VAMPIRE ACADEMY

US, 2014, 106 minutes, Colour.
Zoe Deutch, Lucy Fry, Gabriel Byrne, Joely Richardson.
Directed by Mark Waters.

A first alert to this film was the advertising tagline, ‘They suck at school’. Had this film been a slight parody, a vampire academy instead of the police academy, this might have been the most clever part of the film.

But, there is more to it than that.

Based on a popular novel by Rachelle Mead, this is yet another contribution to the extraordinarily wide popularity of vampire stories in recent times, fostered by television’s True Blood as well as the popularity of the Twilight series. This film lies somewhere in between, veering more towards Twilight than to True Blood.

Somewhere, in a rather unlikely United States, there is an exclusive mansion which is the home to the Vampire Academy, confined, it would seem, to older teenagers and their education, both classical and in vampire law and physical arts to combat enemies. At the opening, Rose (a more than feisty and attractive Zoe Deutch) is guarding a more seemingly delicate student, Lissa (Lucy Fry). Lissa is actually a princess from a long line of vampires and is destined to be Queen – although she has fled the Academy.

When the group is captured and returned to the Academy, (St Vlad’s!) there is an explanation, with technical names, of the various layers of vampire status, of protectors and of hostile vampires who are bent on destroying the more respectable ones (who are able to get their blood supply from willing humans who volunteer!). It is only the hostiles who can be killed by silver knives. Once back at the Academy, we meet the rather surly headmistress, Olga Kuryenko, and the rather ill provost, Gabriel Byrne.

There are the variations on high school enmities and friendships amongst the vampires, Rose being rather free because she is only part of vampire and decidedly human. A visit from the Queen, a rather absurd episode as she is dressed in robes and ermine, played by Joely Richardson, challenges Lissa to live up to her expectations.

After the high school episodes, and a school dance, there is some melodrama as one of the characters reveals a sinister side and abducts Lissa. Rose, and the guard, Dmitri, to whom she is more than attracted, come to the rescue.

A final glimpse at what looks to be a field of lost souls, of sinister vampires, indicates that there could be a sequel.

1. The title? Based on a popular novel? The intended audience, young, female?

2. Touches of 21st-century realism? The Academy, isolated, the exteriors, the castle-like building, the grounds? Interiors, classrooms, the hall? The musical score?

3. The vampire tradition, the film commission? Twilight and the younger audiences?

4. Rose and Lissa, the car, the music, the argument, the crash, the deaths, the effect? Rose and Lissa and their escape from the Academy, their empathy, Rose knowing what was happening? The reasons for leaving the Academy? The pursuit?

5. The explanation of the Moiri, the levels of existence the status in this vampire world? The relative powers? The vampire rituals? The importance of blood? The link between the wall?

6. Dmitri, finding the women, the return to the added to the Academy, the fight at the gates, the hostile vampires?

7. St Vlad’s, the principal, her manner, dealing with the two young women? The Provost and his status? His daughter, Natalie? The students, their classes, their physical training? Age? The studies, activities, assemblies?

8. Rose, feisty, her role with Lissa, devoted, Lissa drinking her blood, the talk of gossip? Dmitri and his training, her interest? The injury, being healed? The other young men and their attentions? The clash with media?

9. Lissa, as a princess, intended Queen, her powers, healing, the importance of the escape, her dependence on Arose, for blood, for friendship? The crash, being caught, a cat? Back at the Academy, the discussions with Victor, with the Queen’s speech? But her liking for question, the dead fox, or the others and their antagonism?

10. Kristian, his attraction to Lissa, seeming sinister, his powers?

11. Dmitri, his devotion, his strength, help?

12. The warnings, the blood statements on the wall, the dead fox, the computer face and its warning? Who was responsible? The motivations?

13. The dance, performance?

14. The intervention, Victor and his being sinister, his illness, wanting to be healed, tormenting Lissa, the battle by drawing the power out of her, breathing it into Victor? Natalie and her transformation? Loyal to her father? The final fights? Victory on the side of good?

15. The arrival of the Queen, this and her assertiveness, new organisation of the Academy? The vision of lost vampires and the possibility of a sequel?

NON-STOP

US, 2014, 106 minutes, Colour.
Liam Neeson, Julianne Moore, Michelle Dockery, Scoot Mc Nairy, Nate Parker, Lupita Nyong’o.
Directed by Jaume Collett- Serra

Non-stop is in the tradition of the airport films as well as disasters on board planes. With its continual reliance on technology, it is very much taking the airport tradition into the 21st century.

The film is a star vehicle for Liam Neeson who, in his later middle age, has proven himself an action hero in the Taken series and Unknown (which was directed by Jaume Collett- Serra, who directed this film). Neeson, a strong actor at any time, has a powerful screen presence, even when he is shown to be a character with many weaknesses – in this case, depression, grief over the death of his daughter from cancer, divorce, losing his police job in New York City, drinking and smoking addiction.

He plays Bill Marcks, now a security agent on international flights. At the beginning, we see his weaknesses, yet his alertness as he goes through passport control and security with the other passengers to board his plane. He dreads take off, but once in the air, and find himself in a dire crisis, with great risk to the passengers and the plane, he combines the intensity of his commitment to solve the situation as well as his own personal anguishes.

While it is all on screen, the situation has a certain plausibility, despite its complexity and its use of mobile phones and texting. But, in retrospect, one wonders about how it all could have possibly been engineered.

On board, is Julianne Moore, sometimes a suspicious character, but someone who stands by the air Marshal during the crises. So does Michelle Dockery (Downton Abbey) as the main flight attendant. Interestingly, the other flight attendant is played by Lupita Nyong’o, who won the Oscar for Best Actress in a supporting role, in 12 Years a Slave.

The supporting cast draws on character actors like Scoot McNairy?, Nate Parker. Linus Roach (Priest) is one of the pilots.

Tension, of course, is most important for this kind of film and Non-stop certainly raises the tension as we watch the desperate Marshal puzzling over what is happening, enlisting the support of the two women, being muzzled because of protocols by the pilots and by his supervisor whom he talks to by phone. Even the passengers, learning more about his background, try to stage a takeover.

The special effects come into their own at the end of the film, with the handling of the bomb situation and the landing of a plane severely damaged.

