Michael: Blu Ray Review

Cast: Jafaar Jackson, Nia Long, Colman Domingo, Laura Harrier
Director: Antoine Fuqua

After much anticipation and amid rumours of substantial reshoots and accusations of fairytale storytelling, the drama of Michael Jackson's life is finally here.

Played by his nephew Jaafar Jackson, the film focuses on Michael's time in the Jackson 5, his relationship with his father (Domingo) and his attempts to break out to become a solo star.

It's perhaps befitting the film starts by blasting out 'Wanna Be Startin' Somethin'' given the controversy and extensive third act reshoots, before racing breakneck speed through Jackson's life from humble beginnings and belt-whuppings from his dad in Gary, Indiana to his own emancipation from the yokel of the tyranny of his father.

In between it all are a plethora of favourite songs from the Jackson oeuvre, performed with gusto by Jafaar and which will no doubt leave fans in ecstasy at their faithfulness.

But here's the rub of the film - not once does it stop to give anything close to depth throughout. It's hagiography, with a splash of biography.

Unless it's to Jackson himself. 

Witness his full-frame close ups as he pines for freedom; take in his Princess Diana-like visiting to other burns victims after the Pepsi commercial leaves him on fire. The list of propaganda-led moments for the little lost boy is endless and yet never quite engaging enough to those looking for depth.

It's perhaps no real surprise that there's puddle-level depth here. At a time when a jukebox musical of his life has gone great guns on Broadway, there's obviously a desire to cash in on the nostalgia and that's what this film does.

But leaping from song to song, while scattering imagery of him reading Peter Pan, fawning over Bubbles and watching Chaplin and cartoons does not great insight provide.

And barely anyone except for Domingo's Joseph and Michael himself get any substantial time in a cursory screenplay that's more perfunctory than enlightening.

Depressingly, Michael will be massive and its penchant for avoiding the later controversies in his life smacks of woeful family intervention shaping his legacy.

The film ends with three words: His story continues. It's a James Bond-style coda (or threat) that promises more to come, but unless the full story is told (which is unlikely given legal documents and decisions), this shaping and distorting of the truth by the Jackson estate leaves a sour taste - no matter how impressive Jackson and Domingo's performances are.

Undertone: Blu Ray Review

Cast: Nina Kiri, Adam DiMarco, Michele Duquet
Director: Ian Tuason

The horror movie has done the idea of possessed and cursed media before.

From the likes of The Ring through to Pipes in the infamous live, spoof BBC TV drama Ghostwatch, the idea's not a new one.

But the upcoming Paranormal Activity 8 director Ian Tuason's deeply rich sound-immersive undertone hits a different note, taking on the idea of a podcast where something's not right.

Nina Kiri plays Evy, one half of a self-confessed "creepy stuff" podcast. Lodged in with her dying mother, and recording at the hour of 3am daily with her compadre Justin (DiMarco, in voice only), the pair investigate paranormal activity and tales of the weird.

Distinctly sceptical, Evy finds herself pushed to the limit when Justin offers up a series of ten recordings sent anonymously to their undertone podcast, which seem to be unexplainable. As Evy begins to investigate further, strange things begin to happen in the house, in her life and in her mind - but terrified or otherwise, she decides to push on...

When it comes to the ending of undertone, it's likely to be as polarising as that first ending of The Blair Witch Project - but what's clearer in the gradual build-up of this one-location movie are the tropes of the genre, the incredible soundscapes that Tuason develops and the committed performance of Kiri as the girl on the edge, stuck between grief and fear.

undertone isn't exactly subtle in some of its sign-posting - recording a creepy podcast at 3am, using Google searches to expose the mythology and lore of what the messages reveal and a last-minute twist is a little too obvious to anyone really paying even the most cursory attention to what's unfolding.

But what is exceptional about it is the way it immerses you in the world. From the rattle of the breathing of Evy's mother to the ticking of the clock, to the way noise-cancelling headphones remove Evy from the world around her. It's an incredible sonic atmosphere which keeps on loading the dice and building the suspense (even if a few cursory jump scares creep in to stave off the monotony of little visually happening).

