X-MEN: DAYS OF FUTURE PAST

US, 2014, 131 minutes, Colour.
James Mc Avoy, Michael Fassbender, Hugh Jackman, Patrick Stewart, Ian Mc Kellen, Jennifer Lawrence, Nicholas Hoult, Peter Dinklage, Ellen Page, Omar Sy, Shawn Ashmore. Evan Peters, Halle Berry, Lucas Till, Michael Lerner, Bingning Fan, Anna Paquin, Famke Jansen, James Marsden, Brian Cox, Kelsey Grammar.
Directed by Bryan Singer.

With a time-tangle title like this, it is not a surprise to find that time travel is a central part of the plot. This also offers the opportunity to see Charles Xavier the younger (James Mc Avoy) and older (Patrick Stewart) as well is Magneto the younger (Michael Fassbender) and older (Ian Mc Kellen) – life in a futuristic 21st century and then back in 1974.

Things are not going well in our future world. Machines have been invented to combat the Mutants. And they are winning. Charles Xavier and Erik Lehnsherr/Magneto join forces and deliberate on who is the best person to send back into the past. With the popularity of so many sequels and the development of the character and adventures of Wolverine, it is not a particularly difficult choice. And off Hugh Jackman goes in the time machine to try to resolve the problems of the early 1970s.

The problem concerns Mystique (Jennifer Lawrence), who has something of the truth of the new machines to challenge the mutants and is on a mission to find the Professor (Peter Dinklage) who had the ear of American military officials but has lost favour with his theories and expenses.

The first mission is to release Magneto from prison, the highest security guarded prison, with a character called Quicksilver who does the judge job with expertise – but, Magneto unleashed, is a dangerous presence in the world, using his extraordinary powers to contract front government officials even on the lawn of the White House. Also has extraordinary shape-shifting powers, becoming ordinary people in the crowd taking on the presence of Richard Nixon or of Mystique.

Needless to say, this film offers quite a number of opportunities for extraordinary special effects. As with all the X-Men? films, great attention is given to these effects.

In case audiences with long memories, back to 1970, are wondering about President Nixon, from this film it seems that President Nixon had much more to worry about than Watergate.

While Wolverine is doing his best back in the 1970s, matters are getting worse in the future, so in the latter part of the film, a great deal of attention and effects are given to the Mutants, with the introductions some new ones, to the battle with the enemies.

While the film resolves its problems, another sequel is on the way – the large box-office and the success of this particular chapter has ensured.

1. The popularity of the film? A new episode amongst many sequels? Drawing on the main characters? The Mutants, the hostility, the need to change history?

2. The title, location, the tangle of times?

3. The problem, the future, dark, the Mutants under siege, the Sentinels and their capacity for destruction? The sets, black and dark? The range of the Mutants, Charles and Erik, working together? Kitty and the rush down the corridor, her capacities, consciousness, the discussions about the journey to the past, the limits, the agreement that Logan should go?

4. The contrast with 1973, Paris at the time of the meeting? The spectacle and Paris streets? Washington, the Nixon era, the movement of the huge Superbowl and its effect?

5. The make up, for each Mutant? Changes in transformation? The special effects for the Sentinels? The computer graphics? The musical score?

6. The plot, the need to go back and the possibility for changing history? The introduction to Professor Trask and his inventions? Mystique and her wanting to destroy Trask? The danger for her, her blood to be taken, to mix with the Sentinels and the greater ability to track and destroy the Mutants? Logan and his mission? To seek the Professor, to find Erik?

7. Logan, his waking up in 1973, the woman, the gangsters, his getting their car, finding the school, abandoned? The encounter with Hank and his reaction? Hank’s trouble and his transformation into the Beast? Charles, his poor condition, the loss of his legs, the drugs enabling him to stand and walk, but dimming his consciousness and powers? His bond with Raven, the change in the relationship? His not wanting to be involved, the role of Hank? Logan telling Charles his story? The effect of Raven and her transformation to Mystique?

8. Going to get Quicksilver, his introduction to the Pentagon, Erik and his imprisonment, solitary, Quicksilver helping with the escape? Erik and the relationship with Mystique?

9. Mystique in herself, her past, with Charles? The episode in Vietnam, the Colonel going into the tent, the range of Mutants, Mystique in disguise, getting the Mutants out and onto the plane?

10. Erik, the role of the Sentinels, Trask, his abilities? Mystique shape changing into Trask to get his files? Mystique in Paris, the encounter with Charles, the confrontation? Erik drawing her, her transformation into the African American woman?

11. The episodes in Paris, everybody involved, the action?

12. Kitty, the continual control of Logan, his claws coming out and having to go back, the changes in his consciousness, the drugs, his fears?

13. Washington, 1973, President Nixon? The security? The reactions to the announcements? Nixon confronting Erik? Mystique disguised as Nixon, the
garden, the decision? Mystique putting the gun down, the future saved?

14. Charles and Erik, older, together, their past? Supporting Logan on his mission? Erik and his going out to confront the sentinels?

15. The Professor and his past, the mission, helping, his being pinned down, but sharing consciousness, appearing to Mystique?

16. Hank, as the Beast, nice, his gifts, becoming beastly, his activities and help? His participation in the mission?

17. Storm and the others, in the future, fighting the Sentinels?

18. Trask, his ambitions, interest in the Mutants, the plan for the Sentinels, his speech to Congress representatives, their turning him down? With Nixon,
and Nixon approving his plans? The White House? Erik and his moving the Bowl to surround the White House?

19. Erik, his display in Washington, the magnetism, activating the ball, the destruction, the confrontation with Nixon? His speech while elevated, challenge? Trask and his arrest?