In 2012, Denzel Washington portrayed a pilot who had a drinking problem and who was able to crash land a plane and save lives in Flight. A year later, Liam Neeson is there to save the day.

Better to watch this film after a flight rather than before it. Audiences outside Europe might have a wry smile when there is so much in the dialogue about how this is such a tiring long haul flight from the US to London – as long as six hours!

1. An airport thriller, 21st-century style? The genre in the past and the popularity of the airport films, looking at situations, motivations, the passengers, the crew?

2. The plausibility of the situation, the details, the planning, the motivation, the detection?

3. The importance of special effects, exciting, realistic? The final crash? The final bomb, the landing? The tense musical score?

4. The title, long-haul flights, six hour flight seen as long!

5. Liam Neeson as Bill, the introduction, his background as a reliable and decent man, the death of his daughter from cancer, the divorce, his continued grief over many years, drinking, smoking? The NYPD, the momentary slur on his being from Northern Ireland? His security work? The company’s trust? Doubts? Going to the plane, drinking in the car, the phone call? The company, his supervisors?

6. Going into the terminal, his suspicions, watching people, the lonely little girl, persuading her with the doll to go onto the plane? Tom and his comment about going to Amsterdam? The phone caller at the gate? Other people? The looks, suspicions?

7. Jen, asking for a window seat, the various reactions? Changing places with Zach? The other members of the crew, Nancy, the reliability, relationship with the pilot? The two pilots and that friendship? Gwen as replacement? The other agent?

8. Building up suspicions, Bill looking around, people’s dress, the Middle East and look of the doctor, Jen herself and her not replying to questions? Zach and his pleasantness, IT expertise and his helping? Tom and the attack? The New York policeman? The doctor? Others?

9. The pilots, their work, the effect with Nancy? The pilot poisoned and dying? Nancy, her work, Gwen as a substitute? The information, helping, locking the pilot’s door?

10. Bill, the messages, the later information about Zach and his expertise, the alleged perpetrator with the mobile phone in his pocket? The amount of texting, captions rather than spoken words? The agent, knowing Bill, the fight in the toilet, carrying the cocaine, the bomb concealed the drugs, the question about his getting through security? The pilot, the poison, the second victim with the poison? The issue of money, the transfer, $150 million, Bill’s account number?

11. Bill, smoking in the toilet, talking to Jen, relying on Nancy, texting, using his brain, the 20 minute intervals before each death? The phone calls to his supervisor, his lack of support? The captain, the regulations? The details of the set-up? Bill being accused of hijacking, his searching for the phone, getting Nancy and Jen to help, the struggle with the agent, the protocols? The jets flying alongside, orders?

12. The revolt amongst the passengers, the TV information about his being a hijacker, their attacking him, his fighting them off?

13. His finding the bomb, the plan, putting the bomb near the door, surrounding it with cases? Moving the passengers? The change of heart of many of the passengers, especially the New York policeman?

14. Tom, his attack, his being bound, put in the chair? Zach after his help? Their being the perpetrators, their ability to effect the setup? Their experience of war, American security, Zach wanting to live, Tom and a suicide mission?

15. The pilot, the issue of descending to 8000 feet, the impact of the bomb? His decision to move? The bomb going off, the precarious landing?

16. The aftermath, Bill moving from villain to hero? Jen and her support? Crew and passengers all saved?

17. The popularity of this kind of story – and the identifying by people who fly?

THE BROKEN SHORE

Australia, 2014, 100 minutes, Colour.
Don Haney, Claudia Carvin, Anthony Hayes, Eric Thompson, Wayne Blair, Tony Briggs, Robyn Nevin, Noni Hazelhurst, Catherine Mc Clements, Dan Wylie, Ralph Cotterill.
Directed by Rowan Woods.


The Broken Shore is a very well-made and interesting telemovie based on the award-winning novel by Peter Temple. The ABC had made two telemovies of Peter Temple’s Jack Irish series, Bad Debts and Black Tide, with Guy Pearce in the central role. A further Jack Irish film was screened in 2014.

Peter Temple has a reputation for well-written thrillers, police investigations, political investigations. With The Broken Shore, Temple has taken on a great number of issues. There is the basic police work and police corruption, the role of the authorities in Melbourne and their influence on regional investigations, along with political influence. The issues of aborigines in country towns, racial prejudice… are also important for the story. However, there is the topical focus on sexual abuse, in the light of the Royal Commission of 2013-2014. The novel came from the early part of the 2000s anticipating a lot of the revelations about sexual abuse, the effect on the victims, the viciousness of this revenge on the perpetrators.
Don Haney had appeared in the number of television series, including Sernagoon Road. This was a key performance for his career. He was soon to appear with Hugo Weaving in Healing. Claudia Karvan has had a long career in film and television. One of the great strengths of the film is the supporting cast, with a number of acting veterans including Robyn Nevin, Noni Hazelhurst, Catherine McClements? all very persuasive in their roles. Anthony Hayes and Dan Wylie also contribute well.

The film was directed by Rowan Woods, director of The Boys and of Little Fish.

The film also relies strongly on the cinematography, the atmosphere of the locations, the isolated town, the coast of the cliffs, the port.

All in all, a superior television film.

1. The reputation and popularity of Peter Temple? Australian stories? Victorian stories? The police, politics, race issues, sexual abuse? The blend of these themes?

2. The Victorian setting, the feel, towns and the detail, streets, the port, the aboriginal area? The countryside, the coast, the cliffs? The title? The musical score?

3. Joe, as a character, the glimpses of his mother, his visits and conversations, his brother and his affluence, sexual orientation, architect, Sydney? The contrast with Joe? The memories of his father, the drowning? The bonds with his father, lost? His work, the accident, his partner dying, his recovery, his memories and nightmares? Being on call? Dave arriving, the complaint, the job, the defence? The meeting with Helen? The bluestone house? His life and the house? His memories, family? His job, the aboriginal girl, the cousins…?

4. Being on call, the murder, the authorities asking him to intervene, Hancock and his assistant, then manner, interventions? Cromarty, the police and their stances, jurisdictions, apologies? Helen and her job, the clash, the protest, the crowds? Anti-the development? The officer and his assistant? The pots? The documents?

