The Help

I'm going all out. This isn't a film about civil rights per se. The more I think about it, it's a film about women and the traps they created and found for themselves in 1960s America. The title of this film reveals a little of the emotional distance and detachment we see between the characters, and it's not always because they are separated by race.

There's so much you could discuss about this film, so I've only chosen a few ideas ...

Returning from college, Skeeter (Emma Stone) arrives back in 1960s Jackson, Mississippi with ambitions to be a serious writer. Following the prejudices of the day, the male editor of her local paper offers her the 'cleaning' column post and seeking help to fill the content, Skeeter seeks out 'The Help' for assistance. It's Aibilene (Viola Davis) the housekeeper of Skeeter's school friend who will speak first, prompted by the injustices she sees, as the Civil Rights Movement makes slow progress in the Southern States. Over time, more of the housemaids and cooks come forward to speak with Skeeter and finally have their voices heard.

Civil Rights
Jackson, Mississippi was a hot mess for Civil Rights during the 1960s. It was more violent, dangerous and tense than a Quinten Tarantino movie, and sadly, it was where civil rights campaigner Medgar Evers was murdered by Hilly Holbrook's (Bryce Dallas Howard) friends; the White Citizen's Council. And this is why this film isn't really about the Civil Rights movement as this momentous and heinous murder is a just background news report and a broken bus ride for Abilene.

Civil Rights is a complex period of American history with a rich mix of heroes and villains from all races. So to say this film is about civil rights is a bit reductive. It's not. It's really about women, who have no voice, (the Maids and Skeeter) getting a chance to make their's matter and be heard.

Feminism

No voice? Well, the devil makes work for idle minds.

The problem with no name that Betty Friedman wrote about was ten fold more in the Southern States during the Cold War. At least in the north it was 'patriotic' to be a doting mother, dutifully promoting capitalism by religiously cleaning with your mod cons (take that Soviet Russia). But in the South, if you're rich, you do as little as possible. Why? Because those historic slaves you had are now called 'Maids' and do all the work they've done for generations.

So if you can't work, clean or parent what are you left with? Childish obsessions which make rich pickings for petty drama.

Queen Bees and Wannabees

So who stops the white women being heard?

It's the ultimate queen bee Hilly Holbrook. With serpent like control, her gaggle of mini-me-wannabees flit around her, showing in no uncertain terms that her hateful views are the only ones that matter. Like all good villains, we see Hilly revel in her power, patronise and control all those around her, but ultimately take one big bite of humble pie. Literally. Best. Scene. Ever.

I think Hilly's character represents how women in America during the early 60s were little more than high school girls when they were expected to settle down and 2.4 their way to domestic bliss. Nothing more American than a woman who cares to win 'Yard of the Month' and essentially, this community never left high school.

Hilly is the same acid mouthed, pompous Prom Queen she ever was and the other women march to her breeding beat, popping out babies in a regimented order to be cared for by 'The Help'. They have no voice because society (as Friedman discovered) dictated they should be happy with domestic servitude. The only voices they have are among themselves, except fear robs them of that liberty as they're too scared to go against Hilly.

Human Identity

Friedman also argued that the problem for woman marrying so young and being encouraged to find sole fulfilment in housewifery meant they couldn't mature and find their human identity. It is only Skeeter, who rejects Hilly's hierarchy, who has been away to college, who has ambitions beyond matrimony and motherhood who finds her human identity.

She finds a way to quietly rebel against the inhuman treatment of the maids. While Hilly's crew are building humiliating outhouses, Skeeter sees the true value of the maids. She loved Constantine her own nurse and maid, she values Abeline's voice and respects Minnie's (Octavia Spencer) 'sass mouth'.

I think in a similar way, the maids learn from Skeeter a different identity for white people. Decades of oppression are not going to be swept away by seeing Skeeter in a different light, but it does work towards forming a new identity. Segregation distorts the soul and damages the personality. It gives the segregator a false sense of superiority, and the segregated a false sense of inferiority. You can thank Martin Luther King Jr. for that gem. It's true, by Skeeter and the maids coming together, the sense of heirachy is abolished. They speak on equal terms.

Community

Having recently moved back to the city I grew up in, I felt a little bit like Skeeter. Returning to Jackson she sees the same old hierarchy still stands. Every secondary school has a Hilly, and mine was no different, but it amazes me these Queen Bees can exert their influence long after the final bell has sounded. 

