DECK THE HALLS

US, 2011, 90 minutes, Colour.
Scottie Thompson, Kathy Najimy, Eric Johnson, Larry Miller, Luciana Carro, Jane Alexander, David Selby, Patrick Gilmore.
Directed by Ron Underwood.

Deck the Halls is based on a novel by Carol Higgins Clark, daughter of Mary Higgins Clark. Carol Higgins Clark’s stories follow something of the same pattern as those of her mother. Carol Higgins Clark also appears in a supporting role in this film. It was directed by Ron Underwood who, in the 1990s, showed promise for film direction with Tremors, City Slickers, Heart and Souls. However, his career has been principally in television.

Scottie Thompson is the private detective who pursues the abduction of her father. Kathy Najimy plays a cleaning woman who has won forty million dollars in the lottery – but is an avid fan of the private detective’s mother (Jane Alexander as a detection novel writer). Her husband, played comically by Larry Miller, tags along with her. David Selby plays the abducted millionaire.

With the strong cast, the film is entertaining. With its Christmas setting, an abductor disguised as Santa Claus, it has the Christmas spirit.

Scottie Thompson and Kathy Najimy make an entertaining pair of sleuths, Kathy Najimy sometimes bringing disaster on the investigation. However, there are enough clues to bring the case to a satisfactory conclusion. Audiences may well have worked out who the villain is long before the detectives.

An undemanding mystery and detection thriller – for a night home at the television set.

1. The work of Mary Higgins Clark, Carol Higgins Clark, their novels, the range of television movies, popularity?

2. The title, the Christmas tone, Santa Claus and the plot?

3. The introduction to Regan, at the bar, her dress, flirting, the man following her, the knife, her arresting her assailant?

4. Regan going to visit her family, her father and his funeral parlour business, her mother and the novel-writing? Good relationships?

5. The introduction to Alvirah, her husband, winning the lottery, a fan of detection fiction, her own detection? Alvira and her husband and their personalities?

6. The visit to the dentist, Regan’s father not turning up, Regan going to meet him, the meeting with Alvirah, the phone call, the connection?

7. The Christmas party, Luke Reilly and his charities? The various Santas present? The staff? The interlude with the dead man, his nephew and his grief? Rosita as the chauffeur?

8. The abduction, Luke and Rosita being tied up, the way they were treated, hidden away? The significance of the bridge, the red lighthouse – and its providing a clue for the solution?

9. The disguised Santa, the rough treatment, his boss and not talking, the orders? Getting the food? The talk and the threats, the reading of the notes, the ransom?

10. The effect on Regan, on her mother? Yet her mother doing the radio broadcast? Alvirah and her husband, his continually eating, sleeping? The comic touch?

11. The issue of the money, the police contacts, the Santa Claus clues, the photos, Alvirah recording everything?

12. The delivery, Regan, the mall, the panic, running, the money thrown into the water?

13. The interrogation of the nephew, his answering all the questions? His story, packing up? The audience knowing that he was guilty?

14. Alvirah, the car, making a mess of the pursuit?

15. The time, preparing the money, the father giving the clue on the phone, the house, the lighthouse, the timing? The bomb? Defusing it just in time?

16. The arrests, the resolution? A nice enjoyable thriller?

THE DARK KNIGHT RISES

US, 2012, 165 minutes, Colour.
Christian Bale, Gary Oldman, Tom Hardy, Joseph Gordon- Levitt, Anne Hathaway, Marion Cotillard, Morgan Freeman, Michael Caine, Matthew Modine, Liam Neeson, Tom Conti, Cillian Murphy, Ben Mendelsohn, Burn Gorman, Daniel Sunarta, Aidan Gillen, Juno Temple.
Directed by Christopher Nolan.

When Christopher Nolan re-visioned the Batman franchise in 2005 with Batman Begins, the reviews were very favourable. The film offered the story of Bruce Wayne and the loss of his parents, his early training in combat as well as conscience. It also offered a bleak story of Gotham City and the law’s failure to control powers of crime and evil. A sequel was the order of the day.

It came in the form of The Dark Knight in 2008. In many ways, Bruce Wayne moved from centre stage, quieter, more reclusive and a Batman who was prepared to be despised by the people he had saved. And, it offered the confrontation between the larger and louder than life villain, The Joker, in a quite alarming (and Oscar-winning) performance by Heath Ledger. It also offered the corruption of law enforcer, Harvey Dent (Aaron Eckhart).

Needless to say, audiences wanted more. Christopher Nolan has obliged, writing with his brother, Jonathan, with what is tagged as the conclusion of his trilogy. Not that the end of this film does not leave the way for someone else to start another trilogy with both Batman and Robin.

This film does not have the sometimes overwhelming impact of The Dark Knight – no Joker. However, at two and three quarter hours, it is a more substantial film. And, though reluctant at first, Bruce Wayne and Batman are back at centre stage, with a much more complex and engaging performance from Christian Bale. Michael Caine is also back as Alfred – but there are some emotional complications as well as Alfred is conscious of his role in serving and saving Bruce and Bruce feels the call to go back into action for Gotham City.

