IN A WORLD…

US, 2013, 93 minutes, Colour.
Lake Bell, Rob Corrdry, Demetri Martin, Geena Davis,
Directed by Lake Bell.

In a World… words maybe very familiar to moviegoers who take notice of trailers for forthcoming films and the words and tone of the voice-over talent. Don La Fontaine was celebrated, in real life, for using these words in many of the introduction to the trailers. This fictitious story, based on fact, takes up the issue of who was to succeed him in doing these significant voice-overs. Hence the title, In a World…

The film is the work of actress, Lake Bell, who has written the screenplay and directed the film, as well is taking one of the central roles. She has done quite a fine job for the film and won an award at the Sundance Festival for the screenplay.

She plays one of two daughters of a vain father who fancies himself and his voice talent, tends to put down his daughters, and is taken up with a wife half his age. He also has a candidate for the new voice-over talent because he is retiring.

Carol (Lake Bell) is still diffident because of the suicide of her mother and the repressive attitudes of her father. She relies on her sister and her sister’s husband. She is also interested in a technician who records auditions, who is interested in her, but is also very diffident. In the meantime, she goes to a party thrown by a celebrity who is also after the role will. She has an attachment to him – and then finds that he is the talent.

The film takes us into a fairly isolated world, even with their own annual awards for commercials and trailers. This is quite interesting in itself, and the characters are well brought to life, even though most of them are quite unsympathetic. Geena Davis appears at the end, the producer of the new quadrilogy (instead of the expected trilogies like those for the Twilight series and Three Hunger Games).

A small, small-budget, independent film which, nevertheless, entertains in its own right.

1. The audience’s entry into a different world, an unfamiliar world? The world of entertainment and movie trailers? The world of commercials and voice-over? The world of voice talent, their work, rivalries and competition, awards, lifetime achievement? Personal stories?

2. Lake Bell, actress, writer, director? Her perspective on this different world?

3. The title, Don La Fontaine, his long career, success, the clips, admiration for him? His using the phrase for many trailers beginning, ‘In the world…’.The search for a successor?

4. The visuals of the drama, personalities, reputations, work for auditions, success and failure, changing voices to those required for voice-over? The awards?

5. The portrait of Carol, in herself, a talent, her being put down by her father? His domination, meals, meetings? Being insecure, the pattern of her life, her mother killing herself? The bonds with Danny? Siblings? Her liking Lewis? Her job, her voice coaching and clients, dubbing for Eva Longoria, the award of the trailer voiceover, the parody of the four part adaptations of novels, quadrilogy? The Amazons in the trailer? Warner wanting the job, Carol undecided about the party, her going, the red dress, looking at his anthropological room, the sexual experience, leaving? her being upset about Danny and the breakup of the marriage? Her father and his disdain? The awards, her father’s anger about her winning the job, his finally dedicating of his award to his daughters?

6. Jamie, young, with Sam, Carol and Danny against her? Yet nice, sensible, preparing meals, socials, her threats to Sam and telling him off? Satisfaction with his dedication?

7. Lewis, gawky, his work, his secretary and her inappropriate interventions, going to the party with her instead of Carol, the secretary being sick? With Carol, their talking, each happy to discover that they liked each other? His doing the auditions with her? Heading for a nice ending?

8. Warner, his ego, lavish home, rich, anthropological room, the party and the guests, the attraction to Carol, the night with her, the aftermath, discovering she was the rival? His clash with Sam, onstage introducing him, and the phoney bonhomie?

9. Danny, her work, her husband, nice at home, the Irishman and his accent, the kiss, the husband being upset, angry, ousting her? Her meetings with Carol, discussions, meals at home? Carol and her intervention? The husband coming home, the happy reunion?

10. Sam, his career in voice-over, his vanity, loud talking, the death of his wife, his putting down his daughters? Discouraging Carol? His relationship with Jamie, happy? Discovering that Carol was the rival for the job, his putting himself on the list again, the audition? His lifetime award, anger at the dinner, walking out, Jamie telling him off, his doing the right thing on the stage, the show with Warner, his acceptance speech, dedication?

11. Carol, meeting the producer of the quadrilogy, the explanation of the motivation? Not that Carol was the best but was the best for the situation?

12. The audience being immersed in the different world?

JACK

Germany, 2014, 103 minutes, Colour.
Ivo Piertzker, Georg Arms, Luise Heyer.
Directed by Edward Berger.

Jack is a plain name for a fairly straightforward German slice of life.

Ivo Piertzker is excellent as Jack, a 10-year-old boy who takes a lot of responsibility for his younger brother. He has to because their mother, although she has great love for her children, is quite self-centred and irresponsible, leaving her children for days on end while they have to fend for themselves – or Jack has to fend for both.

The film shows some very happy times. However, the little boy scalds himself in a hot bath while Jack is making him a meal, the result being that they have to go to social services and it is decided that Jack should go into an institution for young children. It is very hard for him and he suffers considerable bullying, despite the warmth of many of the staff. When he is involved in hitting his opponent, he decides to run away. There is no sign of his mother, although she speaks with affection on the phone. He collect his little brother and the rest of the film is about their trying to cope, wandering around the city, Jack involved in trying to steal some binoculars from a store to give to a boy at the home. They sleep in cars until ousted by security. They go to a friend of their mother but decide that they have to fend for themselves. Ultimately, they find their mother at home and are overjoyed. She, however, is full of excitement about a man she has met and whom she could marry.

Jack has to decide whether they should stay with her leave.

The film is plainly made, emphasis given to realism, and the performances are most persuasive in this context. And, of course, the film is a plea for concern about wayward parents and the effects on their children.

1. A German slice of life, particular, yet universal?

2. The strong cast, the actor playing Jack, his screen presence, in every sequence? Realism?

3. The city, apartments, streets, the garage, stores, offices? The institution, the interiors? The countryside, the lake? A sense of realism? The musical score?

