Dillon, Darren Criss, Christopher Fitzgerald, Bob Balaban, Natasha Lyonne, Julia Stiles, Andrea Martin.
Directed by Shari Springer Berman, Robert Pulcini.

A comedy with serious undertones.

Imogene was a precocious young girl, asserting herself. However, she grows up to a less than self-confident woman, affected by the death of her father when she was young, wanting to move out from the dominance of her erratic mother, working in New York City, feted by some upper crust friends, in a relationship with a man from Holland. Then it all goes wrong.

Imogene is fired, attempt suicide (the people praise the literary style of her note), is released from hospital under the care of her mother and she retires to the family home in New Jersey. Besides being in contact with her mother again, she finds a young man, Lee, occupying her room, a strange man who says he is a government agent in partnership with her mother and finding again her somewhat autistic, perhaps, younger brother. The film deals with Imogene finding herself, discovering that her father is alive, helping her brother, seeing her friends in New York City in a new light as they spurn her and, finally, going back to write plays as she originally intended to.

A strong cast including Kristen Wiig as Imogene, Annette Bening as her mother, Matt Dillon as the government agent, Darren Criss as Lee, Christopher Fitzgerald as the brother and Bob Balaban as the long-lost father. Writing and direction is by the film-making team of Shari Springer Berman and Robert Pulcini, makers of such films as American Splendor, The Nanny Diaries, The Extra Man.

1. The title? The alternative: The Girl Most Likely? The focus on Imogene?

2. A New Jersey story in New York story? Homes, workplaces, theatre, clubs…? The musical score?

3. The tone, the blend of real and imagination, comic and serious, wry?

4. Imogene as a little girl, in the play, as Dorothy, criticising the meaning, not wanting to lose the star role? At home, difficulties with her father, the story of her father’s death, relating to Ralph? Hard life, and other gambling, relationships?

5. Imogene and her work, New York City, her friends, their gossip, criticism? Her author friend? Her relationship with Peter, the devastation when he broke
off with her? At work, her writing, being fired? At home, the suicide note – and everybody commenting on its being well-written , going to hospital, the treatment? Her mental state, erratic behaviour, comments? Her friends? Phoning her mother to take custody of her? Imogene at home, finding her room occupied, the sexual behaviour, reaction against Lee? The discovery of The Bousche, Ralph and his idiosyncrasies, his crabs, shell creatures? His building the tent for her?

6. Lee, his girlfriend, the clash with Imogene, the fact that he went to Yale, studied music? In the band? Her forcing him to take her to New York, tossing the coin? His patience with her, talking, listening? Going to the club, her listening to the music, her being drawn in, out on the town, her extroverted behaviour, coming home, the sexual encounter, the aftermath, her mother’s reaction and thanking Lee?

7. The Bousche and his style, his being a government agent, the love for Zelda, the discussions, food, his job, the mythology, the reality at the end, the assassin holding the group to ransom? But his not wanting to be photographed for his government job?

8. Ralph, going to the boardwalk, his stall with the crabs, his detailed knowledge, the information in his room, his building the shell and demonstrating it, to hide and conceal oneself the girl at the other stand, his infatuation, Imogene trying to interest her in Ralph? She having a boyfriend, her own life?

9. The discovery of the truth about her father, the reaction, learning that he was an academic, that he had published a book, going to the library, taking the book and being pursued? Reading it? Her mother’s reaction? The story? Ralph knowing all the time, hiring the private detective when he was 21? Giving Imogene the address? Lee driving them, Imogene and Ralph going to visit? The maid, the affluent house, his wife and her welcome, not knowing that they existed? The character of the father, academic, the encounter with Zelda when he was young, the children, his not relating well to them, his leaving, another life? Thinking they wanted money? Imogene’s anger at him?

10. Imogene going to the book launch, her dress standing out, the women gossiping, her author friend telling her off? Seeing Peter? The clash and insults?

11. Lee reading her plays, liking them, her past, the award, not fulfilling her potential?

12. Success, writing, the performance of her play, everybody present and happy?

13. A portrait of an oddball character – with some insight?

42

US, 2013, minutes, Colour.
Harrison Ford, Chadwick Boseman, Max Gail, Alan Tudyk, Hamish Linklater, Lucas Black, John C. Mc Ginley, Ryan Merriman, Christopher Meloni.
Directed by Brian Helgelend.

For non-Americans, the number 42 may not mean anything at all. It is a baseball number, the number for the jersey of player, Jackie Robinson.

This is a very moving film even for non-fans of baseball or audiences who know nothing of Jackie Robinson. It is about racism in top baseball teams prior to World War II and the introduction of black players into the league after the war.