20. American politics in 1973, Vietnam, Congress, Watergate, the White House, Nixon?

21. The place of the Mutants, their role in society, living in harmony with humans, human fear?

22. Logan, drowning, reviving, seeing Jean again, going back to the school, the students, all the teachers – and everything seeming all right again?

VOLCANO/ EYJAFJAFJALLAJOKULL


France, 2013, 92 minutes, Colour.
Valerie Bonneton, Dany Boon, Dennis Menochet, Albert Delpy.
Directed by Alexandre Coffre.

Volcano is a slight French comedy, capitalising on the style of Valerie Bonneton and her timing and Dany Boon and his comic style.

This is a French version Planes, Trains and Automobiles, except that the couple are involved in the battle of the sexes, separated and bitter against each other, he having married again. The reason they are travelling is that they want to get to Greece for their daughter’s wedding.

It is the day that the volcano in Iceland in 2010 erupted stopping all air travel for several days. This means that the couple finish up travelling together, in a car and bickering which means that a young couple and their uncle cannot stand riding with them. They are careless with the hire car and it rolls backwards, eventually being run over by a truck. They stay in motels and actually have a sexual encounter. In Albania, they are welcomed at a Festival but he causes a disaster. They get a lift from a very religious man who ultimately ousts them. And finally, they travel by boat to Corfu but are arrested.

They arrive just in time to witness the wedding from the top of a mountain and then join in the celebrations – but all is not entirely well at the end of the film.

1. French comedy? Comic style? popularity of the French box office?

2. Audiences enjoying films which involve disasters?

3. The title, the eruption of the volcano in Iceland in 2010, the consequences for travellers?

4. The parents and their mission to get to the wedding in Greece? The travel, the escapades, the battle of the sexes, their arrival?

5. French audiences enjoying this kind of comedy? Beyond France?

6. Valerie, on the plane, chatting to a neighbour, making the video as a gift for her daughter, the interviews? Her giving information about the situation to the fellow passenger? Her husband on the plane, the irony of their both being on it? The husband and his talk? The meeting, the accident, the clash, locking her in the toilet, the invective, Alain and his armchair piloting, following flights, knowing there would be a landing?

7. The situation of the volcano, everybody getting off the plane, the crowds at the airport, no further plane travel? Possibilities with trains, buses, returning to city of departure? Alain and his hiring the car, the crying performance? The uncle, the friends joining the trip, his taking the wedding dress, Valerie seeing him, going to the car, the travel, the bickering, the couple and the uncle leaving? The phone calls to their daughter?

8. The travel, different landscapes, Austria, Romania, Albania? Motels? Tossing for the upper and lower bunk? Valerie stealing the car keys but not knowing the code? Their arguments, the car going backwards, it’s being run over by the truck?

9. Hitching, the religious man, his discussions, hymns, conversion language? Alain going into the back, picking up Valerie, the fighting, their being ousted? Buses?

10. The night at the hotel, their memories, the sexual encounter?

11. Albania, getting the lift, the Festival, the fireworks, the death of the Eagle? The silence of the crowd?

12. The host, taking them in the boat, the police pursuing them, suspicions, the arrest, the handcuffs, the interrogation, Valerie and her diagnosis of the dog, offering her help?

13. Arriving, at the top of the mountain, happily watching the ceremony, the ceremony itself, Cecile and her husband, the gift of the video?

14. The gift, watching it, the sex scene from the hotel – and the farcical end of the film?

THE TRIP TO ITALY

UK, 2014, 105 minutes, Colour.
Rob Brydon, Steve Coogan.
Directed by Michael Winterbottom.

Who would not want to go on a trip to Italy? And, one might suppose, that after seeing this film quite a number of members of the audience will definitely have Italy very high on their places to visit.

This is a particular trip, similar to the one that Steve Coogan and Rob Brydon took some years ago around the northern areas of England, travelling together, stopovers at hotels, visiting historic sites, but mainly going to restaurants where they enjoyed the culinary delights of the area and Brydon was, allegedly, writing up articles for a newspaper.

Well, the newspaper has commissioned him again and he invites Steve Coogan, who is a touch reluctant, to join him on a trip around Italy. People might think that scenic England is beautiful but most of us would have to admit just how beautiful Italy and its different regions are. In this film, the duo visit Piemonte, the Ligurian coast, Tuscany, Rome and its environs, Naples and Pompeii and the Amalfi Coast. It is picture postcard material – but photographed vividly alive and beautiful.

If you are a gourmet, you may well enjoy the meals – although the film does not delay over them, perhaps the duo are too absorbed by the sites. In the first film, Steve Coogan had a loose kind of tongue and a roving eye. This time, he is more concerned about his teenage son back at home in London and, eventually, inviting him to join the trip. It is Brydon who has the roving eye now, taking up with an attractive woman on a boat, later wondering whether he should renew the acquaintance and asking the advice of a close friend, somewhat concerned as he is about his behaviour and his family.

Perhaps it needs to be pointed out that this is all fiction – probably an opportunity for Coogan to portray a more controlled man than before and for Brydon to fictitiously break out.

Audiences of the first film may remember the imitations of Michael Caine, especially from his being in Batman. They are back again plus many, many more, most of them very amusing, the two of them being excellent mimics and impersonators. There are also some comparisons about their careers, Brydon getting an opportunity to go to LA for a film directed by Michael Mann, Coogan talking about his career and its extent. Some of this is fictitious, some of it true.

This is an easy kind of film to watch, entertaining while it is up there on the screen, wondering at the beauty of Italy, interest in the presentation of the meals (it is noticeable that all the chefs presented are male!), entertainment in listening to the two stars.

Nobody would mind if there were another film which opened up another country, its scenery and its culinary interests.