4. Social concerns: single mothers, their partners, the mothers and the danger of their selfishness, focusing on themselves, irresponsible? emotional and hopes for a new partner? the children? their ages, different fathers, life at home, play, the reality of the child being jealous of the partner? The outings? injuries? Going to the institution? Care, bonds, bullying and its effect? The separation of siblings?

5. Jack, his age, waking up, preparing the breakfast, everything for Manuel? The mother, her enjoying being with her sons? Jack hurrying, school? The outings, their mother’s friends, play in the park, going home, Jack waking, the mother and her sexual encounter, his confronting his mother, hungry, her being comfortable naked with her children, making him the food? The morning, all playing as if dogs? Jack and his clash with the partner, throwing his clothes over the balcony? The strong stance? Jack and his caring for Manuel, loving his mother, the episode with the boat, getting the branch to reach it, going home, the bath, the burns to Manuel’s legs?

6. Becki, the meeting with mother and children, the agreement, the mother changing her mind? Jack going to the institution? Meeting everyone, the meals, helping in the kitchen, Danilo and the girl and their brutality, punching and kicking Jack? His bruises? The episode with Marcus and the binoculars? Preparing for the holiday, his mother’s phone call, his having to stay? Going with Danilo to the lake, the invitation to the swim, and his trying to drown Jack, throwing the binoculars in the lake, Jack trying to find them? Hitting Danilo with the branch, leaving, returning, Danilo gone, his fears, going home?

7. The mother, her being away, virtually abandoning her children, her continued promises? Jack and his searching for Manuel, going to Kati in the bakery, her apartment and the brutal man? Going to Jonas, his help in understanding, letting Jack do work with the cars? Yet Jack wanting to go by himself?

8. Jack and Manuel wandering the city, sleeping in the car, ousted by the supervisor? Leaving notes about the key for his mother, never looking at them? Sleeping on the benches? In the public transport? Going to the shop, stealing the binoculars, the chase? Losing Manuel? His being at home? Stealing the sugar and milk from the diner? Going home, the light on, the mother happy to see them, giving them food, talking about her new partner?

9. Jack and his making the decision, in the night, taking Manuel, returning to the institution? Saying ‘Its Jack’ and the response, ‘Who?’.

THE GRAND BUDAPEST HOTEL

US, 2014, 100 minutes, Colour.
Ralph Fiennes, Tony Revolori, F. Murray Abraham, Edward Norton, Jude Law, Soairse Ronan, Tom Wilkinson, Harvey Keitel, Jeff Goldblum, Adrien Brody, Willem Dafoe, Matthieu Amalric, Lea Seydoux, Jason Schwartzman, Bill Murray, Owen Wilson, Bob Baliban.
Directed by Wes Anderson.

The Grand Budapest Hotel is quite an entertainment. It is the work of writer-director, Wes Anderson, who has developed a strong reputation since the 1990s and his initial films, Bottle Rocket and Rushmore. This reviewer has not found his films in recent years quite to his liking, especially The Darjeeling Limited. A past favourite has been The Royal Tenenbaums.

But, here is a film which should entertain most audiences. Specialists will enjoy the Wes Anderson imagination. Audiences coming in unawares may well be taken up by its humour and its quirkiness. The quirkiness can be seen even in the construction of the film: starting with a young woman going into a cemetery and sitting by the monument to a famous author and reading the book which is the title of the film; the narrative then recedes to the 1980s with the famous author doing an interview straight to camera but interrupted by his little boy; there is a further receding in time, a younger version of the author going to the Grand Budapest Hotel in 1968 for his health and meeting the owner and spending time listening to his telling the story of the hotel and his own involvement; further receding to 1932 where most of the action takes place, the vitality of the hotel in its time, the clientele, and, particularly, the concierge, Gustave H.

Anderson also uses different cameras and different ratios to present these different times, the 1932 stories using the traditional box screen.

There is quite an eclectic cast for the film, many of whom have work with Anderson in his previous films. But the centre is Ralph Fiennes as Gustave H. It one of his best performances, tightly controlled, a concierge who knows all the rules and all the manners – but also knows how to manipulate the rules for the whims of the guests while keeping his dignity (except when he surprisingly bursts into some swearing).

The other central character is young refugee from the Middle East, Tony Revelori in a very fine performance, as Zero Moustafa who becomes an apprentice to the concierge. He also shares in many of the adventures – which include getting mixed up with the rapacious son of an elderly woman who was devoted to Gustave, as well as the son’s murderous assistant, and the stealing of a painting which was bequeathed to him. This leads to police chases, arrests, and Gustave’s time in jail as well as arranging an escape.

Part of the entertainment is that the audience has no idea where all this is leading, entertaining episodes building on each other without predictability.

It is difficult, sometimes, even to recognise some of the cast, especially Tilda Swinton made up to be the 84 year old benefactress, Jeff Goldblum as the lawyer, Harvey Keitel as the prison leader. Other actors are easier to recognise and more quickly, sometimes with very brief appearances like those of Bill Murray, Owen Wilson. And Willem Dafoe proves that he can be one of the most sinister villains on screen. On the more gentle side is Saiorse Ronan is young chocolate maker who falls in love with Zero. Tom Wilkinson is the older author, Jude Law the younger. And F.Murray Abraham is excellent as the older Zero who is narrating the story.

It all takes place in a fictional central European country, reminiscent of The Prisoner of Zenda. It also has a fictitious parallels to the Nazis and the SS, led by Edward Norton, which gives some sinister tones to the proceedings.

Come to think of it, it might be well worth sitting through The Grand Budapest Hotel again.

1. An entertainment? Imagination? Europe of the 20th century? The early half? Fantasy and reality?

2. The director, his career, his assembled cast, performances, make-up, accents, comic style?

3. The visual style, in the hotel and its facade, animation, for the ski-lifts…? The realism with the different ratios for the cameras for the different periods? The early 30s and the traditional framing? Colour, light and dark, moods?