Other members of the cast are back, especially Gary Oldman as the police chief and Morgan Freeman as the engineer and inventor, Lucius Fox.

But, there is also a new villain, Bane, a giant, physical, overbearing presence who is developing a thug army in the sewers of Gotham City. He is masked (like a Hannibal Lecter) and is played by Tom Hardy (in the vein of his performance in Bronson). He has several fights with Wayne/Batman which are very visceral.

However, there are two leading ladies who play very well as contrasting with each other right to the end of the film. Anne Hathaway is not named as Catwoman but that is her expertise, a jewellery thief who is in the pay of Bane. Marion Cotillard is the philanthropist who wants to develop the projects at Wayne industries.

There is a very good performance from Joseph Gordon Leavitt as a young rookie who has grown up in an orphanage (run by a sympathetic priest, no suggestions of any impropriety). He has some quite powerful scenes, simply talking, but cutting to the core, quite movingly, of the issues of order, law, heroics, and what society needs.

As with the previous films, they can be considered in the light of current politics, this time the global financial meltdown, illegal deals in bringing down companies, a challenge to Wall St (Occupy Wall Street) as well as a kind of French Revolutionary revolt. There are challenges to ideas of master criminals and ruthlessness, even in using nuclear weapons, to the role of the police (and the consequences of their absence), to double standards and cover-ups. Finally, the film focuses on Bruce Wayne’s dedication to helping people and modestly vanishing from public acclaim. And there is a twist at the end that most of us will not see coming.

As with the previous film, Nolan has filmed some sequences (many more this time) in Imax format, vistas of the city as well as many of the considerable action pieces. To be seen on an Imax screen if possible.

While characters and action are from DC Comics, Nolan’s films are not simply Graphic Novels on screen. He has set a high standard in writing, characterisation, themes for thought. Nor is he a slouch at action. He has brought his trilogy to a satisfying conclusion.

1. The reputation of the Batman trilogy? Acclaim?

2. DC Comics, the background, the origins of Batman, the variety of versions for cinema and television, Christopher Nolan’s more serious treatment?

3. The overall picture of the trilogy: the origins of Bruce Wayne as Batman, the history of the Wayne family, Batman, Alfred as the Butler and mentor, the mansion, the enterprises, the focus on Gotham and its lawlessness, embodiment of evil, the population victimised, the adversaries, the Joker, Harvey Dent? The praise of Harvey Dent, the truth and cover-up, loyalties? The plot of the third film: Bane, his background, Selina and her involvement with Bane, the emerging army, Blake, the police, the need for Batman to return? Batman and his wealth, the fraud and his losing his wealth, the confrontation with Bane, defeat, his capture, the new beginning, the revolution in the city, the betrayal by Miranda? The nuclear threat? The ending and Gotham saved?

4. Gotham, the city, the Imax sequences, the action and prologue in Imax? The Wayne mansion, society gatherings, the sewers and the army, ordinary streets of New York, the orphanage, the prison? The musical score?

5. The prologue and its tone, the plane, the nuclear expert, the CIA, Bane and the takeover, the second plane, the capture of the scientist, the crash of the CIA plane?

6. Bruce Wayne as a recluse, his eight years out of the limelight, his injuries? His bad reputation in the city? Blamed for Harvey Dent’s death? The speeches in honour of Dent, the condemnations of Batman? Alfred, faithful service? Bruce Wayne’s meals, Selina carrying in the meal, snooping, stealing the pearls, the confrontation with Bruce? Her getting his fingerprints? The use of the fingerprints to empty the Wayne accounts? Bruce Wayne and his personality?

7. Bane, the deal with Selina, getting the fingerprints, the abduction of the congressman? Her disguises? Her being Catwoman? The encounters with Bruce, the dance, getting back the pearls? Her self-protection, the deal with Bane, betraying Bruce? Her changing, on the bike, the action sequences, her contribution to saving Gotham? The end and her being with Bruce in Florence?

8. Alfred, Michael Caine’s style, the past, his concern, his work in the mansion, trying to protect Bruce, not wanting him to go back as Batman, their clash, Bruce and his decision that Alfred should leave? Grief for Alfred? The end – and sighting Bruce and Selina in Florence?

9. Lucius, his inventions, their being on hold, Alfred and his help, the bomb, the dangers? The flood?

10. The police, trying to combat crime, the legislation of Harvey Dent, the protection of the people? Commissioner Gordon, his leadership, his wanting to denounce Harvey Dent, deciding the time was not right, his pocketing his speech? His leadership, the attack in the sewers, the army, his being captured, wounded, hospitalised? His interchanges with Blake? Admiring Blake, relying on him? The contrast with Foley, his being anti-Batman, leading the search against Batman, disobeying orders? Gordon and his leaving hospital, the revolution, Blake’s disillusionment, his teaming with Wayne, searching for the bomb?