1. The popularity of the first film, travelling, scenery, the restaurants, the food, the service? The personal stories?

2. The sequel as welcome, going to Italy, the meals, the travel, the scenery, the conversations, the repartee?

3. The setup, Rob Brydon and the invitation to do the trip? Phoning Steve? The decision to go?

4. The hiring of the car, travelling around Italy, the visual beauty, Piedmont, Ligurian coast, Tuscany, Rome and Campagna, Naples, Capri. Campania, Vesuvius and Pompeii, the Amalfi Coast?

5. The range of music, the classics and opera, Alanis Morissette and her songs and lyrics? Jokes about her and her popularity?

6. The blend of fact and fiction? The two men and their real names? Yet not their real stories? Rob Brydon and his branching out, the affair, his wife and daughter, the effect on him, confiding in people and asking their advice? Steve Coogan and his wife, separation, 16-year-old son, talking with him on Skype, inviting him to join the trip? The bond between father and son?

7. The characters, issues, behaviour?

8. Audience response to each of the performers? As actors, comedians?

9. The dialogue, written, improvised, the jokes, the two playing off each other, discussions about themselves, sexual identity, relationships? The various women they met? Going on the yacht? At the hotels? At meals? Rob Brydon and his confiding, his pregnant friend, the hesitations? Steve and the meals, meeting his son, going for the walk, the swim? Understanding him?

10. The visit to Pompeii, Rob Brydon and his conversation with the dead man, the different voices – and Steve Coogan walking off and seeming not to approve?

11. The mimicry of Michael Caine from the first film, continuing, the many impersonations, movie sequences and dialogue, the various James Bonds and their voices, the Al Pacino sequences, The Godfather, Dustin Hoffman? The discussions of films, Jude Law and his baldness, Hollywood, Rob and his audition going to Hollywood, Steve and his career, attitude towards Los Angeles?

12. The food, the visuals, the chefs, the kitchens, the waiters, serving the food, the appearance of the food, audiences sharing in the visuals and the discussions about taste?

13. The film doing great promotion for visitors to go to Italy?

A MILLION WAYS TO DIE IN THE WEST

US, 2014, 116 minutes, Colour.
Seth Mc Farlane, Charlize Theron, Giovanni Ribisi, Sarah Silverman, Liam Neeson.
Directed by Seth Mc Farlane.

Audiences fond of westerns will remember many ways that they have seen people die in the West – but may find it difficult to reach 100 let alone 1,000,000. While there are many and varied ways here, a lot of them unexpected and funny in a brutal kind of way, in this film, we realise it is just an arresting entitled to entice people into see the film.

Older audiences and those with a sense of movie history may be thinking of Mel Brooks’ ground-breaking satire, Blazing Saddles, from 1974. It really broke through expectations, using the familiar conventions and cliches of the Western and overturning them, especially for the black sheriff of the town and jokes on racial prejudice at the time (just over 10 years after the March on Washington and the speeches of Martin Luther King). There was a lot of crude humour which audiences might have been surprised at but laughed at, and might still do when they think of baked beans!

40 years on, the spirit of satire is still alive, but so much of it, especially in stand-up comedy on stage and on television is geared towards the crass, the crude, no limit on bodily function jokes. This is pervasive in this film where some of the jokes are funny (especially about moustaches and Stephen Foster's song) but a number of them are unpleasantly crass.

It is all the work of Seth Mc Farlane, who has had great success on television with his two series, Family Man and American Dad. He was the host of the Oscars in 2013. But, for moviegoers, he is best-known for his very satiric and funny (and crude) story of a boy and his best friend, a teddy bear, who grows up into a character who would be more than at home on Saturday Night Live or in comedy clubs. Mc Farlane voiced the bear, Ted.

Well, here is again, all bright and smiley, as Albert the sheep farmer, a rather laid back fellow, who would seem more at home in the 21st century than in the 19th century. There is a back story, later in the film, when our hero is picked up by Indians and does some initiation ceremonies with them, particularly with their hallucinatory drugs, he thinking that all on the plate being handed round was for him. And so, back he goes into his fantasy past, even to his birth, even to a visit from a surprisingly rough-mouthed Abraham Lincoln to the school, the influence of his father who continually criticises him gruffly…

But all this stemmed from his trying to defend a young woman in a bar brawl. She is played by Charlize Theron who warms to him and his good manners and gallantry, even at the county fair. Here she shows her ability with the gun, intimidating the villain in the town, Foy the pharmacist, (Neal Patrick Harris allowing himself to be the butt, literally, of an extended bodily function joke stolen from the film Bridesmaids). He has stolen Albert’s wife (Amanda Seyfried) who is a vain young thing that he is well rid of.

The pharmacist is not the only villain of the film. We have already seen a vicious gunslinger and his gang in action. And Charlize Theron has been his wife since she was nine. He is played by Liam Neeson, who must also be a good sport to be the literal butt of a flower joke.

This description of the plot action gives, hopefully, an indication of the kind of humour, the kind of treatment, the more 21st century open satire. For those who have seen Blazing Saddles, and enjoyed its anarchic Mel Brooks’ jokes, Million Ways will probably come in as a second-best. Not probably! (Although the Django-getting-revenge ending is something of a classic.)

1. A spoof Western? Memories of Blazing Saddles? A spoof of the 21st century? The range of episodes? Language, crude humour?

2. The striking visuals, the landscapes of the Mesas, the desert, the old-style western town?

3. The score, Stephen Foster songs, the song about the moustache? The echoes of the scores for Westerns by Jerome Moross and Elmer Bernstein?

4. The title, the tone, so many deaths, so many in the film, visual jokes, conventional deaths? Albert and his comments? The references to other westerns?