4. The mythical country, the city of Lutz, its look, the streets? The variety of tones and pieces of the musical score?

5. The 21st century, the girl in the cemetery, the monument to the author, hanging the keys, sitting and reading the book of The Grand Budapest Hotel?

6. The 1980s, the author, speaking to camera, his interview, the interruptions, the little boy? His telling the story?

7. The return to 1968, the younger author, there for his health, going to the hotel, the concierge, the gossip with him, the interest in the owner? Meeting the owner, F. Murray Abraham and his screen presence, narrating the story? Age, look, his voice, the upper room for his memories, inviting the author to dinner, telling his story? The flashbacks to 1932, Zero’s voice-over, the hotel, its lavish look, the clientele, their wealth, the kind of service?

8. The introduction to Gustav H.? Ralph Fiennes and his screen presence, his look, speech, the sudden surprise of his vulgarities, his elegance, efficiency, service, in charge of the staff, the sermon to them and reading poetry – and their hurrying to eat? His devotion to women, the elderly, blonde, sexuality, bisexuality, his camp manner? Zero and his being the lobby boy, his age, Gustav interviewing him, little experience, no family and the later revelation about their murders? His helping Gustav, an apprentice?

9. The interludes with Zero telling the story to the author, stopping, being moved, weeping?

10. Zero and his work, following Gustav, his own love of poetry? The chocolates, Agatha, the birth mark like Mexico on her face, falling in love with her? Sharing with her, Gustav approving, and Zero warning him not to flirt? Her help with the stealing of the painting? Dmitri and his coming to attack her, the threats, over the wall, hanging on, Zero to the rescue, the jumping, finding the alternate will? Marriage? Short-lived, the suddenness with her illness which could have been cured in later decades?

11. Madame, being pandered to by Gustav, sexual attitudes, nervousness, his reassuring her, seeing her on her way? The news of her death, Gustav and Zero travelling, getting to the border, the rough treatment by the military, the commander and his gratitude towards Gustav, giving the document to Zero, later encounters at the border and the document torn up and Zero bashed?

12. The introduction to the war, the annexation of the small European countries, the alternate Nazis and their emblems, treatment of people?

13. Gustav and Zero, arriving, the encounter with the butler and his warning? The reading of the will, the many relations to hear the will, Dmitri in the front row, sinister, his attitude towards his debt mother? Jopling and his knuckledusters, his teeth, sinister look? The three sisters and her and their entering it once?

14. Kovacs, his visits to the hotel to consider the books? His presiding at the reading of the wheel? The painting, bequeathed to Gustav? Dmitri and his angers, and to Gustav, ridiculing him, and his sexuality? Zero’s idea, the taking the picture, wrapping the painting, the maid and the butler? The butler disappearing? The return home, hiding the painting, Zero warning that the police had arrived?

15. Gustav’s arrest, going to jail, his fight and the message about Pinky and his becoming his friend? Serving the mash, the big prisoner and his gratitude? Ludwig and the group, meetings, planned to escape? Agatha and her help, concealing the weapons in the chocolates and their being allowed through security? The digging, getting out, the murders, the big prisoner helping, the sewer, the ladder, the jump? The local bus and the killing the driver? Zero and Gustav talking, Zero forgetting the perfume, the talk, hurried leaving, on the train?

16. The butler, Jopling and the warning to the sister, later killing her and sending her head in a box to the police? The rendezvous, the ski lifts and the two meeting, the monks and their continually checking on the identity, going to the chapel, the confessional, hearing the true story, Jopling killing the butler and exiting disguised as a monk?

17. Gustav and his phoning his network of managers, the variety of hotels, the calls, the guest stars? The safe passage? And the deodorant?

18. The return, the handover of the hotel to Zero, Gustav in his element, surrounded by the women – and the information that he was later shot?

19. The new manager, and the guests, Zero and the painting above the concierge desk? HIs inheriting the hotel, keeping it for Agatha’s sake? Even into the drab Communist times?

20. The excitement of the visuals, the humour and the verbal wit, the inventiveness and imagination, a comic achievement?

LOVE IS STRANGE

US, 2014, 94 minutes, Colour.
Alfred Molina, John Lithgow, Marisa Tomei, Darren Burrows, Charlie Tahen.
Directed by Ira Sachs.

A rather unfortunate title for a very gentle film. The love presented here is not accepted by many individuals, communities, even countries. It is same-sex love. However, this description does not quite do justice to the treatment of the theme in this film. It is a film that can be watched, calmly and with emotional interest, by most adult audiences. The emphasis is on loving emotion and commitment and does not dwell on the sexual behaviour of men in this kind of commitment.

The film does open with a same-sex marriage ceremony. The two participants have been together for 40 years. They are played, with energetic verve, by John Lithgow and with a gentle honesty by Alfred Molina. It is to the credit of these two actors that the film is emotionally persuasive, no matter what the moral stances of the audience. The other credit is to the writing by director Ira Sachs and his cowriter, Daniel .

The film takes for granted the relationship of the two men, Ben (Lithgow) a gallery manager and a painter, and George (Molina) a music teacher and choir conductor at a local Catholic school. As regards George and his presence in the school, the principal and staff, including priests, are aware of his relational situation. However, once he participates in the public union, the diocese feels that this public statement is not compatible with his role in the school and he is dismissed. The scene where he discusses the situation with one of the priests, a friend, does raise the issues of governments accepting same-sex ceremonies and the witness that that this gives to students in the school.

George’s losing his job changes the situation for both men, their not being able to afford their apartment. There is a meeting of their relatives and friends who all have an idea of what they should do for both men. The upshot is that Ben goes to live with his sympathetic nephew Elliot (Darren Burrows), the nephew’s wife, a writer, Kate (Marisa Tomei) and their teenage son, Joe (Charlie Tahen). George goes to stay with two gay friends, both policemen.