11. Foley, his role, his not relying on Blake, his attitude towards Commissioner Gordon? Plans, the tunnel, the men and their being trapped? Imprisoned? At home, his change of heart, marching with his men, his death?

12. Blake, his work, police dedication, seeing him in action, the orphanage, knowing the truth about Bruce Wayne? His speech and sincerity towards Bruce? Wanting him to be Batman? His surviving the occupation, his action at the time of the nuclear threat, with Commissioner Gordon, taking the orphans and the priest to the bridge, the clash on the bridge, its collapse? Getting the children into the bus? The finale, going through the waterfall, to the cave – and his becoming Robin?

13. Bane, his appearance, the mask, the sound, his power? The thugs and the army? Ruthlessness? His using Selina to get Bruce Wayne’s fingerprints? The financial disaster? The siege of the stock exchange, power, brutality, letting some of the hostages escape? His own escape? The football field – and the collapse, the match, holding the people to ransom? His fighting Bruce, imprisoning him, the flashbacks about his story, helping Miranda escape? The vengeance by the fellow prisoners? His disfigurement, his mask? His support of Miranda, the nuclear bomb, the final clash, his defeat?

14. Miranda, her sponsoring the social event, talking with Bruce? Her support, the projects at Wayne Enterprises, the board meetings? The board being taken? Audience sympathy for her? Her night with Bruce?

15. Bruce and his imprisonment, the fellow prisoners, especially Tom Conti? The life in the prison, the hardships, getting his strength back? The flashbacks to the escape of the child climbing up the wall? Bruce’s attempts, failures? His rigorous training? Going up without the rope, his escape?

16. His visions in the night, his seeing his mentor, Ra's Al Ghul? His influence, his setting up the brotherhood, his heir? The truth, that he had a daughter?

17. The nuclear climax, the vehicles, Commissioner Gordon and the pursuit, Miranda and the revelation of the truth, her motivations, her vengeance, Fox and the flooding, the timing for the explosion?

18. Bruce, the vehicles, his plane, confounding the tanks? Selina and her help, the bike? His getting the bomb, taking it in his plane, the farewell to Selina, going out over the sea, the explosion?

19. The aftermath, officials keeping it a secret? The reputation of Batman?

20. The story of Florence, Alfred’s visits, always hoping to see Bruce? The end and Bruce and Selina?

21. DC Comics and their popularity, the film as presenting a graphic novel, but with more substance, characterisation, contemporary social issues?

CRUSADE, MARCH THROUGH TIME / CRUSADE IN JEANS

Netherlands, 2006, 105 minutes, Colour.
Johnny Flynn, Stephanie Leonidas, Emily Watson, Michael Culkin, Benno Furmann.
Directed by Ben Sombogaart.

Crusade in Jeans is a popular Dutch children’s book. Adapted for the screen, it introduces a prologue and epilogue in the 20th century, drops a number of central characters – but highlights the basic plot, focusing on Dolf, a young man from Rotterdam, who fails in a soccer match to bring victory for Holland and is taunted by friends. His mother is a scientist, working on a time-travel machine. He goes into the machine in order to replay the match. However, he finds himself in 1212, part of the children’s crusade from Europe to Jerusalem.

He befriends a young girl who rescues him from brigands. She is played by Stephanie Leonidas. The leader of the crusade is considered a holy young man – but emerges as rather a sanctimonious prig. There is a chaplain, played by Michael Culkin, who continually speaks about God’s will but is unmasked as a child slave trader at the end. The good character is an artist portrayed by Benno Furmann. Emily Watson is the mother.

The film has a lot of adventures for the children as Dolf, in his 21st century clothes, becomes a leader, able to help at a time of a scarlet fever outbreak, organising the children into hunters, bargaining with a tyrannical lord to bake bread before dawn to feed the hungry children. He also rescues a young prince from drowning – who supports him in his conflicts with Nicholas, the leader as well as Father Anselmus.

When the truth of the children’s crusade is revealed with ships off the Genoa coast and Nicholas failing to part the sea so that the children could walk to Jerusalem, Dolf’s mission is over and he returns to the present. As a postscript, he returns to the past in order to rescue his young friend – and she is seen cheering him on at the final soccer match.

The film may appeal to younger audiences – but is a bit stodgy for adult audiences.

1. The popularity of the novel for Dutch children? The Dutch heritage?

2. The contemporary settings, Germany, Holland, the soccer match? The laboratory and time travel? The musical score?

3. Dolf, his character, his failure at the football match, with his mother, helping her with her work? His decision to go back and replay the match? Finding himself in 1212, the attack by the brigands, the rescue by Jenne? Her taking him to the children? His wanting to get back? The limited number of pills he had to survive?