5. Burgoyne, the house, the old man, the scene of the fire, the priest leaving, the children, the deaths, 1983? The old man in the house, the noise, the attack and the brutality of his death? His son and his disappearance? His daughter, her visit, attitude towards her father? Suspicions of aborigines and robbery?

6. The aborigines, in the neighbourhood, their own area? Watching the issue? The driving? Going to Melbourne? The group returning? The issue of the watch? Paul and his job, reactions? Whites and blacks? The plan for the men in the car, the orders, waiting, the attack, guns and the chase, the crash, the deaths? Walsh and his place in the Senate? The political ramifications? His speeches?

7. The interrogations, Donnie? Helen? The mother? Bail issues? Orders, the alibi? The young man being murdered?

8. Hancock, his arrogance, collaboration, refusing, the archives, his being paid? The exposé and his transfer?

9. Helen, her character, work, the issue of the fence, Dave, her complaint, the sudden kiss, the memories of the past? Her story? Talking, the injury, the sexual encounter, the tree? The relationship with Joe? The future?

10. Orders from Melbourne, the police authority, Parliament and the minister, Joe going to Melbourne, staying, the discussions with his boss? The cover for his work?

11. Paul, his status, aboriginal, help, the interviews, surveillance, the critique? His being bashed?

12. Sheila, keeping the accounts, an interesting character, working for Burgoyne over the years, her description of him? With Joe, the requests, searching for the documents, finding them, dates and names, the key address in North Melbourne?

13. Environmental issues, sales of properties, the meetings?

14. Joe seeking the address, North Melbourne, finding the theatre, the search, the documents, the videos, watching them? The daughter and her brother, protecting each other, the truth? The daughter not warning her father? The role of the gardener, his son and his disabilities, the documents and his getting the information to Joe?

15. Des Singleton, his reputation as a policeman, in the old people’s home, Joe’s visit, the clue CB 83, the lead? The discovery of the truth? Singleton turning a blind eye and his financial reward?

16. The perpetrators, the brutality of their deaths? Finding the abuses, their deaths? The priest?

17. The priest, the Royal commission of 2013-14 and its atmosphere, confronting him, his fear, his being bashed, Burgoyne’s son? The attack on Joe and
Paul? The brutality of the torture of the priest? The killers and their actions?

18. Joe, recovery, the shooting, Paul going back to Melbourne, staying alert?

19. The range of issues, a prosperous society, the aboriginal issues, and the underbelly of life in Australia?

OUT OF THE FURNACE

US, 2012, 106 minutes, Colour.
Christian Bale, Woody Harrelson, Casey Affleck, Sam Shepard, Forest Whittaker, Zoe Saldana, Tom Bower, Willem Dafoe.
Directed by Scott Cooper.

This is a film which depends on word-of-mouth from audiences.

Many audiences seeing the film will find it too grim, its outlook too bleak, some of its violence too confronting, and will advise others not to go to see the film. On the other hand, film buffs who appreciate well-made films, no matter how depressing in their presentation of character and society, will recommend other buffs to see it.

The setting is an industrial area in the countryside of Pennsylvania as well is the hills of the state of New Jersey. The look of the film is wintry, iron-grey in its tone. The factories look ugly, inside and out. And the action of the film takes place in some squalid settings, especially for bare-knuckle fights, bars and clubs, and dingy houses. Commentators have noted that it is a depressing picture of the United States since the world financial collapse and a picture of the desperation of people struggling to make a living, as well as people who are exploiters and their victims. The title indicates the theme, people trying to escape from the furnace but still in the fire.

The film was written and directed by Scott Cooper who made the interesting film about travelling singers, Crazy Heart.

Apart from the effectively bleak photography and the use of the locations, the film has a fine cast. Now in his middle age, former child star, Christian Bale, has proven himself a considerable actor (Oscar for The Fighter, award nominations for American Hustle). Here, he is an ordinary man, struggling to make a living, looking out for his younger brother (Casey Affleck) who is about to go out and serve in the Middle East wars. Carelessly drinking and driving, he is responsible for the death of a child in a car accident. He serves his time and then comes out to re-establish his life. His wife (Zoe Saldana) has left him for the local police officer (Forest Whitaker). His brother has returned from his service and is a changed person, for a desperate worse. He has been involved in bareknuckle fights, trying to pay off other debts to a small-time entrepreneur (Willem Dafoe).

But, right from the beginning of the film, we have been alerted and warned. The film is introduced at a drive-in, where Woody Harrelson is brutally violent towards a woman and some of the patrons of the drive-in. Then he disappears from the film only to be reintroduced in an even more violent and brutal manner.

By this time, the audience will realise that Out of the Furnace is going to be something of a revenge a touch of the vigilante. And that it is the Christian Bale character, despite pleas and warnings, who will do the confronting, trying to achieve some kind of justice.

In most ways this is a film to be admired rather than enjoyed, the dirty mirror, so to speak, reflecting the downside of 21st-century American society.

1. A bleak film? American society in the 21st century? After the global financial meltdown? The film as something of a mirror of society? Clear? Distorted?

2. The Pennsylvania, New Jersey, settings, the mountains, industry, the towns? For the bareknuckle fights? Prisons? A grey world? The musical score?

3. The title? Applied to each of the characters?

4. The tone, the opening with De Groat? The drive-in, the woman in the car, his attitude towards her, the vicious violence, the men objecting, the fight and his bashing people? Expectations?

5. The bareknuckle fights, Rodney and his participation? Hard, the opponents, the crowds? De Groat and his involvement? John Petty and his involvement, amounts of money?

6. The contrast with Russell, seen with his wife, his tenderness, wanting a family? His care for his disabled father? The bond with his uncle? Hs looking after Rodney, Rodney and his going on military service, paying his debts to John Petty, Petty is concerned? Drinking, driving, the crash?

7. Prison, serving his term? Events happening while he was in prison, Rodney and his overseas service, his return? His wife leaving him and going to live with Wesley?

8. Rodney, his wanting a final fight, wanting to pay his debts, wanting to leave? His discussions with his brother? Setting up the bout? In the woods? De Groat and the clash? De Groat shooting him in the woods?