Much of the film shows, sometimes with humour, sometimes with wry feeling, the joys as well as the difficulties of these arrangements. In fact, Ben talks incessantly, shares a room with Joe much to Joe’s chagrin, especially when he wants privacy and working with a fellow-student on projects from school. Kate is sometimes driven demented by Ben’s incessant talk. On the other hand, George, a more simple and introverted soul, is content with his lot, even when his hosts put on a noisy party.

There is some solution for the two, even as they have to make arrangements to meet, coming from their different homes. There is a fine scene after they attend a concert where they reminisce about their past, Ben confesses to some failures in the relationship, George exercises his good-nature and patience.

There is a pleasing conclusion to the film, with some sadness, especially with Joe who has found dealing with Ben rather difficult, coming to George and treating him as a confidant for his questions about life.

Love is Strange is a very wide-audience friendly film about two gay men.

1. The title, love not strange, different from the mainstream but gentle?


2. The director, writing, the gay perspective, interests and concerns?

3. The perspective on relationships, unions, marriages, love and affection, struggle and survival? No focus on the physical aspects of homosexual sexuality?

4. The introduction, Ben and George getting up, dressing for the ceremony, the housekeeper, the fuss? The wedding ceremony, the people present, the applause? Kate and her speech, her writing and her husband’s artwork, Ben’s nephew, knowing the couple for many years? The expensive honeymoon – only the later reference verbally?

5. Introduction to Ben, the type, his age, at 70, flamboyant, his galleries, his work and painting, his being prone to talk and chat?

6. The contrast with the introduction to George, the formal choir, the singing in the church, an ordinary man? The discussions with the priest, knowing him for years, the fact of his homosexuality and living with Ben, the students accepting this in the school? The role of the diocese, the authorities, the same-sex marriage as a public statement? George having to be fired instantly? The sympathy of the priest, yet society’s attitudes towards same-sex marriages? Catholic Church stances?

7. The financial situation, having to sell the apartment, calling the group of friends, sharing ideas? Strong opinions, assertions, the plan? Ben and his depending on his nephew, Elliot? Kate and Joe? His going, settling in, sharing the room with Joe, the bunks, his sleeping in the afternoon, Joe and the need for privacy, bringing Vlad to share the preparation for the project? Meals and discussions? Kate and her trying to work, Ben and his talking incessantly? Keep trying to be patient, the final exasperation?

8. George, living with the police, settling in, accepting his situation? His visiting the school, seeing the teachers, the new choirmaster? The voice-over of his letter to parents, explaining his situation, asking for their understanding?

9. The meetings with Ben, the concert, the violin?

10. Ben, working on the roof, painting Vlad, Joe and his anger? Elliot’s suspicion about Joe and Vlad? Saying Kate was too kind in her approach? The accident, Ben falling down the stairs? The issue of the disappearing book, Ben sitting and listening to the accusations against Joe, finally saying he took the book? His having to deal with the situation? The family having to deal with it?

11. The socials, the gay clubs? George at home, the party, his being bored, introverted? The chance encounter with Ian, his partner leaving? The talking, both English? Ian as an archaeologist, the offer of the trip to Mexico and the position? The apartment available? His having the key, the offer, George happy to accept?

12. George and Ben, the long final walk in the street, declarations and love, Ben confessing infidelities, their both being at peace? Then turning the corner – and the offscreen death?

13. George, alone, no visuals of the funeral?

14. Joe, the visit, talking, the gift of the painting with Vlad, hanging it on the wall? Joe and his trust in George and George being available from talk?

15. Joe, the girlfriend, the skateboards, going along the street, the visuals of the sky?

16. The musical score – and the continued use of the piano and its effect?

‘71

UK, 2014, 100 minutes, Colour.
Jack O’ Connell, Paul Anderson, Sean Harris.
Directed by Yann Demange.

The title indicates the year, 1971.

The location is Belfast, the times of the Troubles. At one stage, a map is shown of the city, indicating the dividing lines, especially the Falls Road, between Catholics and Protestants. The sympathies of this film are not with the militants on either side of the divide.

In fact, the focus is on the British soldiers who occupy Northern Ireland. We are immediately drawn into their training, the young men away from home who have to have military expertise if they are to keep the peace and if they are to keep the enemies away from each other. There is very little judgement made about the fact that the British are in Ireland. It is considered a fact and the men have to do their duty.

Along with the British troops, there are special branches who work somewhat undercover, making contacts with locals on both sides to get information – and can tend to be unscrupulous as to how they get in the information and protect it, even to being willing to kill British troops to save their contacts. Sean Harris is convincing as Browning, the head of this agency.

On an ordinary morning, aware that there are militias on both sides, the British decide to search for weapons amongst the Catholic streets, the men protesting, the mothers and sisters pounding the foot paths with garbage tins in protest. The treatment of the Catholics is very rough.

What happens is that two of the British, very young men, are separated after they hold the line against protesters. And one of them is shot, the other, Hook (Jack O’ Connell) has to make his way back to headquarters, a very difficult journey during the day and into the night, eluding capture, hiding in a lavatory, high finding a pullover to disguise himself, trusting himself to a young boy who seems to have some kind of command, wounded in a pub explosion and cared for by a Catholic doctor and his daughter – ultimately having to escape when the provisional IRA are in pursuit.

This creates a lot of tension, even for audiences who have seen several of these Troubles films including Paul Greengrass’s Bloody Sunday and Pete Travis’s Omagh.

The film was made by French-born director, resident in England, Yann Demange, maker of documentaries. This is his first feature film.

71 was awarded a commendation by the ecumenical jury at the 2014 Berlinale.

1. Young Protestants and Catholics? British occupation? The battles?

2. Using British locations for the Belfast of the 1970s? The streets, the alleys, the flats, homes? The headquarters? The soldiers billeted in the school? The riots, the guns, the tanks? The moody musical score?

3. Introduction to the British soldiers, boxing, the hard training, the mission to Belfast? The reactions?

4. Gary Hook, participating in the training? Going to see his son in the institution? His own past experience? The son glum, his father promising to come back? Back to the institution? And the final visit to his son and being reunited?