After the end of the war, baseball entrepreneur, Branch Rickey, made the point that there were no African- Americans in top league baseball. He decided to make a change, despite the objections of people in his office, studied forms and photos of a variety of black players and made the decision to bring Jackie Robinson into the league. There is great force in the film and its portrayal of Branch Rickey, Harrison Ford in one of his best performances, crusty, principled, successful. The film also has the advantage of Chadwick Boseman in the role of Jackie Robinson.

Most of the action takes place in the season 1947, Robinson under contract for the Brooklyn Dodgers, going to spring training, also getting married, experiencing the hostility of co-players, even to many of them signing a petition that he should go. Branch Rickey takes his stands in favour of Robinson.

Even those not familiar with the game will be able to follow some of the tactics in this film, but it is also about Robinson in himself, the self-control he had to exercise in the face of such explicit racism. The racism in so many states and the booing of the sports audience in 1947 comes as something of a shock.

There are some interesting supporting roles, John C. Mc Ginley as the sports commentator, Alan Tudyk as the bigoted manager of the Philadelphia team, seen in vitriolic action, commanded by his superiors to reconcile with Robinson and have a photo-opportunity photo shoot.

The film blends scenes of practice and of games, focus on the crowds and their bigotry and change of heart, Robinson and his taking his place in the development of the Dodgers as a team, his personal story and relationship with his wife.

The film was written and directed, surprisingly, by Brian Helgeland, better known for writing the screenplay is of such films as LA Confidential, Payback, and directing the tongue-in-cheek A Knight’s Tale.

1. The title, the number for Jackie Robinson? His reputation and the growing sacredness of the number?

2. A baseball film, the tradition of American baseball, the greats of the early 20th century, the intervention of the war, baseball in the 1940s, the aftermath of the war, issues of racism and the absence of African- Americans in baseball?

3. An American story, the American locations, New York City, California, Florida and the other centres for baseball training? The musical score?

4. Harrison Ford as Mr Ricky, a significant person in post-World War II baseball? His insight? Attitude towards racism? His courage in bringing black players into the game at this time? His saying it was good business? His office, his assistants and their immediate reaction against his suggestion? Looking at the photos of different players, the decision about Jackie Robinson, his qualifications, education, stability as a person, his war service?

5. Jackie Robinson, his background, home in California, his war experience, his strong education, his proposal to Rachel, their marriage? His skill in baseball?

6. The invitation to New York, the interview with Mr Ricky, the explanation of the contract, the conditions, his signing, the photos?

7. Mr Ricky and his explanations to Jackie, the expectations, anticipation of angers, racism, prejudice, antagonism? His urging calm? Greater strength in
not manifesting anger? His continued support of Jackie, especially with Jackie’s manifestation of anger in the tunnel, and hitting his bat against the wall?

8. Jackie Robinson as a person, a strong personality, his acknowledging the prospects, his ambition, attitude towards Mr Ricky and his confidence in him? Going to the training, the reaction of the players, antagonism, the reaction of the press, photos, comments, questions?

9. The range of baseball games in the film, the visuals? The love of the game? Jackie and his talent, his strength in hitting, his tactic of advancing from the pad, the pitchers trying to get him out? His skills and daring?

10. The range of players, white, young, their attitudes, their experience of African- Americans, limited? The petition? Mr Ricky and his reaction to the petition, his talking to men, the prejudiced man and his behaviour towards Jackie, hitting him? His being transferred to Pittsburgh? Peewee, his support of Jackie, going to Cincinnati, his family , his stands with Mr Ricky, challenging him, his standing on the field with his arm around Jackie, the booing of the crowd, the focus of the little boy and his champion father and the prejudice against the blacks?

11. The range of headlines, the focus of the games, press treatment of Jackie, the interviews?

12. Jackie, his relationship with the other men, their gradual sense of belonging to the team, Jackie avoiding showering with the team, the invitation to shower and his eventually doing so?

13. The Philadelphia situation, the coach, the verbal abuse, Jackie’s reaction, the other team members, the young men going to accost him? The management of Philadelphia, calling the coach in, telling him to change, urging him to have a photo opportunity, the photo and the shaking hands?

14. The film dealing solely with the season of 1947, the cumulative effect of the games, Jackie improving, the reaction of the public, of the players, of the team spirit, the success of the game?

15. The personal touches, Rachel and her support of Jackie, not realising she was pregnant until she was told, the love between the two – and, in fact, its lasting for decades until his death?

16. Mr Ricky, his contact with various managers, shrewdness dealing with the race issue?

17. Leo, his role with the team, his personal life, Ricky’s comment about adultery, the Catholic youth organisation wanting him ousted, his being suspended?

18. The achievement of 1947? Black players entering into top baseball teams? This film offering the record of a breakthrough?

RISING FROM ASHES

US/Rwanda, 2013, 82 minutes, Colour.
Narrated by Forest Whitaker.
Directed by T.C.Johnstone.