9. Russell’s uncle, his character, supportive of Rodney, supportive of Russell?

10. Russell, his search for De Groat, discussions with Wesley, with his wife? The death of John Petty? Dan and the bar, Russell asking his help to find the documents and De Groat address?

11. The character of Rodney, his type, his life and overseas service, at home, wanting to get out?

12. John Petty, as a minor entrepreneur, his office, the debts, his attitude towards Rodney, not wanting to overwhelm him, saying that Russell did not have to pay his brother’s debts? His being killed?

13. Dan, as a character, friendship with Russell, helping him, the arrival of De Groat, the safe and information, his being killed?

14. Russell, the information, the beginning of the pursuit, accompanied by and supported by his uncle? Pretending they were travellers, pretending they wanted drugs, going into the drug house, the dealer, discovering that it was De Groat’s house?

15. De Groat as a character, the drugs, using them himself? Setting up the fights? His demands, brutality? Killing Rodney? Killing John Petty, killing Dan?

16. Russell, the pursuit, taking De Groat, the pursuit, Wesley in the background, urging him not to shoot? The long decision? Executing De Groat? His sense
of justice and revenge?

17. A grim American story, part of the underbelly of American society?

THE WAYWARD BUS

US, 1957, 88 minutes, Black and white.
Joan Collins, Jayne Mansfield, Dan Dailey, Rick Jason, Dolores Michael, Larry Keating.
Directed by Victor Vicas.

The Wayward Bus is based on the novel by John Steinbeck, best known for his novels Of Mice and Men, The Grapes of Wrath, East of Eden. This book is much less well-known than his classics.

The film was shot in black and white and Cinemascope, providing a vast background of the United States near the Mexican border, towns, mountains, rivers.

The film is interesting because of its cast, Joan Collins getting lead billing after her arrival in Hollywood several years earlier and such films as Land of the Pharaohs, The Girl in the Red Velvet Swing, The Opposite Sex. She was being promoted as a sex symbol, though in this film she plays a dowdy role, a woman running a diner in an isolated town, with relationship problems and prone to drinking. In the same year she portrayed a nun in Sea Wife. It is also a star vehicle for Jayne Mansfield, also promoted as a sex symbol, appearing in such films as The Girl Can’t Help It and The Sheriff of Fractured Jaw. Also in the cast is Dan Dailey who began in drama but developed into a star in musicals of the 1940s and 1950s.

The film seems rather minor but is an interesting look at different filmmaking of the 1950s. The director was Victor Vicas, whose main career was in Germany.

1. An adaptation of a John Steinbeck novel? The Mexican border? The status of the characters in these remote areas?

2. A star vehicle for Joan Collins and Jayne Mansfield? Their status at this time?

3. The black and white photography, Cinemascope, the locations, realism, the towns, roads, the rivers, the mountains? The musical score?

4. The title, the bus needing to be fixed, the wayward routes during the storm? The wayward characters?

5. The introduction to the bus, Johnny and his situation, the young man wanting to help, getting the bus ready for the trip? Alice, her relationship with Johnny, her irritability? The service station, as a stop, providing meals, transit?

6. The passengers, the Prichards and Mildred, Ernest Horton as the salesman, Camille, the busy old man in a hurry? Norma leaving after the interactions with Alice?

7. Alice and her love for Johnny, antagonism, his love or not? The drinking, the angers and insults? The sexual relationship? The journey and the intercutting of the sequences with Alice? The worker and her being in the bar? The helicopter, the phone calls, her concern about Johnny, flying to him?

8. The Prichards, the brutal relationship, the prim mother and her puritanical comments, the husband’s roving eye, seeing her in the magazine, his talk with Ernest about setting up a place in Los Angeles? The keeping their eye on their daughter, breaking off her engagement, the implications of the sexual relationship with Johnny?

9. Mildred, her anger with her parents, the fiance, her flirting with people, with Johnny, the antagonism on the bus, following Johnny to the garage, the sexual encounter, her being upset?

10. The young man, conscious of his look, helping with the bus, wanting to be respected with his own name? Johnny’s treatment of him, welcoming on the bus, helping to fix the bus, his interest in Norma?

11. Norma, the clashes with Alice, wanting a Hollywood contact from Ernest, her chatter, on the bus, Alice’s later apology to her?

12. Camille, her look, the background, the appointments and her performances, in the magazine, becoming friendly with Ernest, their talking, the bond, his respect for her, her hopes for the future, not wanting him to see the magazine?

13. Ernest, the salesman, flirtatious, his toys and his merriment with them, talking in the bus, the attraction to Camille, talking, their future, Prichard and his showing Ernest the magazine, his angry reaction?

14. The trip, the dangers, the roads, the river flooding, caution in going over the bridge, bogged down, Johnny and his walk to get the tractor? The phone calls? His decision to go the alternate route, the pressure from the old man? Mildred and the following him? The helicopter arriving, fixing the bus? Alice’s reaction, suspicions – Johnny thinking things over, realising his love for Alice, finding her in the bus?

15. Range of short stories, characters, crises and the resolutions?

WOLF CREEK 2

Australia, 2013, 105 minutes, Colour.
John Jarrett, Ryan Corr, Phillippe Klause, Shane Connor, Gerard Kennedy, Annie Byron.
Directed by Greg Mc Lean.


Wolf Creek 2 is in the same vein as the original, which received a great deal of acclaim, critically and from the public. For those who liked the original, the expectations were high, and the hope for more of the same. For those who did not see the original, this film has prologue where Mick Taylor confronts two policeman who want to fine him for speeding on an outback road, just for the fun of occupying themselves, and meet a grizzly end. Here is Mick Taylor, back again.

As with the first film, the landscapes are important, filming in South Australia and the highlighting of the crater of Wolf Creek. Again, as with the first film, the targets of Mick Taylor’s sadistic venom are overseas tourists. This time there is a couple from Germany who are treated brutally. But the main target is a young British man, caught up in the plight of the German woman by accident, and experiencing the full vicious animosity of Mick Taylor.