5. The perspective on the politics: the British and their presence, a reality, facts? The map, situating the Catholics, situating the Protestants? The Falls Road as a barrier? Fighting, the British role, keeping the peace? Protestants and their anti-Catholic stances? Vice versa? Catholics, the IRA, the provisional IRA, the younger street fighters?

6. Browning and his special force, contacts on both sides, working undercover, using people, creating a network? Protecting the network, protecting the information and the? Ready to kill the soldiers to protect and keep the cover?

7. The British commanders, sympathetic, berets instead of helmets? The reactions, the children and the pissballs, throwing the stones? The soldiers guarding, forming the barrier, the melee, soldiers getting separated, Thompson and his being shot, Hook and his trying to escape? The superior officers and decisions how to handle the situation and find him?

8. The searching of the Catholic homes, the search for the guns, the harshness and the treatment of the people? The women on the footpaths banging the garbage tin lids?

9. The drama of Hook and his survival? Fleeing from the IRA, Sean, Quinn? Again, his going into the alleys, their losing him? Hiding in the toilet? Finding the pullover? The young boy, leading him? Boyle and his sympathies? In the pub, the explosion, Bridget and her father, treating Hook? Hiding him, overhearing the information, his escape? The details of the escape, the streets, the darkness? Outwitting a pursuer and killing him? Quinn and Sean and the catching him? Quinn urging Sean to shoot him, Sean’s reluctance? The underling for Browning, following him, struggling with him, the military shooting? Killing Sean? The effect on Hook?

10. Boyle, his role, trying to preserve Sean, going to the doctor and his daughter? His playing both sides? Browning, finding Quinn, Quinn as leader, callous, her saving his life in exchange information and contact? Bridget and her father, the father and his helping Hook, the dangers?

11. The British cover up, the interviews with Hook, the various sides blaming each other? Browning’s group despising the regulars?

12. Hook leaving, travelling, on the bridge, throwing his tags in the river? Going to see Darren, the happy reunion?

13. Audience response? The opinions on the Troubles? The stances of the film, objectivity, issues of blame – especially for both sides of the Irish issues?

COCKNEYS VS ZOMBIES

UK, 2012, 88 minutes, Colour.
Rasmus Hardiker, Harry Treadaway, Michelle Ryan, Alan Forde, Honor Blackman, Dudley Sutton, Georgina Hale, Richard Briers.
Directed by Matthias Hoene.

Cockneys vs Zombies a rather good addition to the increasing number of small-budget, horror films which exploit a genre but are very much tongue-in-cheek. The tradition began with Shaun of the Dead, and its successor, Hot Stuff. Other examples of this kind of film include Attack the Block.

The plot is quite slight, two young men devoted to their grandad decide to rob a bank. They choose the worst possible day because the group excavating near St Paul’s Cathedral has uncovered a vault which contains infected bodies from the 17th century. The zombies overwhelm the workers, then out into the general public of London. Once the men have robbed the bank, with the aid of their cousin, taking a bank teller hostage as well is a very buttoned up bank assistant, they find that the police outside have been transformed. They hide out in a warehouse for a while, but eventually have to make a dash for it for the old people’s residence.

In the meantime, there is a gallery of actors led by Honor Blackman, with Alan Forde, Georgina Hale, Dudley Sutton as well as Richard Briers.

Once the young team up with the old, with the staff at the residence already living dead, the veterans act up with zest as they do gunbattle with the zombies.

Fans will enjoy it very much – and other audiences who come across it by accident may well be very amused.

1. The British tradition of horror films, with parody, from Shaun of the Dead?

2. This film deriving from the tradition? Horror, aliens, tongue-in-cheek?

3. Small-budget film, the benefit of the cast of veteran British actors? The songs? The musical score? Special effects?

4. The digging near St Pauls, the discovery of the vault, the 17th century? The historical information? The burial? The infected bodies?

5. The two brothers, their concern about their grandad, their characters, working together? The visits to the home? Knowing the residents? The decision to rob the bank? To pay for the improvements at the home? Going to the bank, the girl, her help? The cousin? The proper man from the bank? Driving, attempting to flee, being pursued, the crash, finding the zombies, including the police? Hiding? The warehouse? The zombies taking the banker? The action sequences and the escape to the institution?

6. The institution, grandad as the leader, loud, character? The singsong for the oldies? The staff? Honor Blackman as a type of action lady? Richard Briers enjoying himself as the old man, sitting outside? Georgina Hale and the sex emphasis? Dudley Sutton and his place in the home? The interaction between these characters?

7. The siege of the home, the staff becoming zombies, the craze zombies outside, confronting the zombies, the cache of weapons? The destruction, the group getting onto the roof? Action and adventure for the oldies?

8. Saving the day, ultimate victory? And yet…?

THE MONUMENTS MEN

US, 2014, 120 minutes, Colour.
George Clooney, Matt Damon, Bill Murray, John Goodman, Bob Balaban, Jean Desjardins, Cate Blanchett.
Directed by George Clooney.

The Monuments’ Men is very much a George Clooney film. Not only did he co-write it, he directed it and is the star. And he has gathered round him a very strong cast including Matt Damon who has worked with him many times and Cate Blanchett who worked with him in The Good German. Along with the stars, he also has some comic actors including Bill Murray and John Goodman. And, for good measure, he has the Oscar-winner for Best Actor of 2011, Jean Desjardins. There is a nod to the popularity in the United States of Downton Abbey with the presence of Hugh Bonneville.

The plot is interesting, a variation on war films, a more polite and well-mannered Dirty Dozen, for instance. The focus is on the art treasures that the Nazis were stealing all over Europe, especially those from France and Belgium, including the famous altarpiece in the Cathedral in Ghent and Michelangelo’s Madonna from to Bruges. German soldiers are invading the sacred places, interrupting the clergy, even killing them when they find that they are hiding the art treasures.