Rising from Ashes is an impressive documentary as well moving one. Its focus is on Rwanda and the establishment in 2006 of the cycling team, Team Rwanda.

However, the film gives an outline of the events of 1994, the Hutu genocide of the Tutsi. This outline, spoken by narrator, Forest Whitaker, goes back to the 19th century, German colonial presence, the transition after World War I to Belgian authorities who considered the Tutsi to be more intellectually and culturally advanced than the Hutus and placed them in positions of authority and power. This led to decades of Hutu resentment which boiled over in 1994, April, with propaganda on radio and the media to rouse up Hutus to eliminate the Tutsis. Almost 1,000,000 people were killed in the few months in the middle of 1994, often bludgeoned to death, killed with machetes, with buildings, including churches, burnt. The film indicates some of the consequences – but does not go into the many arrests and trials in succeeding years, of killers, of politicians, of clergy.

The young men of this film were children during the genocide, many being scarred, a number losing parents and extended family.

In the succeeding decade, as these young men became adolescents, a number of them found their skill and their passion in life in bike riding. American cyclist, Tom Ritchie, visiting Rwanda, had the idea to set up a foundation which would encourage the sport, train the athletes, build them up to enter international competitions, and become a focal point for national pride. Ritchie appears in a number of interviews in the film. His main aim was to persuade a friend, former cycling champion, Jock Boyer, to come out of retirement, come to Rwanda (of which he knew nothing, even the genocide, and had to look on the map for its location) and be the coach for the team.

Boyer comes across as a very strong character. But he also mentions that after his cycling success, he behaved inappropriately with a minor and was jailed, finding the jail experience very hard and trying to settle back into life. He is persuaded to go to Rwanda and meets the young men. He is most impressed and takes on the job.

The film features several of the young men, most notably Adrian, who was eventually to go to the 2012 London Olympic Games. Of the initial 15, Boyer wanted to choose a team of five and specialise in training them. We hear them speak of their history, their ambitions, some rather sombre and not speaking English, some rather exuberant, speaking English. It is interesting to note later in the film that Jock Boyer was able to speak in French to the team.

The film takes events year by year from 2007 to the 2012 London Olympics. We see the young men in training, their strengths, their skills with mountain bikes, competitions, challenges, and the strong regime to keep them fit, exercise, meals – as well as the good humour and their working together.

The film keeps up its momentum year by year, showing the team eventually going first to South Africa and then to the United States, active in competitions, learning by experience.

At one stage, competition is held in Rwanda itself, giving the locals an opportunity to see their champions, to focus on them, and to start building national pride in the team.

In the latter part of the film, we see competitors in trials for getting a place in the Olympics, some generosity of team spirit as Adrian’s chain snaps and his partner instantly gives him his bike.

Boyer becomes an engaging personality, as we learn so much about him, see him in action with the group, firm, supportive. And we see the young men over a period of six years growing, changing, achieving.

This is a fine film about the sport which gives a great detail about the cycling itself but also takes us beyond to the human dimension as well as the social dimension in Rwanda, a contribution to building up spirit and national pride after the terrible events of 1994.

Jobs

US, 2013, minutes, Colour.
Ashton Kutcher, Josh Gad, Dermot Mulrooney, Matthew Modine, Lucas Haas, James Woods, John Getz, Leslie Ann Warren, J.K. Simmons, Kevin Dunn, Ron Eldard, Robert Pine.
Directed by Joshua Michael Stern.

Jobs is a very interesting film to watch. But, this is particularly because of its portrayal of the development and history of Apple. It is also interesting, in a negative kind of way, in its portrayal of the character of Steve Jobs himself. He was a very significant figure of the 20th century, the film having the courage to simply entitle itself, Jobs, rather than Steve Jobs. Everyone is expected to know who Jobs was and something of what he achieved.

The film opens at an Apple staff meeting in 2001. Steve Jobs shuffles in in his characteristic, slightly Neanderthal, stooped way of walking. He addresses his troops, challenges them, promises them something creative and new, the iPod, and energies their enthusiasm by giving statistics about how many items were sold, millions of them, in that year. By the end, we realise that this is something of a thumbnail sketch of Job’s biography.

But then the film goes back to the mid-1970s, Jobs as a young man, inventive and managerial, but unable to settle down to his formal studies. With his good friend, Daniel, he travels to India. Though we don’t quite see how, it has something of a transforming effect on the young Jobs. He returns and knuckles down to hard work. It seems he has found himself, at home in the developing information technology world.

At this stage, there should include some praise for its star, Ashton Kutcher. Most audiences would see Kutcher as a lightweight, a performer in romantic comedies or some thrillers, as well as on television in Two and a half Men. However, in that opening sequence, made up to look like Jobs and giving his speech, we realise that this is a much better Kutcher performance. But then we go back to the young man and see the Kutcher with whom we are familiar. But, as the film progresses, he immerses himself in the role and we appreciate that we are looking at an excellent portrayal of Steve Jobs.