4. The concern in the present, Dolf’s mother, the head of the enterprise? Her being put on suspension? Her collaborators? Their return to the laboratory? The plans to get Dolf back? Sending the message – and Thaddeus finding it? The rendezvous for the return?

5. The children’s crusade? The leadership of Nicholas? His reputation for holiness, leadership? His character – dominated by Anselmus? His attempts at leadership? As a noble, arrogant? The food and the banquet – compared with the starvation of the children? His listening to Dolf? The decision to try Dolf for heresy? At the water’s edge, the sea not parting? The revelation of the truth about the crusade?

6. The crusade itself, the foundation in historical fact? The nature of the crusades, Jerusalem? European attitudes to save Jerusalem? The range of children, the numbers? Nicholas and his leadership, his attendants?

7. Dolf, his clothes, people being puzzled? His iPod? His watch? His clothes? His joining the crusade, looked down on by the leadership? The attraction to Jenne?

8. The adventures along the way, rescuing the boy from drowning and the aftermath with the boy’s help? The confrontation with the leaders, organising the children into hunters and cooks? The confrontation with the lord, his persuading the lord to allow him to bake the bread, giving the iPod to the cook? The scarlet fever outbreak, isolating the children, Anselmus and his attack until he was ill? His assuming leadership of the group? The irony of the Mars bar and his giving it to the children? Giving away his watch?

9. Anselmus, clerical, his haircut? Leadership, advice, God’s will? His hold over Nicholas? His ironic acceptance of Dolf? Spurning him? His own illness? The motivations for taking the children, the child-traders and the ships to go to Africa? His being unmasked?

10. Thaddeus, joining the group, his travels, puzzle over Dolf? His sketches – and the research in the 21st century and seeing Dolf in the artwork? His support of Dolf at the end?

11. Dolf, the nobles and their rounding up of the children, the rescue, the heroism?

12. Dolf and his being arrested, tied up, to be tried for heresy, the fight with the deputy?

13. The finale, Dolf returning to the city, Jenne following, lost? His return? His mother glad to see him – and his going back for Jenne? The final sequence at the football match?

14. A film for young audiences, fantasy and reality?

ARENA

US, 2011, 94 minutes, Colour.
Samuel L. Jackson, Kellan Lutz, Johnny Messner, Katia Winter, James Remar.
Directed by Jonah Loop.

Arena is a film that viewers tuning in, especially with Samuel L. Jackson as the main star, may not want to continue. It is a film of violence about violence – a kind of snuff story, gladiators fighting to the literal death for online television video production. It is an example of what some commentators refer to as the pornography of violence.

The film takes its cue from computer games – with their violent competitiveness as well as the lust for violence of some of the observers. This is made clear at the opening of the film with a group of young adults salaciously enjoying the combat scenes, speculating whether they were real or virtual.

The film is ambivalent in its attitude towards violence – with the pro-violence winning out in the end, the exploitation of the visuals of the combats (staged rather more like computer games than realistic combat). However, there is an element of criticism, of satire on the viewers of this kind of material (mainly a group of young college students and some Japanese executives who should be occupied with their work at the office).

The film actually does come to some kind of moral ending – with a twist at the end which audiences would not foresee.

The plot is basic. Kellan Lutz (the Twilight films) portrays a young man whose wife is pregnant and is killed in a car accident (the nature of which is not revealed until the end). He goes on a bender in Mexico and is recruited by a young woman (Katia Winter) and virtually imprisoned in the headquarters of the Death Combat Company. Samuel L. Jackson presides over the company with a lascivious attitude towards the violence as well as to Asian women assistants. Johnny Messner portrays his sadistic second-in-charge. Katia Winter is the recruiter.

The film shows the pressure on the captive, who seems unwilling to fight, but who is pressurised into fighting – going through ten combats in order to gain his freedom. He is antagonistic towards his recruiter – although she becomes more sympathetic and helps him. (Not without some exploitative nudity – which also indicates the intentions of the film-makers.)

When the hero finally defeats the sadistic assistant, the FBI arrives. It is then revealed that our hero was actually an FBI agent, going undercover, under the supervision of his boss, played by James Remar.

There is a final confrontation between Samuel L. Jackson and Kellan Lutz – but, after the revelation of his true identity, and the taking of the girl into custody, there is the possibility for a sequel. The material went straight to video release and DVD.

The direction is by Jonah Loop, whose main work has been as a special effects engineer and supervisor.

A film symptomatic of the problems with presenting violence on screen, the effect on the audience – especially sadistic adults who revel in watching this kind of material and computer games. And there is always the surprise of Samuel L. Jackson appearing in such a film.

AN ANGEL AT MY TABLE

New Zealand, 1990, 158 minutes, Colour.
Kerry Fox, Alexia Keogh, Karen Fergusson, Iris Churn, Kevin J. Wilson, Melina Bernecker.
Directed by Jane Campion.