5. The work of Seth Mc Farlane, his writing, directing, acting? His make-up, his eyes, his hair? Clothes and accent?

6. Albert as hero, not having a gun, hating the West, a sheepman, his relationship to his parents, the old father sitting in the chair and his rough comments, the patient mother? His relationship with Louise, in love, her going to take time for herself? His reaction to Foy, Giovanni and Ruth, the bar, the fights, his saving Anna, the attraction, their talking, taking her to the fair, the deaths at the fair, meeting Louise, the shooting gallery (and the runaway slaves), the shooting, the bets? The challenge of the duel? His practising all week on his shooting, Anna helping him? The ball, Anna, her dress, teaching him to dance? The group dancing? The enjoyment, the kiss? The issue of the moutache? The day, Foy and his diarrhoea, his walking off? The arrival of clinch, the threats in the saloon, clinch killing people, Albert and his escape? With Anna, upset, the pursuit? Surprised that Anna was clinches wife? Hiding in the sheep? The sheep and the urination? The horse, the pursuit, the approaching train, Albert getting across, seen in the carriage? Taken by the Indians, using their language, their surprise, the drugs and his taking the whole lot? The impact of his trip: being born, as a child, his grandfather, school, the visit of Abraham Lincoln and his rough talk, memories of Louise, of Foy, of Anna, the snake? The venom? Dreaming of the Condor and the Indians approving? Tipped off about clinch shooting early, wounding him, the snake venom? Clinch’s death?

7. Anna, her character, seen originally with clinch, the marriage, at age nine? Her travels, tough, coming to the town, standing in the middle of the mayhem, her being saved, the effect? The attraction to Albert, the story of Louise? The fair, the shooting gallery and her success? The ball, dancing? The laxative in Foy’s drink? The revelation of who she was? Albert upset? Helping him escape? The happy ending?

8. Louise, selfish, her clothes, eyes and the joke about them, going off with fully, his moustache? Their love for each other, demonstrative? Foy, his shop, foppish, his twirling moustache, preparing the going out, dandy style, the shooting bets, the ball? The laxative, his diarrhoea in the middle of high noon? Louise and her being rejected by Albert?

9. Giovanni and Ruth, the saloon, the prostitute, her cheerful attitudes, the range of clients, Giovanni and no sex, nice, too genteel and innocent, the dance, their sex night and Anna interrupting it?

10. Lewis, in jail, the escape, the pursuit of Albert?

11. The church, the preacher?

12. The sheriff, his role?

13. Albert’s parents, the brusque father? The patient mother?

14. The men, onlookers?

15. The range of humour, it a miss, witty, parity, coarse language, and references to other movies? And Django finally getting his revenge!

THE FACE OF LOVE

US, 2014, 92 minutes, Colour.
Annette Bening, Ed Harris, Robin Williams, Jess Weixler, Amy Brenneman.
Directed by Arie Posin.

The movie marketers tell us that the main audience for films is the 18 to 25 group and that most films are geared to this niche. This may be true Hollywood but is not true of many of the international industries. And it is definitely not true for this film. This is cinema for seniors, especially the over 60s (the age of the three principal actors in this film).

All during this film, audiences might be wondering why it has this generic title. Whose face? What kind of love? But, wondering in patience, will discover that it has quite a specific meaning and throws light on the later part of the film.

The film begins with grief, Nicky (Annette Bening) mourning the death of her husband who had gone swimming and, as she walks on the beach, finding his body. She loved her husband intensely and cannot come to grips with his death. It is clear that she has no closure in her grief.

5 years pass. Nicky seems to have recovered, has a good relationship with her daughter, Summer, who goes to study in Seattle. She also has a good relationship with Roger (Robin Williams), a good friend of her late husband and a neighbour. They talk together, have meals together but Nicky does not realise the crush that Roger has on her. He is a quiet personality and does not reveal his love until later.

The important part of the film occurs when Nicky goes into a museum which she used to visit with her husband but has neglected in the last five years. Suddenly she sees a man who resembles her husband, follows him, googles him to find that he is an artist and an art teacher. She intrudes into his class, but discusses with him the possibility of some personal tuition. He agrees.

The audience notices the resemblance immediately. And the artist, Tom, is played by Ed Harris who played the part of the husband briefly at the beginning of the film. He falls in love with Nicky and thinks he has found the right woman in his life. He still keeps contact with his former wife (Amy Brenneman) who is supportive him of him, especially because of his weak heart and her concern about his health.

With the similarities of face in the two men, we realise that this could be the meaning of the title. Nicky and Tom relate well together, begin a relationship, he very happy, she seemingly happy but slipping (intensely) sometimes into memories of her husband. This all comes to a head because she has not revealed all this to Tom and her daughter, suddenly visiting, becomes semi-hysterical as she sees Tom and realises what her mother is doing. Roger is also uneasy about what Kicky is doing.

Nicky wants an idyllic visit to Mexico, to relive the experiences with her husband, failing to realise the impact for Tom – while the audience is wishing her to tell him the truth.

While this is a romantic story, it does not quite end as we might have liked or expected and the culmination of the film is at an exhibition of Tom’s paintings, a number of which portrayed Nicky, one of them called The Face of Love.

1. The title, generic? The specific explanation at the end with the painting?

2. A film for senior audiences? Men and women? Backgrounds of marriage, death, widowhood? Grief?

3. The glossy style of the film, the affluent world, the Mexican resort, the designer home? Los Angeles, the streets, houses, College? Art classes? The art world? The markets? The musical score?

4. Romantic film, for older audiences? Credibility? The situation and the consequences?

5. The opening, Nikki and her grief, her memories? Mexico at the resort, with Garrett, love, his being high, swimming? Her walking on the beach, the surf, discovering her husband’s body? Alone, no closure to her experience?