At times, this is a horrible film to watch, especially the treatment of the German tourist and, at great length, some sadistic antics of Mick Taylor as he tortures the young British man, Paul (Ryan Corr). The treatment of victims is different in this film, Mick Taylor playing games with his worried captive, the young man trying to prove his knowledge of Australia by singing Tie me Kangaroo down, Sport, Mick joining in with great gusto, all verses. (Mick had already been shown running over kangaroos with glee.) There are more songs, with Mick bailing out in disgust when his victim starts to sing the national anthem and there are the usual jokes about ‘girt by sea’. Then there is an Australian quiz, with sardonic references to Who Wants to be a Millionaire and the inability to phone a friend! Dennis Lillee and Don Bradman become a key to whether Paul will have a finger severed for each mistake that he makes.

More Australiana with Dame Nellie Melba singing over the final credits.

The torture genre was popular in the first decade of this century, even being referred to as ‘torture porn’. There is something in this accusation – but, as always, it depends not on what is being presented but how it is presented, and this is always debated according to audience sensibilities, offended by visual torture or able to accept it as part of the genre and storytelling.

It is a fact that there have been killers who abducted and murdered tourists. How this should be treated in fictional films is always a moot point. Greg McLean? has opted to tell this kind of story twice and, whether we like it or not, this is become part of Australian cinema history.

1. Expectations from the first film? The impact of the original? Audiences now knowing Mick Taylor? Those not knowing him getting an impression from the prologue, his dealing with the police?

2. The graphic horror, torture? Accusations of excess?

3. The torture genre of the period? The experience of horror, and the horrible?

4. The film based on actual events, Paul’s experience and the epilogue explanation? how much fact and fiction as actual events? The number of people reported lost in Australia?

5. The portrait of Mick Taylor, John Jarrett and his appearance, stubble, harsh voice, a bushy, his grins and sadistic manner, arrogance, the extreme xenophobia, attacks on the British, no awareness of aborigines and his ancestors as migrants? A portrait of an ugly Australian? The songs, Tie me Kangaroo down, the Australian history quiz? Don Bradman? His madness, torture, the torture chamber, his victims? His sardonic manner? A shadow Crocodile Dundee?

6. The Northern Territory and South Australian landscapes, roads and traffic, absence of traffic, the isolation, the old people’s house, Mick Taylor’s house? The interiors, the chamber of horrors? The songs, contemporary, Born to be Wild…? Classics? The singing of Nellie Melba over the final credits? The effect?

7. The opening, the police, bored, callous, stopping Mick, under the speed limit, their lies, having fun with him, the licence? The fine? The confrontation, Mick shooting the policeman? The crashing of the car? The fire?

8. The Germans, in Sydney, tourists in Australia, the two of them alone, talking, the visit to Wolf Creek crater, the swimming, thinking it was paradise? Not getting any lifts, Rutger and his outburst? Making the camp? Their chatter in the camp, his future? Mick’s arrival, the comment on the fire and smoke, Rutger and his apology, the confrontation, his being killed, his attack on Mick? Death, his being dismembered? The girl looking on in horror? Her being taken?

9. The girl, Mick and his nonchalance, dismembering, her escape, hailing down the car, hysterics, Paul and his help?

10. Seemingly safe, Mick in the truck, the pursuit, on the road, Paul and his attempts at escape, low petrol, the crash, the confrontation?

11. The visual impact of running over the kangaroos?

12. Paul in the desert, the limited water, seeing the house, the couple, his apprehensiveness, the meal and their kindness? Mick at the door, the confrontation, the old man being shot, Paul and his running, the wife being shot? The horse and Mick pursuing Paul through the desert in the night? Taking him?

13. Paul in the house, tied up, Mick and his jingoistic stances, anti-tourists and their presumptions in his country, anti-the British? Singing Tie me Kangaroo down, sport? Other songs, is not liking the national anthem? The Australian history quiz, the threat to cut off fingers, his doing so, Paul it is getting the hammer, hitting Mick?

14. Paul, the attempt to escape, moving through the chamber of horrors, not everyone dead, the dead-end, the spikes on the floor, the cage? Torture and fear?

15. Paul left on the road, the police investigation, considering him mad, the accusation that he was responsible? His going back to England to an institution?

16. Mick Taylor as a legend, no one believing that he was a killer? A shadow Crocodile Dundee?

17. The film as a piece of Australiana, indulgent in horror, critique of the ugly Australian?

300: THE RISE OF AN EMPIRE

US, 2014, 106 minutes, Colour.
Sullivan Stapleton, Eva Green, Lena Heady, Rodrigo Santoro, Hans Matheson, Callum Mulvey, Jack O’ Connell, David Wenham.
Directed by Noam Murro.

300, Rise of and Empire, takes up the history of the Greek confrontations with the Persians in the fifth century BC. There are allusions to the original film, 300, in the opening credits, the dead lying at Thermopolae with Leonidas amongst them. Dilios, played by David Wenham, is also a link, giving an account of what happened at Thermopolae. The other link is Leonidas’ wife, (Lena Heady who not only provides a voiceover narrative, but becomes part of the action, advocating the superiority of Sparta, but eventually leading her fleet to the action).

The King of Persia, Xerxes, who looked so strangely exotic in the original film, appears again trying to save his father, Darius, from being killed at the Battle of Marathon, then influenced by Artemisia and going through a ritual out of which he appears covered in gold and chains.

However, this film is not a sequel. Rather, it is a parallel story of what was happening in Athens and in the Bay of Salamis as the Athenians confronted the Persian fleet while the Spartans were battling at Thermopolae.

The hero of the film is Themistocles, the Athenians leader, who commands the smaller forces of Athens and their fleet. He is played by Australian, Sullivan Stapleton, commanding in appearance (though his Australian accent is less forceful than that of, say, Russell Crowe in Gladiator), clever in strategies, eliciting loyalty from friends and soldiers. The villain of the film is Artemisia, played with full force by Eva Green, a Greek woman whose family was brutalised by Greek soldiers, she herself raped and taken into slavery and ultimately rescued by a Persian – hence her being an aggressively vicious leader of the Persians. She is played as an intense, malevolent and sadistic monster, with her moments of sensuality and seduction, defying Themistocles, and ultimately facing up to him, one-on-one, both at sword point.