1. The impact of the film, awards? Made for television?

2. Jane Campion, her New Zealand background, knowledge of Janet Frame, her vision of a New Zealand author, portrait, the difficulties in Janet Frame’s life, institutionalisation, creativity?

3. Audience knowledge of Janet Frame, her literary output, her reputation in New Zealand? Overseas? Her suffering and her vindication in life?

4. The New Zealand settings, Otago, the farms, the town, cities? The institutions? The contrast with London, with Spain and the beauty of the countryside and sea? The musical score?

5. The insights into literary creativity, the origins of Janet Frame’s inspiration, background, development? Torment? Growth?

6. To the Island: The glimpses of Janet Frame, the fadeouts? The three actresses portraying her? Birth, as a baby, in the paddock, running, her appearance and hair, her movement? The touches of madness? Scratches? At home, the moving in, the boy and the games, the bed and the four children? School, the teacher and her reactions? Poppy, the book and the bath? Language and anger? Her writing the poem, reading it out? Her brother’s fit? The kids in the yard? Issues of health, the examination, the dirt? Her prize, the book? Grimm’s Fairy Tales? The radio? Janet in her teens, more open? The Spanish girl? Confirmation? Shirley, the dream and singing? Swimming and posing? Staying – her work? French? Myrtle’s death, the grave and the flowers? At home, milking the cow? The envy of the romantic girls, their hair? Menstruation and class? The graduation, the sky, the girls singing? The burning of the books and farewell? Her wanting to be a poet and scholar?

7. An Angel at My Table: In the city, Shakespeare? The sick uncle, the aunt? Holidays and talk? The psychologist, Ashley Friendships? Isabel? The chocolates? Going out, the cemetery and the reading? Work, eating, the class and the chalk, her hiding, becoming more reclusive? Unhappy? The patients and their behaviour? Her concern about her teeth? Mrs Chandler? The shock therapy, the details, the eight years, the electricity and the treatment? Dancing, the prize, her being published? Going home? Her relationship with her father, over the years, his character? Frank? Her relationship with her mother? The possibility of working in the hut, Frank and his support, his eccentric behaviour? Writing, success? Her hopes? Discussions with her father, the possibility of leaving?

8. Part 3: Waking, sick, going to London, the grant, going to the hotel, her not being expected? The bathhouse? Patrick, the discussions, his advice? Paris, the trip? Spain, losing her luggage? Colin and the introduction, his gawking? His group? Getting the room, the woman looking after her, her happiness, creativity, looking at herself in the mirror, the sexual relationship, Edwin? The transformation? Bernard, sharing? The liaison, poetry, the American being a poet, their walk, the affair? Breakfast? The swim? Ewan? Leaving, not seeing Janet? The return to London? Discussions with Patrick, his advances? The nurse and the rejection? Painting the doll? The verdict that Janet did not suffer from schizophrenia? The psychiatrist and the chocolates? Writing and publishing? The publishers, the flat, the reception, meeting Alan Sillitoe and his wife? The death of her father, going home? The photographs? The caravan?

9. The portrait of the family, mother and father, Isabel, Junie? The contrast with Isabel being outgoing, and relationships? The father, his support of his daughter? The concern about the institutions?

10. The characters in Janet’s adult life, the doctors, psychiatrists? The move to England, Patrick and his attentions and warnings? The landlady? Going to Spain, the group, the American poet, the affair?

11. The achievement of the film? Portrait of an artist? Jane Campion and her appreciation to Janet Frame for participating in the making of the film?

AMBUSH

US, 1950, 90 minutes, Black and white.
Robert Taylor, John Hodiak, Arlene Dahl, Don Taylor, Jean Hagen, Bruce Cowling, Leon Ames, John McIntire?, Chief Thundercloud.
Directed by Sam Wood.

Ambush is a standard western of 1950. With its presentation of the cavalry, scouts and a military outpost in Arizona, it has many resemblances to the types of westerns that John Ford was making at this period (Fort Apache, Rio Grande). However, this is the last film directed by Sam Wood, who gives more attention to the dramatic interactions of the characters than the action – though there is quite some action, Indian ambushes and pursuits. Sam Wood directed a variety of films from A Night at the Opera, Goodbye Mr Chips, For Whom the Bell Tolls.

An older Robert Taylor is strong in the central role of the scout. John Hodiak is the straight-up-and-down military officer. There is sympathetic support from Arlene Dahl, looking for her sister who has been taken by the Indians (echoes of the later, The Searchers). Jean Hagen is the sympathetic wife of the outpost bully (Bruce Cowling), involved in a relationship with a lieutenant (Don Taylor). Leon Ames is the sympathetic head of the outpost, John McIntire? a scout.

The film focuses on the work of the scouts, the rounding up of the Indians, their rebellion and breaking out. It highlights the nature of the cavalry, the outposts, life there and the tensions, the continued risks with the encounters with the Indians.