Skeeter is an outsider, but oddly plays along with those around her. Uncomfortable with what she sees in the group she still turns up at Bridge, goes to the benefit balls, even agrees to go on blind dates. She appears like a lost lamb. It's her female New York editor who tells her to 'write about what bothers her' that finally gives her the impetuous to go from lamb to lion. Ultimately, she becomes isolated but independent.

Ironically 'The Help' are a close, caring community. They worship, wash, clothe, feed each other with grace, taking time to laugh and enjoy each others company. For a group that has genuine fear of being 'outed' in society, who is exposed to very real and dangerous risks, they demonstrate true love and bravery towards each other.

By contrast, Hilly's queens control, bitch, isolate and manipulate each other - under what fear or risk? Not being invited to Hilly's Bridge club. Please, there are bigger fish to fry.

Men 

There are so few represented, it feels like a twilight zone. There should be a reverse characters Bechdel test. It seems you are either a violent brutes or passive husbands. Ultimately, the male characters appear non-existent.

Minnie has to suffer the violence of LeeRoy on a disturbingly regular basis. But William Holbrook (Ted Welch) has to suffer the humiliation of being emasculated by the common knowledge that Hilly is still sweet on ex boyfriend Johnny (Mike Vogel) the now husband of the vivacious and vibrant Celia Foote (Jessica Chastain). Interestingly, there must be tenderness between Minnie and LeeRoy as she wistfully recalls during her Crisco pitch it can be used to 'soften your man's hands.' Passion is as cold as Hilly's soul in her marriage as we see no affection in the Holbrook house. 

Skeeter's isolation, that I mentioned earlier, culminates in a strange 'love story' crammed into the edges of the plot. Stuart Whitworth (Chris Lowell) is a friend of ice maiden Hilly, who after behaving like a complete jerk during a first date, convinces the otherwise sensible Skeeter to go out with him again. This jars with me. Why does Skeeter go for such a prize twat? I can only conclude, that the overbearing, oppressive mantra of her mother (get married, have a baby!) has taken it's toll on confidence so she'll settle for anything. However, for a man who we are lead to believe loves an independently minded woman, he can't stand one who is for equal rights. Fortunately, Skeeter's bland indifference at his hissy fit exit suggests she's seen the light.

Here's another one from the great man himself "The ultimate measure of a man is not where he stands in moments of comfort and convenience, but where he stands at times of challenge and controversy". This sums up the film well. Skeeter gets out of her comfort zone to be independent from Hilly, family and men who don't live up to her liberal values. Abeline takes courage from God to step out boldly and have the black women of Jackson heard.

Shamefully, this film has made me realise too many people (myself included) focus their lives on the comfort of petty, high-school-style dramas, while comfortably ignoring the real controversies around them. I'd like to think I could be an Abeline but I thank God, I've not been tested yet.

Mad Max Fury Road

Much has been said about this film by the femininazi, as, for an action film fuelled with explosive set pieces, it expectantly passes the Bechdel test. However, it's pants. Here's my fair and full review.

They run away. Turn around. Come back.

That is all.

Yawn. Two hours of my life I won't see again.

If you want a film with narrative, plot and dialogue you can hear this isn't for you. If you have a penchant for steam punk and explosions - then, I guess this is for you.

Whip It!

Drew Barrymore's directorial debut is a charming, coming of age, rockabilly, retro, grunge skatefest - and I loved it. I don't know anything about roller-derby, in fact, I didn't know it existed. Now I do, I need to join a team, yes, even though I bruise like a peach.

Bored, quiet and dutiful Bliss Cavendar (Ellen Page) lives in a small-town in the Lone Star state and seems restless to escape. Her mother (Marcia Gay Harden) has coerced her into a world of beauty pageants and she blandly participates so not to upset her. On a chance evening out she meets the 'Hurl Scouts' a local roller-derby team, and taking her first steps towards rebellion, she tries out for the team and wins a place. In the roller-derby-drome Bliss comes of age, learning who she really is, and relishing in the freedom the games brings. However, a conflict with a rival team mate the Iron Maven (Juliette Lewis) threatens to expose her world of lies to her parents and friends.