While there might be some inaccuracies in the history of the story, it nevertheless brings this picture of Greek history and legend to life. The main reason for this is that it uses, visually, the equivalents of the graphic novel, the graphic comic. The sets are stylised, the colour grading dark and ominous, especially during the sea battles. The photography and editing is for the equivalent of cartoon panels, the action sometimes in slow motion, even slowest motion, so that the audience has time to focus on particular panels, close-ups, but, especially, on the vivid combat scenes and death. There is a moment when there is a discussion that war is not for glory – but, with so much bloodshed and the blood spurts coming at the audience (especially if seen in 3-D), it is certainly gory.

This means that polished acting is not required. Rather, there is a great deal of posing and posturing, both with Themistocles and Artemisia, but, more especially, with Xerxes (who looks more like someone on a float in a parade rather than King of Persia).

There is a thundering score, pounding sound engineering, all creating an atmosphere which makes quite an impression whether one likes it or not.

This reviewer studied Greek and ancient history at school and was basically familiar with the plot elements – and found a certain satisfaction in seeing them come alive in graphic novel style, graphically.

1. The title, the original film? The parallel story, a meanwhile… story?

2. The historical background, Persia and its attack on the Greek city-States, Darius and Xerxes? The role of Artemisia? Leonidas? Themistocles? The battle of Marathon, Thermopolae, Salamis?

3. The visual style of the film, Frank Miller and his graphic novels, a visual graphic novel? Not realism? The use of slow motion and slowest motion? The action of the film like panels of the graphic novels, both static and in motion?

4. The colour style, the darkness? The 3-D style?

5. The framing, quiet and action, the panels? the framing of the fight sequences, combat, killing, aftermath?

6. Themes of war, war glory, gory? Sacrifice for the nation? For freedom and democracy? The motivation for war, revenge and whims?

7. The staging of the battles, the combat, the deaths, the blood spurting and spattered, swords, access, arrows, fire?

8. The strategies, the parting of the boats and trapping the large Persian vessels? The second battle with fire and destruction? The third battle with the Athenian aggression and the arrival of the Spartans?

9. The voiceover of Queen Gorgo? Her perspective on Sparta, Leonidas, Spartan superiority, grief, the requests of Themistocles, coming with her fleet and her vigorous involvement in battle?

10. The background of Thermopolae, the film, 300, the allusions in the opening credits? The links via Dilios? Xerxes and his attack at Thermopolae, Leonidas and the Spartan background, his wife, the warriors, the betrayal, fighting to the death? Themistocles and his visiting Sparta, Leonidas’ wife and her not being in sympathy? The training in Sparta, the warriors, the possibilities of truces with the Persians, not accepting them? The death of Leonidas, of the 300? Themistocles visiting again, sharing the grief, the issue of the navy, the Spartans finally arriving for the battle of Salamis?

11. The reprise of 300, the role of Dilios?

12. The visualising of the battle of Marathon, Themistocles, as leader, strength, the battles, the arrow and the killing of Darius rather than Xerxes?

13. Artemisia and her influence, controlling Xerxes, his going through the ritual, immersing himself, emerging as a God, with the strange gold and adornments? Artemisia and the Greeks, the flashbacks to her life, the Hoplites and their persecuting her parents, killing them, capturing her, the rapes? As a slave? Her being abandoned, rescued by the Persian, her motivation of vengeance?

14. Themistocles as a character, as leader, his beliefs, his strategies? Devotion to Athens and democracy? The battles at sea? The encounter with Artemisia, wiliness, the sexual encounter, defying her, her defying him? His range of friends and associates, the young warrior, loyalties?

15. His friends, Scyllias fighting, his son, death? The young warriors? Aeskylos and his constant support?

16. The final confrontation with Artemisia, Themistocles on his horse, the fight, the sword points, at each others’s throats, the arrival of the Spartans, her death?

17. Xerxes, his presumption, his retreat?

18. The Persians, the numbers, the leaders, Artemisia and her brooking no defeat, throwing the leaders into the sea? The ships, large, surrounded, the
giant warriors, the fire, the warriors swimming, shielded - but with fire? Explosions?

19. Athens, the ideal from the sixth century, democracy, the visuals of Athens razed to the ground? Themistocles and United Greece?

20. History alive – as a graphic novel, graphically?

STRAIGHT A’s

US, 2013, 85 minutes, Colour.
Ryan Phillippe, Anna Paquin, Luke Wilson, Thomas Riley Stewart, the Ursula Parker, Tess Harper, Powers Boothe.
Directed by James Cox.

Straight A’s is a brief film which had little release. It is a star vehicle for Ryan Phillippe who makes the most of his role, a mixture of endearing and irresponsible. He portrays Scott, a man in his 30s, who has been in institutions, has a past history of drugs. His love was for his high school sweetheart, Anna Paquin, but when he moved out after a dispute with his brother and father, she married his brother, Luke Wilson. However, the marriage has gone stale, she has become very haughty, he is wrapped up in his business, the children are overlooked. They are well played by Thomas Riley Stewart and Ursula Parker. Powers Boothe is the father.

The film is entertaining when it focuses on Scott, despite his unreliability and the ups and downs in his dealing with his family. Anna Paquin has to mellow. Luke Wilson has to get some hold on his life.

The title is not exactly clear although the little boy does have straight 80s in his reports. By the end, Scott with his interventions in the family, has some straight 80s of his own. The end of the film is a touch downbeat. It was directed by James Cox, director of a range of films that touch on show business, Rock Star and Wonderland. He also directed the offbeat, and off-putting, Highway.

1. The title, as applied to Charles, to Scott?

2. An American slice of life, briefly presented?

3. The locations, the mansion and its surroundings, Louisiana and Shreveport? Schools, hotels, casinos, pool halls? Realism? The score?

4. The picture of the Henderson family, Bill and his being busy and away, Katherine and her harsh manner, the place of the children? The servants? An American family, well-off? Scott and his being different? His intervening? His father and Alzheimer’s?