1. An interesting western? The role of the Indians, 1950s perspective? The cavalry and outposts? The independent scouts?

2. The black and white photography? The West, the outpost, the mountains, the plains? Authentic atmosphere? The military headquarters? The musical score?

3. The title, the Indians and the ambushing of the cavalry? The cavalry and the pursuits of the Indians?

4. The introduction to Ward Kinsman? His prospecting? The encounter with Frank Holly? The old scouts? The ambush by the Indians, their shrewdness, the shootouts, letting their horses go – taking the Indian horses? The return to camp?

5. Robert Taylor as Ward Kinsman? His age, experience? Independence? His respect for Major Breverly? His clashes with Tom Conovan? Friendship with Linus Delaney? The meeting with Ben Lorrison? With Ann? The mission to recover Ann’s sister? His being wary? Major Breverly and his requests? The issue of the horse and the clash with Conovan? His decision to go on the mission? The attraction towards Ann, knowing her relationship with Lorrison?

6. Breverly, his management of the outpost? Sympathy? His being attacked? His injuries? Lorrison taking over? Young, by the book, inexperienced? The relationship with Ann? The tension with Ward Kinsman? Their going outside the house and the fight? Lorrison’s superiority?

7. Linus and his relationship with Martha? Forbidden on the outpost? Conovan, his drinking, his physical violence? Martha, trying to do the right thing – yet her love for Linus? Her work on the outpost, the laundry? The authorities knowing what was happening? Lorrison and his hard stance?

8. The mission, the pursuit of the Indians? The dangers? The decisions? Kinsman and his attitude to Lorrison? The tactics, the fights? Diablito? His followers? Out from the reservation? The ambushes, the attacks? Lorrison’s death? Frank Holly’s death? Tana and his advice – but sympathies for Diablito?

9. The recovery of Ann’s sister? Her gratitude? The return to the camp? Breverly and his decisions? Conovan and his brawling? Martha and the relationship with Linus? Ward and Ann?

10. Familiar themes, expectations, predictability of some aspects? Yet a competent western, reflecting the attitudes between the whites and the Indians in the 19th century?

THE 4th FLOOR

US, 1999, 90 minutes, Colour.
Juliette Lewis, William Hurt, Shelley Duvall, Austin Pendleton, Tobin Bell.
Directed by Josh Klausner.

The 4th Floor is a small horror film. Juliette Lewis plays an interior designer, in a relationship with an older man, a weatherman on local television, played by William Hurt. She inherits an apartment from her dead aunt and moves in. The landlady is played by Shelley Duvall. The residents of the block are odd, one whom she suspects of sabotaging with bugs and lice, is a recluse. Austin Pendleton plays a friendly neighbour – who turns out to be the arch villain. It is interesting to see the actor Tobin Bell as a sinister character in an apartment across from the window of Juliette Lewis. In scenes reminiscent of Rear Window, he seems, like Raymond Burr, to be murdering someone and getting rid of the body. However, he turns out to be the locksmith who fixes Juliette Lewis’s apartment. He was soon to appear in the central character of the Saw series. There is a slight twist at the end when it appears that he has also been sketching what he sees from the windows – and finds that the weather anchorman is close to Mr Collins. In the meantime, Juliette Lewis moves in with her boyfriend ...

The film is written and directed by Josh Klausner who also wrote Date Night and Shrek Forever. The film relies on a creepy atmosphere rather than straight-out horror.

1. The impact of the film? The atmosphere of the apartment, haunted, threats, creepy?

2. The American city, the television stations, the apartment block, apartments? Authentic atmosphere? Musical score?

3. The introduction to Jane and Greg, their relationship, the argument, Jane inheriting the apartment and wanting to live there? Greg and his reaction? His visits to her?

4. Greg, William Hurt and the comic performances as the television weatherman?

5. Jane, moving in, the landlady and her concern? Explanations? The apartment itself, Jane as a decorator, her plans for the apartment? The meeting with the recluse, living in the basement, suspecting him of the sabotage? The eighty-year-old old lady who is never seen? The knocking on the floor? The arrival of Mr Collins, his friendly visit, his interest in antiques? The Cambodian protective frieze?

6. Jane, at work, her assistant, helping her out, with contracts? Her ordinary life compared with her experiences in the apartment?

7. Jane looking out the window – and the echoes of Rear Window? The people in the opposite apartments, the man and his putting on the wig, the locksmith and his seemingly sinister behaviour?

8. The lice, the bugs, the tormenting of Jane? Her suspicions? The lock, the locksmith coming over, seeming sinister, his friendliness? His reminding her that he had seen her from his window?

9. Mr Collins, his friendliness, the revelation that he was mad, his violent attack on Jane? The fight, the broken glass, her foot, his knife? Greg’s arrival – and Mr Collins seeming to know him? The struggle, his falling down the stairwell?

Jane, her moving from the apartment, moving in with Greg? The locksmith – and his sketches, the irony of the conversation between Greg and Mr Collins? Jane’s future?