It is legend that he set up the Apple Company in his father’s garage. He befriends Steve Wozniak, computer whiz who saw something of the future in developing the personal computer and the computer screen and data storage. Along with other friends, including Daniel, they start working to fulfil an order from a local store. With the order somewhat incomplete, we begin to see that Jobs is something of a wheeler dealer in his words and in his performance. At this stage, a businessman decides to invest some thousands in Apple and the company is on the way.

Daniel is played by Lukas Haas. Steve Wozniak is played by Josh Gad. The investor is played by Dermot Mulroney.

The prospects for Steve Jobs seemed limitless. However, on a personal level, he becomes more and of more a repellent human being. He discards his friends easily. When offering stock options, he doesn’t include them because he considers that they have not worked up to the standard for deserving them. A young woman claims that a child is his and he rejects her with chilling nonchalance. Later, he will take care of this daughter. But, although we see scenes of his domestic life, a wife and a child, women did not play a very large part in his life.

Of course, it is rather exhilarating to see Jobs and his success, immersing himself more and more in the American capitalist dream, and achieving. With Steve Wozniak and an increasingly large number of proteges, he is continually inventive, developing the Macintosh for instance. But, in his personality, he is a perfectionist and ruthlessly intolerant of those who do not measure up to his expectations. They can just get out – and at once. He is able to hire and fire without a grimace.

But in the nineties, members of the board became more and more hostile to his perfectionism, experiments, huge investments in development, and he is ousted from the board.

While he seems to mellow outside the board and his company, he spends some time at home. However, he is requested to come back to the company and, by a series of manoeuvres, and his old demanding style, he is reinstated.

There is an interesting cast members for characters during this period, J.K. Simmons as head of the board, Matthew Modine as the Pepsi Cola marketing expert called in to save Apple in the 1990s.

The film is significant in its presentation of the history of IT developments in the United States and the establishing of Apple. However, on a personal level, like Mark Zuckerberg of Facebook in The Social Network, the central character, though a supreme achiever, is a very difficult human being.


1. A portrait of Steve Jobs? Audience knowledge of him, as a person, his IT skills, manager and entrepreneur, his achievement? The Apple Company? How sympathetic a portrait? And his personal life?

2. The California story, Palo Alto, the 1970s – and Steve, Danny and the visit to India, immersion in the culture, their learning about themselves, the return home? The world of the campus, the lectures, Steve and his not going to lectures, the discussions with the Professor, urging him to some achievement?

3. Palo Alto, California in the 1970s to the 1990s, the garage, the buildings, the shops, the business world, the enlarging plant for the company? The
musical score, the use of contemporary songs to evoke the period?

4. Ashton Kutcher’s performance, his impersonation of Steve Jobs, appearance, hair, a slouch walk? Jobs as a character, his spirit, success, 25 years?

5. The prologue, the assembled group, the beginning of the 21st century, 25 years of the Apple Company? Jobs arriving, his speech, the development of the iPod, the financial success? The flashbacks?

6. Jobs’ background, his ability, at college, lack of interest in courses, the Professor, the challenge?

7. Danny and Stephen India, their experience and its effect?

8. The return, the change in Steve, his practical interests, IT, prospects?

9. His friendship with was Waz, Waz and his tinkering, his developments, his skills, insights? Brainwaves? Steve, taking him to the campus, the lecture, people bored, walking out, Paul approaching Steve, financing him, the discussions about capital investment, his shop and his order? The garage, his father giving it to Steve, Waz and his loving his work? Getting the others in to help, Daniel and the others? Rod Holt, the bikie, his skills and conditions?The friends, working, building the boards, not the screens, going to the shop? Paul’s reaction? Sales?

10. Steve continually on the phone? Mike and his visit, surprise at the house, the garage, talking with Steve, the deals, the investment, his becoming partner?

11. Waz and Stephen in the car, the discussion about a name of the company, the reasons for Apple?

12. 1980s, the company, the new building, the more extensive staff, Steve and his hardness, perfectionism, talking people down, firing them, demanding quality in their work? The Lisa project?

13. The company, the shares, Daniel wanting to talk with him, Steve at the meeting in the cafe, not eating, decision not to give Daniel or the others any shares or advantages? His reasons? Condemning their lack of skills? The scenes of recruitment, the tough criteria? The Fair, his speech, his rousing the listeners, his insight into the use of personal computers, creating the market? Comparisons with IBM, his pride?

14. The film giving little attention to his personal life, his living with the young woman, learning she was pregnant, his emotional and violent reaction, ousting her, feeling this was a personal insult to him? The language about his daughter? The meeting with his lawyer for justice for Lisa? Yet calling the computer after her, and the latest scenes as she was growing up? At home with him?