5. The focus on Scott, audience interest in him, engaging personality despite his difficulties? His look, riding the horse, the explanation that he could not drive? His past, high school, with Katherine, clash with his father, leaving, the institutions? His love for Katherine? Drug-taking? His mother, concern for his father, hallucinations and her urging him to go to his father? His father, his mind, memory, getting the guns? His carer and her looking after him? Katherine and her antagonism, the change, and Scot’s leaving? The clash with Bill? Scott and the bond with Charles, the irony that he really was his son? The little girl and her play, Charles and his bonding with Scott, Scott going to the school, the reprimand from the principal? His being late for dinner, the bath, not realising people wanted him there? Not reliable? Going out, drinking, playing pool, getting the crowd to party at the pool, Katherine’s anger and his leaving? Arriving for Charles’ speech? His advice to look at someone who appreciated him, then another, and another and that happening with the family? The meal and the father coming, the reading of his wife’s journal, the truth revealed? Scott and his fit, the hospital, the vigil by all the family? His death and funeral?

6. Katherine, after 10 years, becoming very haughty, shopping, gossiping? The change with her cooking and the maid surprised? The disappointment in Scott, the rules? Her relationship with her children, strained? Her anger at Scott, memories of his possibilities? Bill, her phone calls, everybody at the hospital? Her response to Scott’s death? The reconciliation with bill, declarations of love?

7. Bill, his life, the stale marriage, being away, his job, his success, the meeting and his promotion? His friends, the woman at the meeting, passed friendship, playing verbal games, the partying, the police and their departure? The phone call from Katherine? His return home, anger at Scott, the truth, love for Katherine? Charles and his advice? Building the stable for Scott’s horse?

8. Charles, his age, style, proper, at school, the teacher and his speech? Scott and the lunch? Scott paying for the drinks for the little girl – and her thanks to Charles? His being upset at Scott missing the meal, bonding, the speech, the hints for winning over the audience, his success? Gracie and her age, the house, full of life?

9. The father, the past clashes, Alzheimer’s, his carer, getting the gun? Going to the meal, a move towards reconciliation?

10. Interesting and enjoyable? A small film?

ROBOCOP

US, 2014, 117 minutes, Colour.
Joel Kinnaman, Gary Oldman, Michael Keaton, Abbie Cornish, Jackie Earle Haley, Jennifer Ehle, Jay Baruchel, Samuel L. Jackson, Marianne Jean- Baptiste.
Directed by Jose Padilha.

By the end of the 1980s, Robo Cop had not only been a film with sequels, it had become a word that was part of the English language. This was the cop who was part human and part machine. He was unleashed on to a criminal world and made his substantial physical and metallic presence felt, a crusade eliminating crime in American cities. He was played by Peter Weller.

While the concept might be much the same in 2014, there is a great deal of difference in the technology available, for the armour for Robo Cop himself, for machines doing similar work, like drones, and for the information available to Robo Cop as he goes on his mission of cleaning up Detroit.

The film starts on an interesting, somewhat satiric tone, with Samuel L. Jackson as a right-wing television compere of his own show, The Pat Novak Show. He is prone to rant and rave, and takes up the drones and machine capacities for surveillance and for keeping law and order. He has a reporter in Tehran where the drones seem to have everything under control, until some terrorist suicide attacks. Cut immediately from Tehran and a move to discussions about legislation to support the drones, support for the company which has been making them, Omni Corp, and its head and an attack on the Senator who is sponsoring a bill to outlaw them. So it can be seen that there are political issues, big business issues, the ethics of this kind of fighting machine – more especially so when the issue of the Robo Cop is announced.

In the meantime, there is a lot of crime in Detroit, especially in drug dealing, manufacture and distribution. We are introduced to a number of Detroit police, undercover, overt, indicating problems with deep cover and corruption. One of the police, Alex (Joel Kinnaman), is under some suspicion because of the death of his partner. He is determined to target and bring to justice the main drug villain in the city. Since he is going to be the Robo Cop, it is inevitable that we see an attack on him, a firebomb in the car at his home, which will have such effect on his physical condition that he is like a waking dead. But, he is considered the best opportunity for developing the Robo Cop.

The film has a strong cast besides Joel Kinnaman, with Michael Keaton as the president of Omni Corp, plausible, sinister, and finally ruthless. Gary Oldman is the doctor who has been able to help patients with artificial limbs to continue their lives. It is he who is commissioned to develop the armour for the Robo Cop and to help him function as human. Jennifer Ehle is Michael Keaton’s assistant, all businesslike and unemotional. Jay Baruchel is the head of public relations, a combination of shrewdness and being a nerd. Abbie Cornish plays Robo Cop’s wife.

Alex is dismayed to find himself in the depleted physical condition but finally agrees to his role. One of the big differences from 1987 is the technology available for him, the downloading into his brain of all the available data about criminals, DNA, fingerprinting, identification of criminals, which actually goes into overload. Once he goes into action, there is plenty for the action entertainment audience. He is on his motorbike, speeding around the city, using his inner screen to find and locate people, able to detect whether they are a threat or not, wreaking havoc ultimately on the drug boss.

But, is he able to be controlled? And what about his relationship with his wife and son? And what about changing the legislation in Washington and the lobbying of Congress men and women, Omni Corp’s financial outlay for changing legislation, aided with more haranguing by Pat Novak on his show.

Obviously this is going to lead to a crisis, shootouts, ethical crises… While there is a happy ending for Robo Cop, we are still left with Pat Novak at the end, almost a parody of commentators from Fox News and other right-wing outlets in the United States, urging the audience to develop law and order, militaristic attitudes for preserving their way of life.

Action, science fiction, futuristic imaginings, ethical issues, and a critique of some extremist media commentators.

1. The popular films of the 1980s? The idea of the Robo Cop? His appearance? His mission? The transition to the 21st century? How different? How similar?

2. The importance of the special effects, the drones and their activity, creating the armour for Alex, Robo Cop in action, riding his motorbike, assessing the threats of the assailants, the weaponry?

3. The future, the near-future, situations of law and order, international problems, the drama at the opening in Tehran, the locals, their being scanned as being dangerous or not, the drones and their patrolling, the terrorists, their attacks, the young man and his mother, the suicide bombers, chaos in the streets? The US, crime, law and order, legislation for such Robo Cop weaponry? The musical score and atmosphere?