Make life happen
This film is hipster, but not too cool for school. The dialogue is slick, but (thankfully) has none of the verbal gymnastics of Juno, and was written by the original Maggie Mayhem, LA Derby Dolls star, Shauna Cross. And like the screenwriter herself, this is a sweet film about an underdog finding their place in society (Shauna grew up in Austin, moved to LA, joined a Derby team) and I think the tag line is very fitting 'Be Your Own Hero'.

In my humble secondary school teaching experience, too many teenagers are waiting for the world to pay them that favour they feel they deserve. They're bored, restless and got little confidence to do anything about it. This movie unequivocally says, no one is going to do it for you. If you're bored, do something about it. If you want to find out who you really are, then get stuck into life. If you're lonely, join a team. Travel, be rebellious, stretch yourself, be independent. The results are clearly worth is, as Bliss finds a new family (without abandoning her old) and really uncovers a new and very exciting path for her life.

Dead mother syndrome
My friend Helen complains about how many films have a 'dead mother' literally and figuratively. She feels too many film makers have to get rid of the sensible, nagging woman before the fun can really start. Not so in this film.

At first glance, Bliss's mother, seems to perpetuate the southern belle nuclear family, making her girls pretty to compete in pageants, act like 'ladies' and generally continue life as if the 1950s never ended. The problem that had no name now does, and different ideas of feminism pop up throughout the movie.

1. Maggie Mayhem is a single Mom, who is the sensible, warning voice of experience to Bliss.

2. Iron Maven is older and bemoans to Bliss that she didn't start the sport until 33, making the point that women of all ages are always trying to find their place in society. Her ultimate respect for Bliss shows that fighting other women out of envy or spite ultimately only harms women, so isn't it better to join forces? Or at least, take your revenge on the track.


3. This league is so far removed from the dainty virtues of the pageants, yet the women uphold the best aspects of femininity: caring, loyalty, courage.

4. Bliss finds her self respect through the support of the women in the league, and finds the courage to ditch her cheating, flaky boyfriend in a classy but satisfying way. Their romance is sweet and PG appropriate (a nice change) but Bliss's revenge edge, shows Hollywood can present girls to be something more than sexualised, insipid, passive people pleasers. Not your average teen-romance flick. Huzzah!

4. Finally, back to Bliss' mother. She's not the overbearing housewife stereotype, but in one touching scene, we see she is actually secret rocker, secret smoker and honest, blue collar worker with more in common with Maggie Mayhem than the starched wives of the country club pageants.

Sports training montage

This film does follow the convention of every sports movie, and trundles along (or should that be skates along?) at a pleasingly predictable pace. The joy comes not from predicting the plot (which is obvious) but in the little moments of Bliss's victory. We see her nervously uncover her Barbie skates for the try outs. Get up after her first fall. Practice for hours outside in the street. Take a secret bus ride. Stay out at a party. Have her first kiss. Stand up to her friend. Defend her choices in life. Challenge her parents, and finally come out on top, sure of her self and happy to face her future.

As we watch the growth of this young protagonist we see Bliss ultimately triumphs without trampling those around her. A perfect bildungsroman... with a rocking soundtrack.

Whiplash

Oh my. I've not seen such a tense film in a long while, especially one which doesn't involve murder, a woman in black, or some kind of heist. I sat for various set pieces of this brilliant movie, directed by Damien Chazelle, with my hands scrunched into my face, teeth set and eyes anxious.

In summary, Andrew (Miles Teller) is a talented, young musician who, having earned a place at a top music academy, finds himself chasing the mentorship of the notorious Professor Fletcher (A K Simmons). After a pressured audition, Andrew joins the prestigious 'Studio' band, where he is mercilessly pushed to succeed by Fletcher, a man who wants to achieve greatness at any cost. A man who despises student's settling for a 'good job' and not suffering and yearning for legendary status. Fletcher's mission in life is to push students further than they knew they were capable of. His teaching style makes jazz school seem like SAS training.

This is not your average, nerd-to-hero, movie. Neither is it your average kung-fu, the-student-becomes-the-master, type of film. It's not an average, full stop.

Talent Vs Grit - the cost of being a legend: I saw this flick with my Mother, who's passion for ballet is only slightly less of that of Fletcher's for jazz. Afterwards, we spoke about what it takes to become a 'legend' and decided talent is not enough. Really it's about grit.