THAT SINKING FEELING

UK, 1980, 93 minutes, Colour.
Tom Mannion, Eddie Burt.
Directed by Bill Forsyth.

That Sinking Feeling was the first feature film written and directed by Scots film-maker Bill Forsyth . He followed lt with the celebrated Gregory's Girl, then Local Hero. Other films include Comfort and Joy and Housekeeping with Christine Lahti.

The film is set in a fictitious Glasgow, filmed in the real Glasgow. It captures the atmosphere of the city lin the '70s, especially the world of the young unemployed. A group of actors from Glasgow theatres portrayed the youth most effectively.

The film makes social comment, as does all of Bill Forsyth's work. However, it does it through effective comedy, portrayals of human nature with which audiences can identify - and which they enjoy. There is a humorous pun In the title of the film, the feelings of the unemployed - and the kitchen sinks that they steal and sell. Most enjoyable comedy.

1. Scots comedy? Youth and unemployment? Social observation via humour?

2. The fictitious Glasgow and the real Glasgow? The city landscapes, the detail? The people in this atmosphere? Musical score?

3. The title, unemployment, the pun? The irony? The sales of the sinks, the artwork?

4. The introductlon to Glasgow, wet and cold, the unemployed youth of the late '70s, the flats, the streets, cafes? Groups of friends, no jobs, how they spend their days, hopes or not, occupying themselves?

5. Ronnie and his talking to the statue, meeting his friends, talk about sulcthe plan and its details, the execution and its success, the aftermath, his taking votes about the disposItion of the sinks?

6. The range of boys in the group: their appearances, clothes, friendships? The boy testing the stereo? Girlfriends? The response to the idea of the robbery, talking it over, getting others into the group, the plan, dressing up as girls, the preoccupation of how to be girls, the van driver and the knocking out of his companion, the use of the little boy as a decoy?

7. The odd and amusing details: the boy at tea with the girl and talking about dresses and make-up, later looking In the shop window? The policeman from school and handcuffing Ronnie after their chat, losing the key? The cake sales? The testing out of the stereo In the shop?

8. Doing the job, the boys tryIng to be attractive, the guard and his falling for it? The little boy decoy, the execution of the plan, the van with the knocked-out guard sitting holding the cup? Taking the sinks? The boy with the black outfit for the crime? The boy who wanted to take it as a gift? Getting away? The driver and the hospital analysis, that he wouldn't wake up till the middle of the 21st century? The debate about selling his organs? The decision about what to do with the sinks?

9. Selling the sinks, the work of art at the gallery, the get-togethers, hopes, the plan to get the ginger beer and sell it? The boy playing the guitar that he bought?

10. Comedy, wit, visual humour, strong characterisations, acute observation of human nature?

TEQUILA SUNRISE

US, 1988, 115 minutes, Colour.
Mel Gibson, Kurt Russell, Michelle Pfeiffer, Raul Julia, J.T.Walsh.
Directed by Robert Towne.

Tequila Sunrise is a psychological thriller focusing on a former drug dealer (Mel Gibson), his friend a policeman (Kurt Russell) and a restaurant owner (Michelle Pfeiffer).

One of the difficulte premises of the film is the sympathy asked for Mel Gibson's character. In terms of the drama, it is elicited from the audience, even though there are doubts. And the question of the impact of drugs and of his turning away from dealing comes together at the end, but may not satisfy everyone. The performances are good, even though some of the dialogue at times is very melodramatically charged. Writing and direction is by Robert Towne, writer of Chinatown and writer-director of Personal Best.

The film is stylishly photographed, has an evocative score - but the plot is quite complex.

1. Interesting and enjoyable thriller? Character study? Romance?

2. The Los Angeles settings: the beach, the sea? Police headquarters? Stylish restaurants? The use of songs, evocative score?

3. The world of drugs and drug-dealing? Los Angeles and Mexico?. Judgments on drugs, dealing, the dealers? The role of the police? A film of the '80s?

4. The complex plot, its credibility, motivations, behaviour? Heightened melodrama?

5. The portrait of the Los Angeles police, federal investigations, Mexican networks (and betrayals)? Police skills, networks? The stupidity of officials? Pressures, personalities, clashes of motivation, the letter of the
law, exposures?