Perhaps that's the key here though - while undertone itself doesn't redefine the genre and there's a lot of exposition in the dialogue in imagery, it's incredibly effective at building a sense of foreboding and a tension that initially seems unwarranted.  

Savage House: Movie Review

Cast: Richard E Grant, Claire Foy, Robert Bathurst, Bel Powley
Director: Peter Glanz

To say that Savage House has one thing on its mind is to understate it - but where it lacks on its story commentary front, what it does have in its arsenal is two excessively watchable performances in the shape of its leads, Richard E Grant and Claire Foy.

They play the Savages, a pair of married grotesques in 18th Century Britain, who are about to fall on rack and ruin, thanks to Sir Chauncey (Grant) and his profligacy for over-spending and garish ways. With his wife Lady Savage (Foy) willing to submit to his every whim thanks to her dwindling fortune, the pair finds themselves gifted the chance to host the Duke and Duchess of Devonshire.

Given Sir Chauncey's desire for social climbing, he sees this as a signal to potentially ruin the family for social standing, pushing for every possible frippery to ensure the visit is a success. But it could be their ruin.

There's a kind of ghastly pall that hangs over Savage House, an occasionally ribald romp of a period piece that doesn't exactly do much with its premise, but has a lot of fun going there.

It's chiefly due to Grant's flamboyant OTT performance as he debauches his way through life and the coffers of the estate. His double act with Foy, whose character doesn't emerge faultless either, makes for an endearing - and enduring - waltz through a scabrous way of life.

But Glanz, who wrote and directed the film, stops short of overly satirising events, preferring to sympathise with the leads, rather than condemn them. It's an intriguing paradigm which hits Savage House, even if it doesn't rock the foundations - it's like the film wishes to condemn them, but can't quite bring itself to do so - and there's little commentary other than how galling the social climbing classes can be.

There are some nice touches of dialogue throughout, despite a reliance on voiceover and chapters to break the film up. When asked why Lady Savage stays with her husband, she remarks that she chose him because she thought it would be fun, despite knowing and because of his ambition. It's touches like this the script could have benefited from more of, rather than just Grant commanding the screen.

Blessed with an abrasive vim and vigour, Savage House gallivants along at a pace that's enough to paper over its cracks and is raucous enough to make you glad these Savages aren't your neighbours.

Mum, I'm Alien Pregnant: Movie Review

Cast: Hannah Lynch, Arlo Green, Jonny Brugh, Jackie van Beek, Yvette Parsons
Director: Thunderlips

New Zealand film continues its trend of weird body horror films with this tale of alien immaculate conception put through a prism of a mother and daughter relationship.

Mary (Lynch) is a layabout at home - content to spend her time masturbating to sci-fi anime and avoiding her overbearing mother Cynthia (Parsons, brilliant in her kookiness), she lives a socially solitary life away from anyone. But when her mother introduces herself to the new neighbour (Van Beek) and hears her son Boo (Green) is deformed, Mary finds herself on a collision course with him.

After a chance encounter in a laundromat piques both their curiosities, Mary ends up pregnant and racing against time to get an extraterrestrial lifeform out of her...

Mum, I'm Alien Pregnant is a gross out film in many of the expected ways, but what also emerges from this raucously funny and offbeat tentacle-obsessed tale is one of connection.

Whether it's the relationship between the mothers and both their siblings, or Mary and Boo, or even Mary and the doctor who sees her (Brugh, in fine fettle), the film makes great fist of quick quips, classic one-liners and insights into the different kind of relationships which emerge from the banalities of life.

With some truly impressive effects and a great grounded performance from Lynch, Mum, I'm Alien Pregnant does more than just prove to be a crowd-pleasing late night film. It has a heart and an inherent commitment to its premise that's infectious and enjoyable.

Mum, I'm Alien Pregnant is destined for cult classic status - and that's no bad thing for a film that's so clearly based in the out of this world fantasies, it's the down to earth moments which impress and endure the most.