6. The passing of five years, Nikki and her life, ordinary, her business, working on houses to make them habitable? Her relationship with Summer, Summer going to Seattle to study, her concern about her relationship with Josh? Nikki and Roger, Roger as a friend of her husband, neighbour, his coming to swim, eating, talking? His crush on her?

7. Summer and her bond with her mother, the situation with Josh in Seattle, her ringing when the relationship failed? Commenting about her mother not going to the Museum?

8. Nikki deciding to visit the museum, her seeing Tom, following him? Looking him up on Google, finding that he was an art teacher, his background in Indiana? Going to the College, going to his class, intruding? Meeting him outside? The discussion about a course, his coming to the house, teaching her? The tuition of the costs? His coming the house, the lesson, the bond between the two?

9. Ed Harris and his playing the two roles? Nikki and Tom’s face, like her husband’s? Expressing her love for her husband, calling Tom ‘Garrett’? The lessons, the invitation to the date, the kiss and her hesitation, going home? Talking with Tom, the beginning of the affair, the nature of the relationship, his love for her, the effect on him? The effect on Nikki? At the market with Tom and not wanting Roger to see him?

10. Tom, going to his wife, the background story, the separation, the house, recovering his painting gear? The story about his health? The phone call to his wife, sitting outside in the car, her concern?

11. His taking up painting again, coming to life?

12. Summer, the phone call, her mother in bed with Tom, Summer alarmed? Driving home, the surprise? Tom in the house? Reaction, becoming hysterical and ousting Tom?

13. Roger, his seeing what happened? His reaction?

14. Nikki and her idea that they should go to Mexico, the impulse, Tom coming to take her? Her reminiscing, about her husband, the water, the room, his death? The meal, Tom going to get drinks, seeing the photo? Confronting Nikki? Her denial?

15. Nikki going to the down to the sea, into the water, Tom rescuing her? Continuing the sexual encounters, Nikki’s confusion about Tom and her husband?

16. The year passing, Roger and Summer in the house, talking, Nikki and her ordinary life? Tom gone?

17. Invitation to the exhibition, Nikki meeting Annie, talking, the range of pictures, The Face of Love, Nikki seeing herself, the exhilaration? The sadness of
hearing of Tom’s death?

18. The sadness for Tom at the end of his life yet his sublimating it in the pictures? Closure for Nikki?

SKY FULL OF MOON

US, 1953, 73 minutes, Black-and-white.
Carelton Carpenter, Jan Sterling, Keenan Wynn, Robert Burton, Elaine Stewart.
Directed by Norman Foster.

Sky Full of Moon is a slight comedy, and MGM supporting feature. It is set in Nevada, on ranches north of Tonopah, then in Las Vegas which looks surprisingly small, despite the casinos, in the 1950s. We see small gambling shops, the casinos, the outskirts of the city, the desert countryside on the roads to Utah, a rodeo.

The film is a star vehicle for young Carelton Carpenter, who sang Abba Dabba Honeymoon with Debbie Reynolds in To Weeks with Love and appeared in Fearless Fagan. The leading lady is Jan Sterling, usually seen as tough girl in dramas. Keenan Wynn is a storekeeper.

The film was directed by Norman Foster, a prolific television director, who began with six Mr Moto films as well as three Charlie Chan films.

1. Light MGM supporting feature? Life in the 1950s? Nevada, farms, Las Vegas, casinos?

2. The Nevada countryside, Las Vegas city, the streets, the casinos, the small shops, the edge of the city, countryside leading to Utah? The rodeo?

3. Harley’s story, an ‘aw-shucks’ story? Turning 21? Work on the farm?

4. The songs, the commentary on the action, on Harley as a farmer?

5. His ambitions, the old men in the store, his tone, his going to Las Vegas, wanting to enrol in the rodeo? Not having enough money? He is looking for jobs? Trying the slot machines? His lucky day? The customer observing and following him?

6. Dixie, a false name, wanting to be a dancer, losing her money in California, wanting to get home to Kansas? Friendship with Harley? The attraction? Going out with him, to all the casinos, all the winnings? Trying again and losing every time? His promise to pay her way home? Her old car?

7. Harley, his saddle, sleeping, getting work, not getting paid? Meeting up with Al and his advice? The device for fixing the slot machine, Harley trying to use it, the customer following, his dropping the device but winning the jackpot?

8. Dixie, in the car, and to Utah, their being stranded, her going with the money, the return, Al and Harley talking about honesty, the return? Dixie crossing the state line to Utah on the rickety bridge? Harley imagining that Dixie could be his wife and be happy living alone? Al not being able to imagine it?

9. Harley, his return, enrolment, participating in the ride, not winning, but happy and intending to return next year?

BLENDED

US, 2014, 117 minutes, Colour.
Adam Sandler, Drew Barrymore, Terry Crews.
Directed by Frank Coraci.

Who would have thought? Adam Sandler in a film that is geared towards a family audience, no coarse language - well, more than a little innuendo, but generally of the PG style. Perhaps he is making reparation for films like That’s My Boy Grown-ups 2.

While this is a take-it-or- leave-it kind of comedy, it is a pleasant enough outing for most of the family, for the undemanding audience. Critics tend to be unkind to Adam Sandler, dismissing his broad and sometimes crass comedy, dismissing his popular entertainments – as if they were meant to be serious dramas as if that was what was intended by these films rather than simply being a pleasing pastime.

At the opening, we see Drew Barrymore as Lauren, a divorcee trying to cope with two sometimes impossible boys at home. She is on a blind date, doing a favour for a friend, with Jim, Adam Sandler, and the date is not going well at all, no chemistry between them. She arranges for a phone call citing an emergency at home so that she can escape – only for him to do the same before she does!