The unseen student 'Stephen' is Fletcher's first prodigy/ victim and we hear his obvious talent at the beginning of one practice session. Movingly, Fletcher reveals Stephen died. A tragedy. But who are Fletcher's tears for: the death of a talented musician, or the death of a potential legend he could tailgate his reputation on? Andrew also has the talent, but the film is really about whether he has the grit and determination to succeed past the self doubt, exhaustion, physical pain, social isolation, bullying, torment and anxiety which ultimately claimed Stephen's life.

Mum made a parallel to Royal Ballet legend Darcey Bussell. She started late to the School, so had two years to catch up and was unusually tall for a prima. Yet she managed to become the youngest principal dancer the company ever had. Was she the only one with talent? No, but clearly she had more grit than the others.

This film makes you wonder if you are a Stephen or an Andrew. Are you motivated or depressed by being cajoled, badgered, harassed, belittled and tormented. Do you want to 'prove them wrong' or walk out in a huff. I think I'd have flounced out of that Studio after the first session and that's why I'm not a living legend, or ever will be. It doesn't mean I don't have talent, I just definitely, don't have the grit needed to sustain that sacrifice for success.

How to win a battle - the central conflict in this film is between the master and the student, one that many kung fu movie fans have seen for decades. How does the master inspire and motivate? Fletcher's tactic is a master-class in misdirection. This man goes from birthday candle to atomic bomb at breathtaking speed, adopting the poetic rhetoric of Shakespeare to fire out insults mixed with pure acid. Owch.

Andrew's naievity is heartbreaking when a couple of weeks in with the Studio band he tells his Dad 'I think he's beginning to like me'. That smile will not be wiped, but smacked off his face before he knows it. After an hour of watching this boy fail every 'test' given, you are desperate for revenge. Fisty-cuffs after his car crash isn't satisfying enough, especially when you realise he abandons his passion once his college career is halted.
So how do you win a battle? With a simple 'F*ck you' and an epic, five minute 'double swing' drum solo. That's how. And it feels so much more satisfying than any blood bath my vengeful heart wished for. Andew's revenge is to prove Fletcher is nothing more than a man waving his hand about at the front of the stage. He usurps his power, bends the band to play to his tempo and takes his time to prove his point. Brilliant. Brilliant. Brilliant.

Underdog - what I enjoyed about this film is the subtle play around with stereotypes. Andew is not Hollywood handsome, just an average looking teenager, who one could easily overlook or forget. He tells Nicole (Melissa Benoist) on one of their dates that the people at his college don't really like him, he socialises mainly with his Dad and he avoids eye contact with those he meets. He appears meek and humble in the band practices, politely turning the pages and apologising so much, he makes the English look positively rude.

This film is too clever, to have a cheesy grand reveal, where the geeky guy removes his glasses and turns into Bradley Cooper. No. There are subtle hints throughout there's more to this timid chap. He asks the hot girl at the cinema out on a date. Isolated by the stone-faced soldiers of the band, he alone answers back to Fletcher. But best of all, he's got razor sharp wit; much more devastating than the bombastic insults flung about by Fletcher. This is showcased most aptly at one family dinner party - where his obnoxious relatives dismiss his artistic talent, preferring the macho gloating of his jock cousins. Andew's slicing comebacks show this is a mouse who believes in his heart, he is a lion.

Overall, I really enjoyed this film. However, there are some crass stereotypes about suffering to become a genius.Sat in the bar afterwards, Mum and I couldn't decide if Fletcher was a justified barbarian, or socio-pathic masochist. It's up to you to decide if their relationship is inspirational or destructive.

Trainwreck

Not quite a Hatfield disaster, more like a 'leaves on the line' kind of Trainwreck for director Judd Apatow.

Since childhood, magazine writer Amy (Amy Schumer) has been schooled by her wayward father that monogamy doesn't work. Taking that learning, she has applied it to living a life of inhibited freedom, avoiding commitment of all kinds and generally doing what she pleases, when she pleases, with whom she pleases. Taking an assignment to write a bio on successful sports doctor, Aaron Connors (Bill Hader), she falls for his humble and honest ways. Feeling true love for the first time, she begins to question her life and debates whether now it the time to clean up her act.

First up, full disclosure: this did pass the Mark Kermode laughter test. I did laugh out loud at least five times, with many chuckles and smirks thrown in every couple of minutes. But, in the words of the previously mentioned doctor, 'here's the thing' - this film doesn't know if it's a crass ladette comedy or fairly traditional rom-com. There's too much drama for it to be the first and too many surreal moments for it to be the latter.