15. Arthur, the financial situation, seeing Steve as bleeding the company with his extravagant experiments? Arthur as CEO, hard on Steve? Members of the Board? His staff and projects? The Lisa? Movement to the Macintosh? The board meetings? The decision to hire John Curry, his background at Pepsi-Cola?, a salesman, his ideas, promotion? Curry’s frustration with Steve, their clashes, Steve saying hiring him was his worst mistake? The meeting about his becoming the CEO, the discussions, Mike warning him, the vote, Steve losing his position?

16. Being ousted, at home with his wife, the garden, people coming for his advice?

17. Gil, working in the company, as different from Arthur, Arthur and his strong opinions, antagonistic towards Steve? Steve walking with Gil? Accepting the invitation to come back as adviser?

18. The new building, the offer of the tour by Mike, his going alone, meeting the young workers, asking why they were still there, criticising their design, his encouraging them to be creative?

19. Ed Woolard, the decision to get rid of Gil, financial losses of the company, envelopes to the other members of the board? Mike, his arrival, the envelope, the handout, the explanation? The vote against Gil? Steve and his resurrection?

20. Waz, his life in the company over the years, the differences with Steve, no respect of his approach, his final speech to Steve, Steve’s amazement, Waz leaving?

21. Steve Jobs as a person, self-focused, feeling betrayed, his company stolen from him? Yet his success? The company by 2010, most valuable in the world? His death?

22. The film as a celebration of an American entrepreneur, genius, promoter, and his place in 21st century technological developments?

22 JUMP STREET

US, 2014, 116 minutes, Colour.
Jonah Hill, Channing Tatum, Ice Cube, Peter Stormare, Wyatt Russell, Amber Stevens, Jillian Bell, the Lucas Brothers, Caroline Aaron.
Directed by Phil Lord and Christopher Miller.

They’ve moved across the street, away from the Korean church and now to a Vietnamese church where the statue of a Vietnamese Sacred Heart is prominent. But that is the most religious thing about this film, a sequel to 21 Jump Street which was, in turn, a movie version of the very popular television series of the same name which starred Johnny Depp.

The sequel is as good as, perhaps better, than 21 Jump Street. It is consistently amusing, sophomoric humour as someone remarked, but clever sophomoric humour. There is also a case for the often inept partnership between Schmidt and Jenko, undercover as brothers, almost parallel to their infiltrating a high school in search of drug dealers in the first film, but this time they have the advantage of being sent to College – and quite a few humorous sequences as they try out various courses in which they are not successful. This is done on purpose – and there is an urgent recommendation that audiences stay through the final credit sequences where sequel on sequel on sequel on sequel is suggested, the various institutes of learning where the duo could infiltrate and perfect their police work!

The film opens with one of those continuity sections as they do on television, the plot so far… And then the move to 22 Jump Street, with a glance across the street and a big sign with 23! As they go into the new quarters, they remark that their chief’s glass office looks like a cube of ice. And there is Ice Cube, grim as ever, calling them to account and sending them to College and later has an overwrought tantrum while having dinner with them. There is a new drug on the loose, Whyphy, and they have to track down the source of the drug because a young woman has died from an overdose.

Off they go to hold up a group of dealers, with Peter Stormare yet again a villain, only to find that the dealing is not with drugs but with special species, including an octopus that jumps onto the face of Schmidt, Jonah Hill.

Jonah Hill and Channing Tatum obviously enjoyed working together in the first film, and they have perfected their act, their combination, collaboration and timing. We have seen Jonah Hill do this kind of thing before, jokes about his size, his physical inabilities, his serious-mindedness, especially in his course at college as well as tracking down criminals. Channing Tatum, Jenko, plays straightman to Hill but it soon emerges that Tatum has a sense of humour, does deadpan very well, as well as many physical stunts. Is recruited for the college football team and is a great success, making friends with the star player and his rather rough associate, easy suspects for the drug dealing.

They have tracked down a student who lived opposite the dead woman and Schmidt forms a sexual relationship with her – and there is an unexpected and funny twist when he meets the girl’s father. She has allowed the dead woman’s roommate to move in, a deadpan and rather annoying and blunt-spoken young woman. We are glad when she moves out of the picture, but she does return.

There are football matches, a lot of attention given to a crowded Spring Break in Mexico, and various college shenanigans that young audiences will be familiar with and enjoy from many student vacation films.

However, the case is solved. Schmidt has an elaborate fist fight that he ways is the most uncomfortable he has ever had; there are car chases, highly effective stunt work, twists in the plot – and, all the time, continuous humour, some of it crude, some of its sophomoric, some of it both. Having made allowances for this, 22 Jump Street keeps a smile on the face of the audience, indulges expectations for action, and should prove a holiday hit.