A concerned group approach President Roosevelt for permission to track down and recover the art treasures. He makes the important point of asking whether the saving of these treasures is worth a human life – with the answer that this is the historical and cultural heritage that is important for recovery after the war and for people’s cultural identity. It is interesting to note that President Truman asks the same question at the end of the war.

George Clooney portrays Stokes, the officer in charge of the operation and he has permission to recruit art experts, who are eager to enter into war action since they have been rejected because of physical disabilities. Matt Damon is Granger, who works at the Met in New York. Bill Murray is an architect. John Goodman another expert. They are put through some rigorous physical training, a bit difficult for people of John Goodman’s build and age! But this is a good opportunity for them to bond. They are joined by Hugh Bonneville, who has had his own personal difficulties in England, but is considered indispensable for the project. Once in Europe they are divided into teams of two except for Granger who goes to liberated Paris to track down a woman who worked in the Jeu des Paumes during the war years and is now considered a collaborator. She is played by Cate Blanchett.

There are several war action sequences, involving snipers, landmines, working undercover, and discovering that a lot of the art has been saved in a variety of mine shafts in Germany. With the approaching end of the war, some German squads are destroying the treasures. So, it is a race against time with some tension as the war ends, the Russians advance in Germany and the American group has to track down the most famous of the famous treasures.

While the film is quite serious in its theme, the writing is often quite humorous, American-style jokes, deadpan quips that give a kind of jaunty air to the film. For most audiences it will be a quite acceptable blend of action, adventure, with comic touches.

1. A popular entertainment, a thriller, war story, mission, the blend of the serious of the comic?

2. George Clooney as director, writer, star? Is interesting themes? His strong cast? The variety of moods for the musical score?

3. The years of World War II, American perspectives, Stokes, his speech to President Roosevelt, permission for the mission? Art, lives compared with the saving of art? The end, President Truman, asking the same question? Donald and his death, Stokes had his mission? The final image of Bruges, the Madonna, the aged Stokes and the boy? The effect of the cultural heritage?

4. A true story, the photos in the final credits?

5. The introduction to the team, their names, appearance, backgrounds in art, jokes about their personalities? The audience identifying the characters with the cast? Stokes and his explanation of the mission? their commitment? Their not being able to participate in the war because of physical disabilities? The opportunity?

6. The glimpses of training, tough going for the elderly? The bonding for the group? Sam Epstein and his work as translator, driving? His becoming an ally? His back story of coming from Karlsruhe, the migration to the United States, his grandfather staying, to Dachau, his talk of the Rembrandt painting, Jews not allowed in to see it? The final discovery and Sam seeing the picture?

7. The issues of art during World War II, the Nazi stealing all the art? The story in Ghent: the priests, concerned about the art, dismantling the famous altar painting, packing it, the trucks taking it, the Nazis stopping it, killing the priests, the art disappearing? Bruges: Michelangelo’s Madonna, Donald going to save it, the priests and the Cathedral, their meals, the Germans interrupting, taking the statue, Donald shooting, his being killed?

8. Donald and his background, his disgrace, yet his art skills, his taste? Stokes recruiting him, partly out of charity? His being shot, the letter home? His honour reinstated? For his father?

9. Paris, Stahle, Himmler, the treasure trove, the champagne? Claire and the assistant spitting in the glass? Claire, her work during the war, considered a collaborator, working for the resistance, her brother, his execution, her asking to his body? Stahle and his stealing the paintings, at the railway station, shooting at Clare?

10. The teams for the mission: Campbell and Savitz and Savitz being a private, the sparring, Campbell as an architect? On mission, the German soldier, his gun, Campbell’s technique for calming down with the cigarettes, each going their own way? Their identifying the artwork? Campbell and the mine and Granger’s danger? The final panel of the Ghent altarpiece and the discovery?

11. Walter and Jean- Claude, the Frenchman and his background, and poor eyes and ears, wanting to be a pilot, his art expertise? The experience of the sniper, Walter and Jean- Claude covering each other, his discovering the sniper was a little boy? The decision about the roads, stopping the car, in the field, and the Germans undercover, his being shot, Walter driving them to safety?

12. Stokes, his coordination, speaking with the authorities, their not wanting any dangers, their not wanting to write home to mothers that their sons had been killed for art?

13. Granger, background at the Metropolitan Museum? Going to Paris, meeting Claire, a frosty response, in her cell, accused of collaboration, her working for the resistance? Her talking, anti-Met? Her presumptions that the Americans wanted to steal the art? The continued discussions? Granger wanting her knowledge, the news about Stahle’s death? Bringing out her book, the accurate records? Coffey for James, the celebration, formal wear, her giving him the tie? Her proposing he stay the night, his marriage and his leaving? Her response to the arts being returned to France? The gallery owner and Granger’s friend? And the tie on the train?

14. Campbell, needing a dentist, the dentist chatting, taking them to see his nephew and wife, the art on the wall, Savitz and his examining the paintings, asking him about Rothschild, Stahle’s lies, the gun, his arrest? Stokes and Granger working together? With Sam Epstein? Going to the towns where the art was said to be, one of them in ruins? Granger and his standing on the mine, Campbell and his architecture of bricks and get him off the mine, the small explosion? Epstein and his explanation of salt, copper, the mines and the discovery of all the art, the Germans on the run and using flamethrowers and explosives to destroy the art and archives? Going to the castle, the hurry, the war ending, the Russians approaching? Stokes and his interrogating the officer, the German hostility, the fact that he had commanded a concentration camp, Stokes’ bagel story about the officer being hanged and then forgetting him?

15. The locals and the blocking of the tunnels to prevent the art being destroyed? Exploding and opening the barriers? Epstein and his discovery of all the gold? The press conference and photos – more for the gold than for the art? Finding the Ghent altarpieces? Stokes finally discovering the Madonna, getting it out?