I saw Amy Schumer on Graham Norton a few months ago and had never seen or heard of her before but immediately liked her self-deprecating, sassy, quick fire response to his questions. They didn't feel rehearsed, she seemed to be one of the those genuinely quick and hilarious women we'd all like to have as a best mate. And the same can be said for the dialogue in Trainwreck as clearly the improvised lines drew the biggest laughs for me. 'No, he's not hot, he's like a Puerto Rican Gollum'.

However, Bill Hader is a bit of a odd casting choice for the romantic lead, as he's so well known for being the weird-out odd ball from SNL and I couldn't get beyond that. He's definitely charming, just not sure I want to see him smooching Amy (tongues and all) at the end of the film.

Taking up the 'odd ball' mantel instead if LeBron James. His fame was a bit lost on me, not being a basketball, (or for that matter sports), fan of any sort. Luckily, nether is Amy, so there is a bit of in-joke for some of the audience as she acknowledges she has no clue who he is. Nice to see a sports star without such a serious ego. His best lines are when he's acting like a teenage girl, interrogating her or Aaron about their blossoming relationship - 'when you feel the wind, do you hear his name? Well, do you?' 

Kathy Beale

But stealing the limelight is Amy's cold, cruel, callous boss played by... Tilda Swinton. Yup. The girl can do comedy. My goodness me, she's got brutally good timing for her lines. For about ten minutes I didn't recognise her, and convinced myself it was Kathy Beale. 'Fair play' I thought, 'she's broken into Hollywood' so unrecognisable is she.

Overall, this was ideal Friday night, irreverent entertainment, BUT, for the babysitters it was a bit long. I didn't really expect a rom-com to bounce the two hour mark, and frankly it didn't need to. Unlike Amy, who's 'real girl' figure is actually very trim and enviable, this film could have lost a few inches around it's baggy middle.

The Secret Life of Walter Mitty

What is the purpose of life? Or, rather Life. It's a nice pun that Water Mitty has to stare at each day as he enters the Time/ Life building with all the other 'worker bees' "To see the world, things dangerous to come, to see behind walls, draw closer, to find each other, and to feel. that is the purpose of life." Although, sadly this wasn't the official motto of the real Life magazine, it's a lovely message which forms the heart of this film.

Walter Mitty (Ben Stiller) is a negative asset manager at Life magazine, who spends each monotonous day developing photos for the publication. Hidden in his reclusive office, he is surrounded by photos of exciting adventures, fascinating people, beautiful vistas which are the fuel for his exciting daydreams where he lives out his heroic desires to escape the predictable boredom of his day. Stunted by family responsibility and social awkwardness he pines after his co-worker Cheryl (Kristen Wiig) unable to connect in real life and through the digital world of dating. With the magazine closing, Walter receives a rare opportunity to take a real adventure, to seek out and retrieve the final cover photo.

There are many, many great things about this film. Stiller has directed this with subtle and joyful little transitions between shots. But it's the cinematography and brilliant soundtrack which helps to expose the inner story of the character. We start the film with static camera shots, grey linear buildings, ariel panoramic of the transport arteries of this urban metropolis, where a crisp, clean, meticulous Walter is living in a soft grey, clinical world. Poor guy. It doesn't get much better at work as the set designers clearly took careful consideration to blend a unique combination of Mad Men era office furniture with 21st Century coffee stations and iPod enhanced conference facilities. In the background is the gentle humming of Jose Gonzalez, acting like a inner white noise for Walter trying to block out the dullness of his own world, where people tease him, patronise him and ignore him.

Once he's given the motivation to leave and find that missing negative 25, the mood of the direction changes - colours seem brighter, the camera moves freely, the music leaps into life with an anthemic number by Arcade Fire. Life is just beginning!

So, I could go on and on about this film, but here are a few bullet point thoughts:

1. The purpose of life - the motto is both a pun about the function of the magazine and what drives our human existence. It's interesting that the photographer Sean that Walter is chasing (Sean Penn) truly does life the motto's existence, free, seeking thrill, adventure and to live only in 'the moment'. Poignantly, in a world where every traveller seems to turn their back on the very vista which is intended to inspire them in order to thrust their selfie stick into the heart of it, Sean declines and explains his patience in nature "If I like a moment, for me, personally, I don't like to have the distraction of the camera. I want to stay in it."