Lauren’s partner is about to be engaged to Jim’s boss but is not looking forward to taking on five children. they have bookings for a holiday, for blended families, in the South African resort in City. Laura and Jim both get the idea of taking up the ticket – and both finally families find themselves in South Africa. On the one hand, there are all the clashes that we might expect but there are also episodes, especially with the children, where Lauren and Jim start to bury the hatchet. He becomes a pacifying funnel the-figure for the two boys. She is a listener for the girls, arranging a makeover for the older girl who was always mistaken for a boy, not wanting to take the place of their dead mother, with the middle girl constantly talking to the presence of her mother, making places in the table…

There are the expected sequences with the animals – and some jokes with them as well.

The film does serve as a promotion for this resort – but, it is very American in its extrovertedly heads extra vertically affluent style, an intrusive singing and dance combo being rather alienating with their frequent performances, and plenty of PG-rated look at raucousness and innuendo. One of the difficulties in looking at the sequences is that the Americans confine themselves to live within the resort and the game Park, no real acknowledgement of the 20th century history in South Africa and apartheid, the injustices of the period and the changes since. Blended is not meant to be a lecture, but it would have been strengthened by acknowledges South African realities instead of touristic fly-in, fly out.

While the outcome might be predictable, it does not take the quite predictable road, things being complicated when the two families return home. But, this is a film from families and so it ends very nicely. Interesting to notice that many critics, with their intense dislike of Adam Sandler, are unable to acknowledge this rather toned-down film for a broad undemanding audience.


1. Audience response to Adam Sandler? To Adam Sandler with Drew Barrymore? This film as pleasant? Family film?

2. The title, the program in the South African resort? The process of blending, split families and their needs?

3. The American setting? Ordinary city, homes, workplaces, restaurants? Sports stores? The life of families? The contrast with the South African setting, the affluent resort, the animals, safaris? The musical score and songs?

4. Adam Sandler and his style, so often raucous, this time more subdued, the humane approach? Drew Barrymore and her style, comic, charming?

5. The opening date, Jim not looking at Lauren? Drinking her beer? The talk, not clicking? The chilli and her making a mess? The phone call, wanting to bail out, Jim beating her to it?

6. Lauren, the job, arranging closets, her friend, Jen? Jim sneering at this? The discussions about Jim and the date? Jen urging love to buy the black dress?

7. Jim, at work, confiding in his friend? The wrong mobiles, the visit to exchange them, the tension?

8. Jen, Lauren confiding in her, Jen’s engagement, not wanting to have five children? The irony of her fiance being Jim’s boss? The planned holiday? The brainwave of each to get the ticket?

9. The South African resort, the hotel, affluence and style, pre-apartheid memories, yet the visitors going outside the resort only to see the game? The limits of this perspective on South Africa?

10. The stand-offs, the rooms, places at tables, activities, the gradual building, sharing, enjoying things? Their telling their stories? Jim’s wife and her death? Lauren’s ex-husband and his unreliability? Not showing up to baseball matches?

11. The raucous boys, the older boy’s sex preoccupation, the babysitter’s face on photos? The magazines, Lauren discovering the magazine, tearing it, going to the shop to buy a replacement, Jim and his going to buy tampons, their exchanging goods at the checkout? Jim and his three girls, the older preparing for sport, needing to eat, always being mistaken for a boy? The middle girl, talking to her mother, places for her mother? The lively little girl?

12. The little boy and his rowdiness, lack of attention? Failing at baseball? The little girl commentator at the matches? The men and their comments, the women turning on them?

13. Africa, the singer and his omnipresence, the songs, routines, his being in-your-face, people enjoying it, the audience enjoying it or not? The guide, interventions, friendliness, his mistakes?

14. The couple at the table, in love, their talk, kissing, sexy aspects, the son and his morose attitude, attracted to Jim’s daughter?

15. The ostrich fight and Lauren being upset? Seeing the animals? Lauren going on the high ride and her crash? The makeover for the older daughter and its effect on everyone? The morose boy and his accompanying her?

16. Sharing and changing?

17. The return home, Lauren kissing Jim? The ex-husband turning up, his lies to Jim, not coming to the baseball matches? Jim and his memories of his wife, not being ready?

18. The importance of the daughter who talked to her mother, telling him that the mother approved?

19. The baseball match, Jim and his having coached the little boy, turning up, the hit and success?

20. The end, a yours, mine, and ours situation?

THE ROVER

Australia, 2014, 104 minutes, Colour.
Guy Pearce, Robert Pattinson, David Field, Scoot Mc Nairy, Gillian Jones.
Directed by David Michod.

In more recent years, there have been many futuristic films set to some kind of apocalyptic crisis, films like Oblivion and Edge of Tomorrow, again with Tom Cruise and aliens attacks and combat. There have been other futuristic films with bleak-looking countryside which has been devastated, like Book of Eli and The Road. Guy Pearce appeared as a character in the latter. He now wanders the Australian countryside in The Rover.

The catastrophe which is background to The Rover is not quite the apocalyptic disaster of previous films. And it is not explained except to say that it had happened 10 years earlier. We don’t know what has happened in cities because all the action is in the South Australian countryside and the Flinders Ranges, houses in the small towns, stores with limited good, goods, and petrol and other stocks barricaded behind guarded small openings. There is not a great population, most people just sitting around, wary of strangers, ready with guns.

The Rover is the second film of celebrated director, David Michod, hailed for his initial film, Animal Kingdom. He doesn’t choose easy subjects, or comforting subjects -definitely not here.

We first see Eric (Pearce), driving out to this desolate land. The Rover relies very strongly on Guy Pearce’s screen presence, intense and rugged, furrowed face, straggling beard, often staring into the middle distance while the camera stays on him for quite a long time, giving the audience the opportunity to try to read his mind and feelings. While his character remains fairly mysterious, the amount of time we concentrate on him means that we identify with him.