6. Mc as portrayed by Mel Gibson: attractive character, interesting, his background of dealing, his shrewdness, his friendship with Nick? The initial deal, the cocaine in the toilet, the clash with Nick, his escape, the chase? The federal officers and their covering him, taping him? His relationship with Greg, friendship (and Greg betraying him to the federals)? The attraction towards Jo- Ann and her restaurant, his going there, the discussions and meals with Nick? His relationship with his wife, her moods and wanting money? His son - the visits, at the beach, the birthday party and the enjoyment, his magician's tricks, his son injured and taking him home? The complexity of the friendship with Nick, the past, Mexican prison, his spying on Nick and vice versa? The truth? His professional job and reforming? The phone call from Carlos, the set-up, the preparations for Carlos's visit? The friendship with Jo-Ann?, the relationship, her interrogating him for Nick? Her coming to his home for the party, looking after Cody, their talk, the lovemaking (literally steaming)? The arrival of Carlos, the ping-pong game, the psychological fencing, drinking? The television with the bullfighting, Mc's attacks on the matador, provoking Carlos, taking Jo- Ann? The confrontation with Carlos, the shooting? Pursuit? The explosion and giving up the money? At the beach at the end? Audiences liking Mc, condoning, forgiving?

7. Nick and his motivations, Kurt Russell's style? The past, the initial clash and letting hie go? The attraction towards Jo-Ann? and using her for information, helping her with her chef? Telling Jo- Ann the truth? In love with her? The clash with the federals, about being in charge, psychological approaches? The abuse of Hal? The surveillance and his listening? Watching the slides and working out that Greg was the snitch? His saving Jo-Ann? from Carlos? The confrontation with Me, pulling the guns? The confrontation with Carlos, shooting Hal? The condoning of his shooting Hal? The end -giving Mc and Jo-Ann? to each other?

8. Jo- Ann and her style, personality, the efficient running of the restaurant, her staff, the questions about the chef, her relationship with her brother? Her attraction towards Me and his dining there? Attracted towards Nick, talking to him, romance, asking questions for him? Me and the birthday party? Cody and her care for him? The lovemaking with Mc, being taken by Carlos, rescued by Mc, the ending?

9. Hal and the federals, their methods, tactics, surveillance, stupidity, obsessed? The irony of the Mexican contacts and Escalante being Carlos? Greg and his.death? The final shoot-out and the obsessive shooting at Mc? Killed by Nick?

10. Carlos and his macho style, as Escalante and his men, the surveillance, the clash with Mc, the question of the matador, the taking of Jo-Ann?, the drunken exchange, the mutual shooting, the destruction of the money?

11. Andrew Leonard and the law, lawyers and their clients, the drug deal? Greg and his relationship with Mc, giving information to the federals?

12. The background of police and police work, the lifeguards on the beach?

13. Psychological drama, romantic drama? Police action? The background of drug dealing in the '80s?

TEEN WOLF TOO

US, 1987, 95 minutes, Colour.
Jason Bateman, Kim Darby, John Astin, Paul Sand, James Hampton.
Directed by Christopher Leitch.

Teen Wolf Too is a pleasant re-run of the original Teen Wolf plot. The first film was a star vehicle for Michael J. Fox from Family Ties, before he had success with Back to the Future. Jason Baterian, who has appeared in several telemovies and television series, takes over as Fox's cousin. His uncle, played by James Hampton, offers continuity.

The film is really one of those popular university and college campus films of the '80s. However, there is enjoyment in the mild-mannered human being becoming a werewolf and transformed into a success and heart-throb. Needless to say, as in the original, becoming the wolf isn't everything. it is better to rely on one's human qualities. John Astin hams it up as the head of the college. Kim Darby has a small but pleasant role as the science teacher and guardian werewolf.

For those who enjoyed the original, this sequel is a pleasant re-run.

1. Enjoyable story? Plausibility? College campus comedy? Romance? The playing with the werewolf theme?

2. The American campus, college life? Families? Fraternities? The stunt work? The editing and pace, especially for the boxing? The special effects for the wolf transformation?

3. The title and the play on words? The re-run of the original?

4. The cousin and his scholarship, coming to college with his uncle, establishing the links with the original? The importance of the boxing? The headmaster and his plans? The science teacher and her help? The sympathetic student, attracted towards her, falling in love, her being hurt by the wolf's behaviour, the reconciliation and her help? The transformation as the wolf? The dance, the boxing? The contrast with the ordinary student and his mild-mannered style? Study? Over-success and people fawning on him? It going to his head? The crisis, calling his uncle, reconciliation with the girlfriend, the study? The science teacher and the exam? His success? Fighting on his own merits? His friends' support? The victory? (A new Rocky!)

5. The girl and her attractiveness, study, support, disappointment, helping with the exam, the final romance?

6. Styles as his room-mate, the slob, promoting the wolf, the sport, managing, the bouts? The fat student and his friendship, support, the boxing bouts and training? The competition with the college? His victories?

7. The headmaster and his plots, the eccentric emphasis on sport? John Astin's over-the-top performance? His manoeuverings, the money? The confrontation with the science teacher and her dominating him?


8. The science teacher, sympathetic, quiet, her help? The final exam? her being a werewolf and intimidating the headmaster?

9. The jocks and the girls, the college types, the attack on the nerd types? The boxing bouts? Their comeuppance?

10. The atmosphere of college, study, sport, fraternities, dances?

12. The message: the importance of study, of relying on oneself? A pleasant college fable for the teenage audience?