1. The popularity of the TV series? Of the film version? Audiences enjoying a sequel? Expectations and fulfilment?

2. Screen presence of the stars, the different personalities, appearance, manner of speaking, different senses of humour, the chemistry between them?

3. The move across the street from 21 Jump Street, the old Korean church, the new church, the picture of Jesus, the Sacred Heart? The interiors? The desks, the office, especially the cube of ice for the chief? The musical score?

4. The first film having the two in high school, now going to college? Their identities, their names, posing as brothers? Going to the dormitory? The visuals of college? The police precincts? Warehouses? The contrast with Mexico, the hotels, the atmosphere and noise of spring break?

5. The film full of movie references, jokes, in-humour? Enjoyable for film buffs?

6. The presuppositions about the past, the going to school, the credibility of their being in school? College being more appropriate? The humour of the final credits and the enormous range of possible sequels and where they could do more study and be undercover?

7. The plot paralleling the first film? Their being older, the jibes, especially to Schmidt? As brothers? The encounter with the twins, the nature of twins covering for each other, as finishing sentences…? The range of courses, going to different classes, not fitting in, the human, leaving? Jencko and his acceptance into the football group, the bonds with Zook, his suspicious associate? Friendship, romance, the training sequences, playing, the crowd’s support? The remarks about homosexuality, homophobia? Schmidt and his art class, photography, the encounter with Maya, talking, the bond, going to her room, the sexual encounter – and the crass remarks of the roommate, Mercedes?

8. The issue of the drugs in college, the lecturer and his courses, under suspicion, later arrest, meetings with him? Investigations, information? The phone calls, the chief and his demands? The role of the deputy head? The new drug, its prevalence, Why-Fy? The girl who died, her roommate? Was she using or was she a distributor?

9. Maya taking Schmidt to dinner, the discovery that the chief was her father, his breakout tantrum during the meal?

10. Mercedes, Maya’s roommate, her insults, saying that Schmidt was old, the jokes about being old? Audiences not suspecting her of any connection with
the drugs?

11. Information about Mexico, their going to spring break, the footballers together, Schmidt being isolated, his mother, the crowds, the extroverted mass behaviour, the competitions…?

12. The initial sequence with the crooks, their being busted, the smuggled animals? Their reappearing again with the drug dealing?

13. The last part of the film, the range of tactics, the elaborate stunts, the car chases, the aerobatics, the fights?

14. The discovery of the villain, her father and his connections, her being the roommate of the dead girl, her taunts? Schmidt fighting her, being embarrassed, her being tough?

15. The gang, the solving of the case, everybody happy?

16. American humour – which worked?

FRANK

Ireland, 2014, 105 minutes, Colour.
Michael Fassbender, Domnhall Gleeson, Maggie Gylenhaal, Scoot Mc Nairy, Tess Harper, Francois Civil, Carla Azar.
Directed by Lenny Abrahamson.

A papier mache head? Actor Michael Fassbender hidden within this head? Leading a band? Composing music? Who is this character called Frank?

The writer of this film is Jon Ronson who, decades ago, was urgently requested to join in a band and play keyboard. The leader of the band, with the stage name of Frank Sidebottom, did wear a papier mache head, a kind of joke, concealing his identity but enabling him to do all kinds of things to entertain an audience. (This film is dedicated to him, Chris Sievey.).

While Frank certainly engages audience attention, the main character is Jon (reliving the screenwriters experience but with quite a number of changes in tone). The film opens with Jhn talking to himself, actually trying to compose songs which he does, walking, in the bus, in his room upstairs. But he also has an office job. He is played very effectively by Domnhall Gleeson.

At a club, he encounters Frank and his head and the smiling face drawn on the papier mache. He also encounters the PR man for the band, recovering the body of the dead keyboard player from the river. Jon receives a phone call at work and, thinking he is going for just one performance, he accepts the invitation to go and play keyboard. What happens is rather different. He is invited to go with the band to a retreat where they will practice and perfect the music that they want to record. Which takes almost a year – as evidenced by the very bearded Jon.

The bank is an eclectic lot. The PR man used to play keyboard and goes along the suicide path of his predecessor. Ominous for Jon. But, by this time, Jon has become a much stronger character, standing his ground, contributing to the music, becoming friendly with Frank but criticised and alienated from the other members, a Frenchman, a female drummer and a woman who looks perpetually unhappy, ready to attack at any moment, protective of Frank, Clara, played by Maggie Gylenhaal. Her unpredictable interactions with Jon range from severe and critical to open and sexual.

Ordinary audiences may be wondering about the music, whether it is the genuine article is or whether it is a weird concoction with nowhere to go.

And we keep wondering about Frank and whether he will remove his head. At one stage Jon thinks he will and takes a peak in the shower, but Frank is protecting his head in the shower with plastic.