While Eric is trying to buy something in the store, a group of three men whom we have seen bickering with each other in a truck, argue and crash outside the store. They quickly steal Eric’s car and drive off. Eric takes their truck and goes in pursuit, to little avail.

Eric tries more peaceful confrontation but is bashed and left by the roadside where he is discovered by a strange character, Rey (Robert Pattinson far from his Twilight vampire existence), the brother of one of the men in the truck who have left him wounded and for dead.

The two go on a quest to find the men and the car. On the way they meet just a few people, a friendly doctor who takes care of Rey’s wounds, a strange settlement where a young boy teenage boys seems to be available for passers-by, pimped by his stern grandmother, sitting knitting in a rocking chair. Some of the people they pass are trigger-happy, some not, and many of them do not survive. There is a store selling petrol, a precious commodity barricaded under the counter with a demand for American cash rather than Australian notes.

As the two travel along, there is some kind of communication, but it soon emerges that Rey (an American with an accent that is sometimes hard to decipher) is mentally handicapped, shrewd but slow, with Eric wary of him, but supporting him.

Ultimately, the pair catch up with the trio and it does not spoil the film to say that there is gunplay.

In so many ways, this is a very pessimistic film, grim about human nature, picturing a survival, not so much of the fittest, since so many are not fit at all. But, there are some emotional moments at the end of the film, with Eric and his response to Rey and the revelation of why he came out into the desert in the first place.

This is not a crowd-pleaser. Rather, it is a film for those who admire cinema, engrossing plots, interesting characters – and touches of the unexpected.

1. A grim future film? Pessimistic, with a touch of nihilism?

2. The director and his work, the impact of Animal Kingdom? Expectations of this film? Characters, situations, tone?

3. The information of 10 years after the collapse? No explanations given? The look, poverty, fear, the military and authority, the presence of guns, violence?

4. The introduction, the focus on Eric, the long close-ups, his look, Guy Pearce’s performance, especially through the intensity of his face, audiences trying to understand his mind and feelings, the audience supplying for him? Taciturn, a survivor? The later background story of his farm, his wife and her lover, killing them? The mystery of why he was driving in the desert? The end and the dog in the boot of the car, burying the dog?

5. The terrain, the desert, harsh? Travelling, the cars? The store, what was able to be bought, money and American dollars, Australian dollars? Eric in the store, the group in the car, the crash, taking Eric’s car, his anger, getting their truck, pursuing them, the men with guns? On the road, their attack on Eric after his confronting them, leaving him?

6. The group in the car, the American, the old man, the man from the Pacific, their mission? The story about Rey, his being shot, their leaving him? His brother and his concern, anger, the clashes, the stances of the old man, upset and the crash, the decision to steal the other car, on the road, the pursuit, the violence?

7. Rey finding, Eric’s suspicions? Interactions between the two?

8. Rey, American, his accent and lack of clarity speaking, his response to his being shot, the dismay at his brother shooting him and leaving him? His slow-wittedness? The deal with Eric?

9. Going to the doctor, her equipment, in the outback, treating the wounds, helping? Eric and his suspicions, shooting of the man? Reasons?

10. The store, the brutality, the teenage boy, the grandmother offering him? Her talking, sardonic, Eric’s reaction, the gun? The reaction of the other people, the shootings?

11. Trying to buy the petrol, the storekeeper and everything barred? The issue of money and cash?

12. Travelling, Rey and his reactions, Eric beginning to understand him?

13. The arrival at the house, the men in bed, the very old man and his just sitting and watching? The confrontation with the old man, the Pacific Islander? Rey and his brother, Rey and his anguish, his brother shooting him, Eric and his reaction, comforting Rey?

14. Rey’s death, burial, Eric getting back in the car, the dog, the burial?

15. The human condition in dire circumstances, bringing out the worst in people, any hope?

THE PRIEST’S CHILDREN

Croatia/Serbia, 2013, 95 minutes, Colour.
Kresimir Mikik, Niksa Butijer.
Directed by Vinko Bresan.

The Priest’s Children is a co-production from Croatia and Serbia. While the Serbian film industry has developed since the Balkan wars of the 1990s, less so in Croatia.

Croatia is a traditional Catholic country, with affiliations with Rome rather than with the Orthodox Church. This is very clear in this film with the church and its images, the priests and vestments, the rituals, the sacrament of confession.

The film was very popular in Croatia, much to the surprise of many people. Whether it was the seriousness or the humour, or a combination of both, it is hard to gauge from outside the country.

The film is comical and sometimes farcical in its episodes and to depiction of characters. It is also serious about sexual issues, about the decline in population in Croatia, about the need for a bigger population. It also observes the behaviour of the clergy, pastoral behaviour, comic behaviour and some disedifying episodes.

The film opens with Father Fabian in a hospital ward with many infants in cots. Then he is alone until a very young priest comes to talk with him, ultimately hearing his confession since he has a terminal tumour. The action is in flashbacks, showing his inability to connect pastorally with the congregation, in contrast with the elderly priest, Father Jakov, who is immensely popular, in sports with the elderly, in conducting choirs, in arranging tours to the Vatican, and having a huge line at his confessional. Fabian hears the confession of the newsagent, Petar, who is concerned whether his selling condoms is a mortal sin and what he should do about it. The solution for them both is to pierce the condoms and see what happens, thus avoiding selling contraceptives and people then not having sex with contraception.

The island blooms with tourists all hearing about fertility on the island and they come in order to promote their own fertility. Meanwhile, there are some problems on the island, a young woman giving birth with three possible fathers and a baby left at the presbytery door.