4. The framing of the film with the Pat Novak Show, right-wing television and commentators? Samuel L. Jackson and his screen presence? Propaganda, criticism of the legislators, wanting the machines on the street, promoting law and order, Novak and his prejudices, haranguing, controlling of his guests – the hologram of the Senator and his being switched off? Pro Omni Corps and capitalism? The public? Being persuaded? What was Novak left with at the end – a kind of Fox News rant?

5. The role of the police, Alex and his partner being killed, the interviews with the corrupt police, with the drug leads, the role of police corruption, the role of the Detroit chief? Drugs?

6. Alex, home, Clara, his young son, the bonds?

7. The drug villain, his thugs, corrupting the police, the confrontations?

8. Raymond Sellers as the head of Omni Corps, the perfect capitalist, his company and the design of the drones, the idea for Robo Cop? His staff, Liz Kline and her support, impersonal? Tom Pope, ideas, the publicity, his throwaway line personality? Sellers going on television, interviews with Novak? The issue of the Senator and the confrontation between the two?

9. Dr Dennett Norton, his personality, his skills, achievement, the example of the young man and the artificial fingers, trying to play the guitar, control?

10. Alex at home, going out to the car, the explosion, the burns and so much destruction of his body? Going to the hospital? The care?

11. The discussions about Robo Cop, the officials, the chief of police? The decision for Alex to become Robo Cop? The fitting, only his chest and his face, his brain working? The armour to fit him, his waking, his horror, being unable to move, his being programmed, the drugs, enabling him to move around, to coordinate? His wife and the visit?

12. The training for Robo Cop, Rick and the weaponry, the training and the testing, his cynicism towards Alex? The later confrontation, thinking he was immune, his being destroyed?

13. Alex ready, becoming Robo Cop, coordinated, the data in his brain, the extraordinary range of information, the overload? The press conference, Clara and her son and her reaction?

14. His going on his mission, the motorbike, speeding through the city, the use of the technology, confronting people in estimating their being a threat or not, the range of arrests, the information, people’s fears, giving up the information?

15. The drug chief, going out of business, fixated on Robo Cop, and vice versa? The corrupt police, tracking them down, getting the information, the chief? The set up, to trap Robo Cop, the factory, the villain and his squad, Robo Cop, unafraid, going in, destroying the warehouse, the workers, the thugs, the villain?

16. Clara and her son, wanting to see her husband, the traumatic effect on the boy?

17. Sellers and his team, buying of the senators, the vote and their success? Making money out of RoboCops?

18. Alex, not functioning well, reaction to his wife and child, continually on mission? Her concern? Her plea? His priorities?

19. Dr Denton, his assistant and their working together, building up the program, controlling the drugs? Alex going out of control? Dr Denton and his trying to reprogram? Sellers and his dismissal of him?

20. Dr Denton, taking control of Robo Cop while Sellers was planning his demise? Alex and his foray into the weapons department?

21. Liz Kline and her trying to smooth-talk Clara? Tom Pope and his underestimating the situation?

22. Sellers and his preparing to announce the death of RoboCop? Everybody on the roof? The helicopter, Clara and her son? Alex’s arrival, the confrontation?

23. Things being settled? The possibility of future drones and RoboCop’s? The happy family? But Pat Novak and his continued campaign?

24. Action adventure but with a great deal of social conscience?

LADY GODIVA OF COVENTRY

US, 1955, 95 minutes, Colour.
Maureen O’ Hara, George Nader, Victor Mc Laglan, Rex Reason, Torin Thatcher, Eduard Franz.
Directed by Arthur Lubin.

Around the middle of the 1950s, there was a popular move to present stories from the Middle Ages on screen, The Black Night, The Black Shield of Falworth, Prince Valiant, The Knights of the Round Table, Quentin Durward. This is another of the media level entries. Most of them had the comic strip touch, Prince Valiant being, literally, a comic strip. And this is the case with the story of Coventry’s Lady Godiva.

The setting is in the middle of the 11th century, the threat of the Normans invading England with William the Conqueror. Saxon nobles are against this and are trying to persuade King Edward the Confessor, part Saxon, part Norman, to acknowledge this, ousting the Normans and nominating a Saxon successor, Harold – who was, in fact, defeated at the Battle of Hastings by William the Conqueror.

There is a great deal of intrigue, pressures on the King, who would rather have been a monk and does not have the skills of managing his kingdom well – in the Catholic tradition he is considered as a saint, St Edward the Confessor. He is played by Eduard Franz.

Also involved is Leofric (George Nader, an emerging star of the time but who did not have follow-up success) a Saxon noble who is supposed to marry a Norman Princess. When he sees her, he has no wish to marry and is put off by her vapours and faintings! He is arrested, imprisoned by the local sheriff. In the prison he meets a fiery young woman, Godiva, the sheriff’s sister. She is played by the beautiful Maureen O’ Hara, all stops out. He also meets a group of locals, tough and drinkers, featuring Victor Mc Laglan in a typical boisterous role. Leofric and Godiva are immediately attracted – in a Taming of the Shrew kind of way, she certainly being a tough woman, not given to vapours and paintings but lifting huge logs and pulling big tables to show that a Saxon woman can be attractive. And she is, because they marry almost instantly.

There is a lot of rambunctious humour and give-and-take in the prison sequences.

But, then it is back to politics, and a Norman earl scheming against the King, a Saxon earl (Torin Thatcher) and his son, Harold (Rex Reason), clash with Leofric about lands and ownership, make a pact organised by Godiva joining to support the King. But the king’s mind is poisoned, the Saxons exiled, but Leofric asserting that he will support the King to hunt down the Saxons. And this includes Godiva who is sheltering some of them. However, this is something of a sham and a cover for Leofric to help the Saxons get together against the Normans.

When Godiva is accused of treachery against the King, it is decreed that she should suffer the punishment of an unfaithful wife: to ride naked around the city and be made mockery of. Godiva says she will do this but that the people will not mock her – so that her famous ride, presented in a guarded 1950s visual style, she with her long hair, side-saddle on the horse and led by a silent abbess with a candle, rides through Coventry and everybody turns away in respect.

Happy ending – until the invasion of William the Conqueror, the defeat of the Saxons at the Battle of Hastings, which produced a different kind of happy ending and stories of the Crusades, Richard the Lionheart and Prince John…

The director is Arthur Lubin, director of many films at universal – including films in the Francis series.