All throughout the film there are visuals of words on screen, messages on Twitter, a growing number of people following Jon and his descriptions of what is happening with the band. There are also references to You Tube which has been placing videos of the activities of the band sent by Jon. This leads Frank to be persuaded that they should go to the United States from Ireland and go to a festival in Texas.

They do go, and they do get on stage, with Jon having persuaded Frank to tone down his experimental style for more easily accessible music and songs. But, with division in the group, Frank disappears.

The last part of the film has John tracking down Frank, going to visit his family, hearing some of the explanations, seeing Frank himself and understanding his mental condition.

The film is, to say the least, offbeat. Michael Fassbender does a good job of using his body language to communicate his character, despite his artificial head, and also sings well. It is an interesting tour-de-force of a performance, different from the many menacing characters Fassbender has been playing. Domnhall Gleeson reminds us that he is also a rising star.

The film was directed by Lenny Abrahamson, an interesting Irish director, with offbeat comedies like Adam and Paul, Garage, and a serious exploration of young adult responsibilities in What Richard Did.

1. Comic film? Serious? The touch of the weird?

2. An Irish production, the director and his career, perspectives on comedy?

3. Based on a true story, adapted, taking the comic elements, but moving towards eccentricity and mental illness?

4. Jon’s story, the opening, lyrics, composing songs, in the street, in the bus, at home? Ordinary man? At work? Meeting Don? The dead man in the river? The discussions about the keyboard player? Jon’s saying he could play? Receiving the message, going to the dark venue, playing the keyboard, the success? Frank hiring him? Thinking it would be for a day, but a long time? His basic timidity?

5. Audience impressions of Frank, his head, the face, the size, the expression? character, the voice, the music, singing? Practical issues of eating, showering with the plastic? The particular personality despite the head?

6. Clara, her severity, protecting Frank, affirming him? The clashes with Jon, attack, the sexual impulse?

7. The French musician, his disdain of Jon, the severity of the drummer? Their place in the group?

8. Don, his place in the group, previously playing keyboard, his experience, his mental illnesses, hanging himself?

9. Jon staying for a year, details of the rehearsals, compositions, the nature of the music, sound, the instruments, Frank singing, reflecting the music, the detail?

10. Frank, his being in charge, the difference from the other members of the band, his moves, composition, the device, finally recording?

11. Jon, social media, his communications by Twitter, the words and the signs on screen? His sending clips to you Tube? Frank and his reaction?

12. Jon, regaining some confidence, becoming something of an entrepreneur, the news of the Texas Festival? The decision to go, driving through America, meeting, dates? The background of the Festival? Frank, changing his music, making it more accessible, Clara supporting him? The others leaving? The build-up to the performance, Jon and Frank, getting ready, the dress? His failure and collapse?

13. Frank disappearing, Jon and his search, the reaction of the others, playing in a small venue?

14. Jon visiting Frank’s home, Frank without the head, ordinary, at work, at home, the discussions with his parents, their explanations? Frank and his childhood, mental illness, the head?

15. Jon and his experience of Frank, his own personal development?

16. The film based on a true story, of the writer and his playing keyboard, Frank Sidebottom, and the dedication to him?

THE SCOUTING BOOK FOR BOYS

UK, 2009, 93 minutes, Colour.
Holliday Grainger, Thomas Turgoose, Rafe Spall, Susan Lynch, Steven Mackintosh.
Directed by Tom Harper.

A tantalising title – and audiences will need to be attentive to notice the copy of the book in the cave sequence in the middle of the film. The setting is the Norfolk coast, a trailer park, the cliffs and the beaches – filmed very attractively and, at first, very sunnily. And we are immediately introduced to two young teenagers, David and Emily, sharing their friendship and their joy in each other's company, part frolicky, part mischievous. The two young stars are naturals and we believe that they are their characters. Holiday Grainger is Emily and Thomas Turgoose (from Shane Meadows' This is England and Somers Town) is David. They live in trailers, David with his neglectful pub entertainer father and Emily with her slatternly mother (Susan Lynch). Emily has also taken a shine to the young security man (Rafe Spall).

Emily clashes with her mother and runs away with David's help and connivance. As things begin to become more serious, the police (with Steven Mackintosh imagining he is a big fish officer in this small pond) organising searches.

Now we wonder where this is all leading. Emily is very much in control of the situation, full of bravado but also naïve, but she also depends on David. He is a boy with something of a hang-dog character (and naïve puppy love) whose generally unsmiling face is somewhere between dour and melancholic.

While the film effectively creates the atmosphere of life within this rather enclosed community, it leads us into darker areas, especially for David and the consequences of his love for and devotion to Emily.

Well-crafted and with interestingly developed characters, it is an ultimately disturbing experience.