The church action involves a visit from the Bishop who takes a rather permissive stand about the condoms. And Father Jakov is exposed as having double standards even though it seems he is going to be promoted to be a Bishop. There is a reference to Catholic morality, references to both John Paul II and Benedict XVI.

For those from other parts of the world, the film is interesting in seeing how it handles its situation, attitudes towards the church and clergy, sexual morality.

1. A film, both serious and comic? observation on Croatian life and customs? On the church? Satire? More serious reflection on 21st century situations, especially after the wars of the 1990s and the Croatians’ experience of the Serbs?

2. Croatia in the 1990s, the wars, religious tensions, the suffering of the people? In the history of the Balkan Peninsula from World War II onwards?

3. The island locations, the village, the church, homes? Atmosphere? The musical score and its tone?

4. The title, audience expectations? Clergy, morality, sexual issues? The church? Bishop and priests? References to the Pope and the Church’s teaching?

5. The satiric tone, farcical aspects of the film, plot of characters, issues?

6. The Catholic traditions in Croatia, the Roman rite? Visualising the church, the sacred images, rituals, vestments? The clergy and pastoral care? Administration of the sacraments, especially confession? Sexual morality, the issues of contraception, pregnancy and conception, abortion?

7. The opening, Father Fabian, his nightmare, in the ward with all the babies, finding himself alone, his tumour, his appearance? The very young visiting priest? Fabian going to confession, the flashbacks and his story?

8. Fabian’s reputation, his narration, assisting Father Jakov, Jakov’s popularity with the people, church, sports, the choir, the lineup at his confessional and none at Fabian’s? Petar and his confession, pushing in, the man dying outside the confessional? His story, the condoms, the effect on Fabian? The plans?

9. The situation of the condoms, the newsagent selling them, Fabian examining them, the decision to pierce them? Marta and her finding the condom, her
attack on Fabian, reporting him to the Bishop, hearing this during the funeral, Petar and Fabian running to the wharf, the boat leaving?

10. Petar and Marta, not have any children? Petar as the newsagent, the range of customers, the collage of customers at his window? The statistics? The information? The issue of Croatia and its population, decreasing, the need for more children?

11. The young girl, her baby, the three candidates for paternity, the film developing each of their characters? The confrontation with Fabian, going to the DNA tests? Fabian and Petar the choice of a father? The wedding ceremony? Later the father and his being on the roof, demented?

12. The baby at the door, Petar taking it, Marta pretending she was pregnant?

13. The effect on Fabian, the reputation of the island, the press, the tourists all coming in order to get pregnant? The islanders making money?

14. The funeral sequences, the farcical touches?

15. The Bishop of writing, listening to Fabian’s explanation, laughing? His ambiguous sexual morality?

16. Jakov, the choir, going to the Vatican, the group, being filmed, bringing the book back for Fabian?

17. Anna, her mental state, that she had given birth to the baby and left it? Jakov being the father? His double standards?

18. Jakov and his going to Fabian for confession?

19. The end for Fabian, his tumour?

20. The young priest, his deciding that he should go to confession…?

21. The film’s attitude towards sexual morality, towards the church’s teaching, towards double standards with the clergy? Relevant to Croatian society? Its impact worldwide?

PUSHER

Denmark, 1996, 110 minutes, Colour.
Kim Bodnia, Mads Mikkelsen, Laura Dresbaek.
Directed by Nicolas Winding Refn.

Pusher has gained a considerable reputation since its first release in 1996. it was the cinema calling card, so to speak, for the writer and director, Nicolas Winding Refn, only in his 20s. This was a hard-hitting, visual film in its themes as well as its in its hand-held camera style and the vigourous and aggressive musical score top.

It starred Kim Bodnia, a powerful screen presence in Denmark at the period. His friend was played by Mads Mikkelsen, on the verge of a very successful career and international fame.

The film shows the seedy Copenhagen, drug dealing, the locals caught up in this drug world, the effect on their lives, relationships. It also highlights the influence of Eastern European criminals, a scene that was to develop in many films from Europe and, in extension, from the US.

There were two sequels and a British remake in 2010. Nicholas Winding Raffin directed them both. Trained for a time in the United States, he was at home in English-language films including Fear X, Brosnan, with his growing reputation for Drive and Only God Forgives.

1. The reputation of the film? Cult film? The beginning of the director’s successful career?

2. A very strong and tough film, the sequels, the British remake?

3. Danish cinema in the 1990s? The director and his career? The Danish settings, the seedy aspects of Copenhagen, the drug world, prostitution, violence, Eastern European criminals, local criminals?

4. The tough style of filmmaking, the story, performances, issues? Visual and forceful? The choice of musical score, punk music, aggressive?

5. The time span, action over one week, the intensity, Frank’s character, situation, his being pursued by criminals demanding money, police investigation, trying to raise money for his debts?

6. Frank, a sociopath, his character? In the world of drugs? His personality, prone to violence? Friendship with Tommy? The relationship with Vic? The difficulties of intimacy? Love? His experience in the drug world? Dealing? The stock, on credit? The amount of cash? The police, the investigation? Getting rid of the drugs in the sea? Milo and his demands? The police and the not having enough evidence to keep Frank? The ruthlessness of his attempts to raise money?

7. The range of characters, Tonny, Vic, criminal friends, the drug bosses, from Eastern Europe? People caught up in this drug world?

8. The character of Vic, as a prostitute, personality, the reason for being with Frank? His dealings with her, her love, his lack of emotion in his relationship?

9. Tonny, friend, associate, the drugs, Frank thinking he had informed to the police, bashing him?

10. Indebted to Milo, the drug lord, his henchmen, the types, the brutal stances, standard the tactics?

11. Frank’s visit to his mother, another insight into his character?

12. An ugly world, presented enthusiastically with cinematic verve?