16. The arrival of the Russians, the American flag, and the smile on the Russian’s face?

17. The end, the explanation of the mission, Truman’s response? The value of the work that this squad did?

THAT DEMON WITHIN/MO JING

China, 2013, 112 minutes, Colour.
Daniel Wu, Nick Cheung.
Directed by Dante Lam.

That Demon Within is an arresting police drama from veteran director, Dante Lam. Lam directed several police dramas, using the tradition that was established in the Hong Kong action thrillers from the 1980s.

This thriller is one with a difference, indicated by the title.It opens with a focus on demonic masks, a group of thieves wearing the masks and reciting a ritual to the Demons and stating that they would confront the police. And attempted robbery ensues but the police have surveillance and one of the criminals, after killing some police, is wounded himself and goes to hospital.

He is in need of blood and one of the officers knows that he has the same type and offers help. When the chief of police arrives, he is upset at the collaboration of the policeman.

The film is then the story of this policeman, a rigid personality, sometimes causing upsets in the areas where he works, being questioned by internal affairs and by psychologists. He becomes obsessed with pursuing the criminal that he helped, and suddenly finds himself in surveillance on the other members of the group. It follows with some dire results.

The internal affairs officer asks her sister, a psychologist, to treat the policeman and she hypnotises him. This leads back to his grandmother, his harsh police father, an episode where someone is burnt alive and he feels responsible. The psychologist comes to the conclusion that he is schizophrenic, hears voices, is dealing with the criminal he helped – but in his imagination.

Ultimately, the film reaches a climax with the policeman himself, the internal affairs officer, the corrupt policeman, police in pursuit as well as some of the criminal gang.

It ends with a fiery apocalyptic climax. However, there is a postscript in which there is a flashback to the childhood of the policeman, the work that he did, kindly, but there is the dramatic, fiery and explosive ending.

1. The tradition of Hong Kong police movies? Investigations? Criminals? Violence? This film in this vein, a different?

2. The city locations, homes, streets, the police precincts, hospital? Realism? Musical score?

3. Fantasy, the Demon masks and their meaning, the group and its initial ritual, against the police?

4. A film of imagination, mental illness? Dave Wong as a character, real and unreal, his hallucinations, his memories? The experience of the hypnosis and reliving his past? The diagnosis of schizophrenia? Hon? His father? The pursuit of Hon? The build-up to the loft, the drama, the chase, shooting, crash, his father’s appearance, the image, trying to save the policeman, his death?

5. The group and the planning of the robbery? The police, surveillance, the attack? Hon killing the police? His being wounded, going to the hospital, the encounter with Dave, the need for blood, Dave giving it?

6. The police chief, the others, their anger, on guard at the hospital?

7. Dave, his growing unreliability, his being moved on? In himself, single-minded, righteous, wanting to help? His sense of his own inadequacy, his scourging himself with his belt?

8. Internal affairs, the officer, concerned, worry? Dave in denial about his mental state? Going to her sister, the interviews, the hypnosis?

9. The members of the gang, Effigy and his being caught, fleeing, being pursued by Dave? MC, Broker, Rookie? The role in the robbery, the diamonds?

10. Dave chasing Effigy? Discovering him, Rookie and his taking the blind girl, the attempted rape? Dave’s confrontation, Rookie’s death? MC and Broker,
Dave and Hon in his imagination urging them to set up against each other?

11. The reports, the police, going to the loft, the grandmother and her illness, Dave and his concern? Internal affairs, the phone? Her talking to Dave? Broker arriving, the shootout? The corrupt policeman?

12. The mayhem in the shootings?

13. The corrupt policeman escaping, Dave in pursuit? The car, the explosion? Dave trying to save the man, consumed in flames?

14. The epilogue, Dave as a child, the fire and the petrol, watching the flames, people being consumed, his father? His becoming a policeman, his oath? Helping the old lady with the oranges?

15. Dave being consumed by his life and work? The title and the comment about latent malice?

ABOUT TIME

UK, 2013, 123 minutes, Colour.
Domnhall Gleeson, Rachel Mc Adams, Bill Nighy, Tom Hollander, Lindsay Duncan, Margot Robbie, Lydia Wilson.
Directed by Richard Curtis.

Best not to give up on this comedy because it gets better as it goes on - and on.

It has been written and directed by Richard Curtis, best known for his writing of such comic events as Blackadder and Mr. Bean, as well as writing films like Four Weddings and a Funeral and Notting Hill. He directed Love, Actually which was a hit. He directed The Boat that Rocks which drew no enthusiasm whatever from this reviewer! He is now back on track with romantic comedies.

The centre of the film is Domnhall Gleeson whom we first see at the age of 21, seemingly a born loser in personal relationships, a fiasco at a New Year’s Eve party and the expected kiss. However, his father calls him in for a talk and explains that the men in the family have a capacity for time travel. This is a limited gift, mainly and enabling the traveller to go back to a specific place and time and rectify a past mistake. This, of course, provides some humour as Tim does a fair amount of correcting and improving the past. Especially true of his choice of best men at his wedding and dealing with their successive speeches until he gets the right one.

Actually, for a lot of the film, Tim seems a real dill or, as another reviewer put it more politely, gormless. He leaves home in Cornwall, goes to work in a legal office, finds a room in the home of an acquaintance of his father, an extremely eccentric playwright, played with all stops out by Tom Hollander.

Seemingly hopeless in love, he goes with his best friend to a restaurant where the meal is served in darkness, people having conversations without knowing what the others look like. When he gets out into the light, he sees Mary, played by Rachel Mc Adams. It would be nice to say that Tim becomes less of a deal, falls in love with Mary and they live happily ever after. Without spoiling the end of the film, we know that actually they will be in love, marry and live happily ever after. But it is a difficult trek to get their as Tim keeps using his time travel to rectify situations which often mean that he changes his story so that he has to keep re-introducing himself to Mary.