1. A British slice of life?? The picture of adolescents and their problems? Parents? Divided families?

2. The title, its use, ironies?

3. The Norfolk locations, the caravan, the town, the shops, the countryside, sea, cliffs and caves? Atmospheric? The musical score?

4. Portrait of David and Emily, their ages, their friendship, David’s devotion to Emily, at play, jumping on the roofs of the caravans?

5. Emily’s mother, Sharon? The shop, drinking, relationship with her daughter, her former husband? Jim, his role in the, entertainer, his fathering of David?

6. Emily, her disappearance, hiding in the caves? David and his bringing her food? The posters around the town? The concern of the parents? The investigations of the police, the officer being rather puffed up, interviewing David? The rumours about Steve, his role as managing the caravan park? The discovery of the letters?

7. The effect on David, finding Emily pregnant, the letters, burning them, planting incriminating evidence against Steve? Phoning the police anonymously?

8. Steve, his character? The eventual burning of his caravan, Sharon leading? The reality of his impregnating Emily? The difference in age and the criminal aspects?

9. David, his passion about Emily, her reaction against him, spurning him, his breaking her leg, her pain, screaming, his leaving her in the cave?

10. David return, finding that Emily had drowned, take her body out of the cave, taking it out to sea?

11. How insightful film about adolescents, friendships, dependence, hurt, violence and repercussions?

THE SPY NEXT DOOR

US, 2010, 95 minutes, Colour.
Jackie Chan, Amber Valletta, Madeline Caroll, Billy Ray Cyrus, George Lopez.
Directed by Brian Levant.

Knock, knock, who's there?
Irish stew.
Irish stew who?
Irish stew you in the name of the law.

Actually, this knock, knock riddle is told twice during the film – and indicates some of the style of humour in this variation on Spy Kids in Jackie Chan land.

There is one thing about Jackie Chan. He is always cheerful. There are actually many things, of course, about Jackie Chan who has been featuring in action films since the 1970s. He is a most agile acrobat which serves him well in the ingeniously choreographed fight scenes and the stunts he does himself. Part martial arts, part balletic moves, part slapstick, his films have been popular and often endearing: the Rush Hour films, Shanghai Noon, Shanghai Knights...

Chan has said that he had to be far more careful than usual in this one because he was working with children and he had to be sure of their safety. He also wanted to have a PG film that would be acceptable to the widest audience. This means that a lot of the fights are in rooms in houses, in a warehouse and in a Chinese restaurant and a lot of furniture and kitchen implements find themselves enlisted to fight the villains (the Russians again!) who are more comic cyphers than international terrorists despite the virus threatening formula they are searching for. They all have those pseudo-Eastern European accents that they display with great gusto.

And the plot? Chinese agent, Bob Ho (Chan), seconded to the CIA and working in Albuquerque, New Mexico, which does not seem to be the most dangerous part of the US, lives a quiet suburban life, replete with wearing spectacles to make him seem very serious. He has fallen in love with the mother next door (Amber Valetta) who has three Hollywood-obnoxious and outspoken children. The oldest is beginning teenage moodiness. The boy is more than a touch arrogant. The littlest is, well, five and more cutesy than nasty. Of course, they are going to warm to Bob Ho though they despise him as a loser and try to humiliate him and drive him away from their mother.

When he is unmasked as a genial spy, it gives Jackie Chan to go full steam in action sequences – and, for the kids (on screen and in the audience), they get the opportunity to share many action credits with Jackie. Needless to stay, mother is shocked and wants to give Jackie his marching orders. But... George Lopez is the CIA boss and Billy Ray Cyrus, without Miley, is his assistant.

This is Saturday matinee material that most young kids will enjoy and is a basic entertainment for tolerant adults accompanying the kids.

1. A Jackie Chan entertainment? The initial collage of his films and appearances during the credits? Jackie Chan in America, family film, a spy film, the technology – all in one?

2. The American city, the musical score?

3. Jackie Chan as Bob, as a secret agent, his work, capturing Poldark, interaction with the Russians? Seeing him in action, his retiring, his admiration Gillian, his interactions with the two children? Ian downloading the CIA information? Colton and his codes?

4. Poldark, character, vicious, escape, the background of oil bacteria and supporting Russian oil industry?

5. Glaze, his working in the CIA, double agent, personality, his secrecy, manipulation, the attempts to kill Bob?

6. The children, the dislike of Bob, love for their mother? The danger, Poldark pursuing them, going to the hotel, the phone call and Gillian upset?

7. The plan to trap Poldark, the surveillance? The intrusion of the kids, spoiling the plan?

8. Bob and the children being captured? Their having the information? Ian recording the confession on his mobile phone? The escape, the pursuit for the iPad? The final fight and victory?

9. The children’s adventure, Bob and his success, Gillian and her mellowing?

10. The popular kind of stories of family?