Surely, for the traveller set, this is the warning in the film. Stop recording life so you can boast across social media. Rather, you should stop and preserve it, personally, privately for yourself. The film asks, who's got the patience to develop a negative, when you can photoshop your selfie in seconds. I think the film suggests that we lose a lot in the process - what do we really appreciate any more, when we spend literally seconds absorbing our surroundings.

I have lost count of the amount of bragging-photo-bombs which explode across FaceBook each time a friend of mine takes a trip abroad. We're all guilty. The best of these Instragram filtered digi albums are usually accompanied by some awful quote about 'living life' usually snatched from terrible fiction like 'Eat, Pray, Love'.

We're so busy finding the 'meaning of life' that we allow it to whizz past us, quicker than a lens shutter. We should be more like Sean, sit, patiently, reflect, meditate quietly to absorb, savour, soak in what's around us and share only a little. Only what's really important; the 'quintessence of life' as he puts it. We each have to find what that is for us - obviously, as a Christian, I see the beauty of God revealed in the epic beauty of our planet, and it's only though quiet reflective prayer, that you hear that small voice of response from the Almighty. You can't rush a reply from God. For secular thinkers, the film suggests you also can't rush to your own conclusion about the meaning of life.

Perhaps Cheryl sums it up best when explaining to Walter's what David Bowie's song Major Tom is really about "life is about courage and going into the unknown".

2. Analogue vs Digital: Walter is redundant. Literally, in both life and career. The world has moved on, and Sean's beautiful final cover image shows Walter at work in a deliberately grainy, black and white, analogue film stock image which is a heart-felt tribute to the hundreds of men and women who's skills in photography are now lost, gone and faded by the digital revolution.

Interestingly, it's only Kirsten Wiig in the film who whips out her iPhone, only for it to delay the sparkling conversation as it 'buffers' for information. A not so subtle poke at my generation's need to instantly find answers, rather than search within ourselves. Frank Skinner has a rule that he won't look up an answer he knows is somewhere in his head for three days. I think it's a good way to avoid the rot of our long term memory, but it's so hard to do.


3. Sean Vs Walter: who do you want to be? I think we're supposed to see that by growing a beard, wearing beaded necklaces and eating cinnabuns that Water has finally broken free from his prior grey existence. The Papa John's cups in Iceland finally broke him from his habitual money budgeting. Don't they say life is what happens when you're busy making plans. So Walter throws away his housekeeping book and appears free, confident and independent. So why do we also see, that Walter is compiling a CV and selling his Mother's piano to supplement his severance income from Life. What future is there for Walter? Is the film that optimistic?

Walter has loosened up, but he's not free like Sean. As he writes that resume, you understand he'll have to return to being a worker bee, but hopefully a happier one, with a partner, a kid, and maybe a holiday each year. Just like the rest of us lucky ones. Personally, I like that life, it's very fulfilling, as I value relationships in life more than being a lone wolf. I'd be rubbish on a desert island. I'd miss my family and cinnabuns and there's nothing wrong with that. I'm not an idiot.

For some though, that's prison. Trapped by society. I'm sure the American Dream, the idea of freedom is in the cowboy image of Sean, the artist we all think we could be, living totally free of 'the man' by selling our talent to fund our own, defined lifestyle. Most certainly, nice work if you can get it. but for the most of us, we'll be Walter.

So perhaps we should envy neither, but rather, like Walter, accepts our place in the cog of society with a new found appreciation of what the world offers like relationships and of finding a balance between sensible household budgeting and the occasional blow out on holidays and 'frosted heroin' cinnabuns. Is that so bad?

4. Adult responsibility Vs Childhood Dreams

Obviously, there's a transition where Walter's dreams become a reality, and for a little while you're not sure if he really is in Greenland about to do a Navy-Seal style free jump from a moving helicopter. The films makes his transition from dream to reality deliberately ambiguous and there are moments which are intended, I think, to be half and half (shark fight?). What is interesting is why do we, as adults, abandon our childhood passions and dreams so freely?

Walter reawakens his dormant skills in skateboarding and we are treated to an exhilarating set piece where he wheels freely through an epic volcanic vista. How many of us are still indulging in the hobbies and passions we had as a child? Fortunately, I can name a few friends who have not given up on youthful pursuits, but there are many more who simply don't do it any more. I still write stories, though now I call it 'writing a novel', by best friends still likes drawing but she calls it 'her artwork' and my husband still noodles on the guitar for 'his music'. It's like we need to define and label these activities as constructive parts of adulthood rather than indulging in the sheer pleasure of it.