As mentioned earlier, the film goes on and on, not just finishing with the nice romance and marriage but proceeding to show Tim and Mary and their married life, the bonds with Tim’s mother and father, Lindsay Duncan and Bill Nighy, his wayward sister getting her life in order, and the time when it will be necessary for Tim to give up his privilege. Throughout the film, Tim is very close to his father, but this theme is particularly strong in the latter part, Bill Nighy showing an unexpected warmth with his son.

Which means, again, the message of the film is that we don’t need to rely on gimmicks to fix your life but to have confidence in yourself, rely on yourself, accept your responsibilities.

There are quite a number of Richard Curtis funny lines and eccentric situations, especially the fiasco of the wedding with so much rain beating down on the guests and the tent. And there is an eccentric old uncle who is charm itself but is not exactly with it and creates quite some humour with his offhand remarks and questions.

Not a particularly memorable film, pleasant in its way, what the publicists call a ‘date movie’.


1. A romantic comedy? Time travel? Fantasy? Reality?

2. The concept of time travel, for individuals, specific times and places, rectifying situations? The limits for the time travel?

3. The British tone, the family, eccentricities, wealth and leisure?

4. Cornwall, the sea, London, digs, the dark restaurant, the theatre, the streets, homes? The musical score and the range of songs – topical, lyrics?

5. Tim, his voice-over, the narrative, his being something of a nerd, his hopes, romantic?

6. New Year’s Eve, his awkwardness, not kissing? His friends? His sister? His parents? His 21st birthday, his father telling him about time travel, his disbelief, going into the cupboard, rectifying New Year’s Eve?

7. The further episodes, the last night with Charlotte, the theatre and his talking with the actor, mistaking the actor with forgetting his lines, getting the words and holding them for the actor? The various searches for Mary, avoiding her boyfriend, learning about Kate Moss and the model’s history, the repeats of the sexual encounter and his prowess, the awkward situation with Charlotte and her friend, gay or not?

8. Tim’s father, retiring from the University, reading, Bill Nighy’s particular style and voice? Telling his son the secret? His reaction? Tim’s mother, her hobbies? Uncle Desmond, benign, gentlemen, his mind gone, his awkward questions and observations? Kit Kat and her wildness?

9. Tim going to London, his legal work, Rory and his friendship, the other friends? Going to Harry’s house, Harry and his abruptness, having ideas for his play? The performance and the actor losing his lines, the newspapers review? Tim and his going back, encountering the actor and his abruptness, in the audience, the other actor and his blackout, helping him with the lines? The acclaim?

10. Going to the restaurant, in the dark, the talk, the lights coming up, seeing Mary, the attraction, her phone number, walking with her, Kate Moss and the chat, her being a reader for a publishing company? The next meeting, Rupert, her boyfriend? The talk? His going back and changing the situation, the awkwardness with Mary, knowing about her name, the second attempt and the discussions about Kate Moss? Sharing, walking? The sexual encounter and the repeats? The romance continuing? The collage, their time together, the song with the buskers in the underground? Her American parents, their visit, Tim putting his foot in it about the relationship? Rectifying that situation?

11. The effect on Tim, Mary, her parents, encountering Charlotte in the street, the memories of her holiday in Cornwall, the attraction, the last night and his attempts to relate to Charlotte, starting again? The awkwardness of meeting Charlotte, her friend Tina, the discussions about gay relationships? His running from Charlotte, immediately proposing to Mary, the sleepiness, on his knees, her acceptance?

12. Mary’s going to meet Tim’s family, the welcome from Mary, dad and his playing table tennis? Kit Kat and her having no job? Mary and her being pregnant? the game of stripping, each piece of clothing with the decision that Tim would make?

13. The wedding, the dress, the song, the wind? The enormous amount of rain? The tent and its collapse? Everybody drenched? The best man speeches, the choice of Rory and his legal joke, Tim changing it, his friend at work, to Harry, to his father?

14. Tim and Mary, the baby, happiness?

15. Kit Kat, coming to the baby’s party, her boyfriend and his violence, drinking, the accident, in hospital? Tim and his travel? Coming back and finding his baby was a boy? Asking his father for explanations? Back at the hospital, realising that Kit Kat had to fix herself?

16. At home, going out, Mary and trying all the different dresses and then choosing the first one? the baby shredding the manuscript?

17. Tim’s father, the news of his dying, the cancer? Des and his reaction? The father and his reaction, excepting his situation? The Frank talk between father and son, the undemonstrative father hugging his son?

18. The walk along the beach, the young boy with his father, happiness? His father’s secret, leading an ordinary life – still with the possibly ability of living the same day over again without changing it?

19. His father’s death? His accepting this? Especially with the new baby? Happiness with Mary and the children?

HISTORIA DO MEIDA/HISTORY OF FEAR

Argentina/Germany, 2014, 80 minutes, Colour.
Directed by Benjamin Naishtat.

The History of Fear perhaps would be better titled The History of Phobias.

This brief film is set in a gated area in Buenos Aires, a helicopter flying over the site at the opening of the film warning people of something impending. Then there are glimpses of people doing ordinary things in their homes, the old and the young, the married, children out in the park.

Gradually the atmosphere changes, the power goes out, there seem to be weird sounds.

The interpretation of the people in this community is that there is something threatening. Their wariness and phobias increase. They fear the sounds and think that there are animals threatening them. They are wary of young people and their behaviour.

The film builds up an atmosphere of tension, partly in the dark, older people with some emotional collapse, the puzzle about what the nature of this menace to them and their way of life actually is.

The film is exploring the detached middle-class of Argentinian cities, separating themselves by having gated communities. Their barriers are self-made – especially in fear of disruption of their lives and, of course, of their possessions.

The director notes that several years earlier during the Argentinian economic crisis, politicians actually exploited people’s fears in order to foster a general feeling of insecurity.

The film might have some impact in Argentina and Latin American countries which have similar experiences. But, the film will not travel well outside its country of origin except for festivals and, perhaps, some art-house cinema release.