I love snowboarding and surfing, mainly because of the childish rush I get from being in the snow and sea. There's a sense of freedom when you're smashing face first into the elements. Realistically I can't do that every day, so I have to make choices to rediscover childhood joy when I can. Like making peppermint creams and fridge cake on Sundays, or doing handstands in the pool rather than pounding out laps. It's small things, each day which give us fun in life - that's what Walter realises when he returns.

I was pleased to see my 67 year old Mother has bought a colouring in book - laughably described as stress therapy. She even treated herself to a new pack of colouring pens. Now that's living.

Oblivion

I'm not sure the title to this film is spot on. The word oblivion tends to sum up cheerful images of dark voids of nothingness, a great depressing abyss stretching out, a primordial scream into space (where - as we all know - no one can hear you). So, the visuals in this film jar against the title. For a sci-fi, it's pretty unique - lots of bright, sunny skies, fluffy clouds and hours of daylight, 'another day in paradise'.

It's 2077 and no surprise, we human's didn't make it another 60 years, instead we escaped to the 'Tete' after winning a war where we obliterated the planet fighting an alien race. Jack Harper (Tom Cruise) works as a snappily dressed security repairman. He's got two weeks left on the job before he and his co-worker Vicka (Andrea Riseborough) can join the survivors on the colony which's shadowy presence haunts him in the sky's he protects. Reality takes a turn when a beautiful stranger Julia (Olga Kurylenko) arrives suddenly when her ship crashes into earth like a metriorite causing Jack to question everything he knows.

Module 49 is home to Jack and Vicka, and it's a comfortable, slick pod nestled in the sky with a handy add on see-through swimming pool. Clearly, the humans managed a trip to IKEA to kit it out before destroying the planet. Handy also, was the stylish wardrobe left for Vicka's work wear - complete with matching heels. Business as usual. 

So, there are signs that not all is 'paradise'. For one, I couldn't understand why Vicka hadn't gone beserk with cabin fever, forced to watch a computer and repeat stock phrases all day in their sky pod. There's not much of a view, and very little conversation. I kept wanting Jack to come home to find her slouched out in her grey tracksuit, crying into a bucket of icecream asking 'what's the point of it all' - but maybe that's just my Friday night. Afterall, she even manages an outfit change for dinner.

Also, there's Morgan Freeman, leader of the 'Skavs'. He's wearing sunglasses... but he lives in a hole in the ground? It's annoying - almost as much as when you see people in nightclubs wearing them. Unless you're registered blind you're solely indicating you're a moron. And his character kind of it. The production designer had clearly been watching a lot of Mad Max before taking their ideas to wardrobe, so the visuals clearly indicate a tribe of rebel humans, but there's very little rebellion. Not until (literally) a knight in faded white armour arives on his steed (or solar bike if you want to be pedantic). One issue is, how on earth the Scavs knew about Julia's ship and how to contact it with a rogue signal. Maybe that's what the sunglasses hide - rolling eyes from such an obvious plot gap?

Pace in this film is an issue. I found it exciting up until the big battle - but this tends to be a trend with big budget sci-fi films. I guess if you're paying for all that CGI you want to get your money's worth - but I just find them so dull. If you've got Tom Cruise as your lead man, the audience knows you're not going to kill him off, so any 'danger' is just a tedious set piece you have to wait through.

Also, with lots of sci-fi's you kind of have to leave your brain at the door, as there are lots of gaping plot gaps and frankly WTF moments in the plot. The biggest has to be, why doesn't Jack 49 tell the Skav's of his lovely lake home which he squirrels Julia away too when he heads off to save the world in the big finale? Her secret pregnancy shows some twin 3 year olds running about greeting a knackered troop of Skav's who've just arrived. 3 years! Pretty harsh Jack not to tell them. Also, that's not Jack 49 playing Dad with Julia. It's Jack 52. Thinking about it, where are all the other Jack clones? Still buzzing about in their quadrant's fixing up drones? Who knows. Who cares. Maybe they all rock up eventually to the Lake and Julia can have 51 other Jack's to hang out with. Shudder.