Mum, I'm Alien Pregnant is playing at the New Zealand International Film Festival - for times, see nziff.co.nz

One Night Only: Movie Review

Cast: Monica Barbaro, Callum Turner, Ben Marshall, Maya Hawke, Molly Ringwald

Director: Will Gluck

After a season that's delivered action in the form of Spider-Man: Brand New Day and The Odyssey, it's back to the traditional romcom with One Night Only.

However, this one delivers a bit of a Purge-like twist.

The film follows Owen (Turner), recently dumped, and Allie (Barbaro), a hopeful romantic, who may be the only two singles in New York City looking for more than a fleeting encounter. 

On this unique night, they meet and feel an immediate spark, but a series of misadventures, misunderstandings, and side quests complicate their evening, keeping them apart as they navigate the city in pursuit of connection and romance

Kiri and Lou Go Raaa! Q&A with Olivia Tennet

After seven years of friendship captured across 104 episodes, Kiri and Lou Go Raaa! takes us back to the very beginning, telling the story of how Kiri, a feisty little dinosaur, and Lou, a gentle and sensitive ‘palorchecie’, became the unlikeliest of best friends – in their biggest adventure yet.  

Olivia Tennet, who plays Kiri, took some time to reflect on the film's NZ arrival and the legacy of the kids' show which is as popular worldwide as it is in New Zealand.

How do you feel about Kiri and Lou finally joining the ranks of Wallace and Gromit and Shaun The Sheep as an animated film?

I am a huge fan of Aardman, and grew up watching all of the Wallace and Gromit films, so to be in the same field as those guys is extremely flattering! Funnily enough, at our recent world premiere of Kiri and Lou Go Raa at Annecy Film Festival, the whole Aardman team was there and they are all huge fans of Kiri and Lou, which was amazing to hear. 

We had many conversations where it was us all just going back and forth like “OMG, we love your show”, “Oh but we love YOUR show”. It was very funny and very lovely. To be Aotearoa’s very first stop-motion animated film is a huge achievement and NZ should feel proud that it is entirely locally made.

You've been with the series for a while, what do you get out of it still?

Playing Kiri is honestly one of the biggest joys and privileges of my life and working on the series and film over 8 years has been a huge honour. It never feels like work and I never take it for granted.  Voice work is incredibly creatively freeing as a performer, as you never have to worry about what you look like and this means you can of course play roles you’d never be able to play in live-action. ie. a small yellow Tuatara like Kiri!

I've been playing Kiri for so long now, she really feels like my alter-ego. Ha! Not to sound too full-on, but playing her as been very healing for my 'inner child' and there's lots of qualities that Kiri possesses that I wish I had more of myself - spontaneity, self-confidence, her ability to make anything into a game and her lack of hesitation when it comes to standing up for her friends and when she senses something is unjust. I love playing her, as she always reminds me of things I could do better in my own life!

The Kiri and Lou team are also some of the best people in the world. They all have the biggest hearts and really care about the show, which I think comes through in the work. You can tell when the dynamic within a creative team is on point, and my ‘colleagues’ have now all become very dear friends. Having those long-term relationships is actually quite rare in this industry as jobs are usually a few months long and then you all move onto other things, so it feels quite unique and very special to work with people on a single project over many years.

When - and how - did you know Kiri and Lou was something special?

Very early on to be honest. Harry (Sinclair)’s writing paired with Don (McGlashan)’s songwriting is a match made in heaven and I still have to pinch myself when I’m in the studio working with those two. I grew up listening to The Front Lawn so they’re absolute legends in my eyes and their talent knows no bounds.

I think what makes this show so special is the emotional truth in it. Harry has an incredible way of being able to distill very big ideas into a simple message that is age-appropriate for kids but it never doubts their intelligence or comes across as ‘preaching’. All kids are going to be curious about big topics like death, inclusion, body positivity, rejection, tolerance, vulnerability so it’s important not to avoid them. The show is warm without being too saccharine, and also very, very funny. It’s also very low-stimulation, it leaves room for kids to process and figure things out without giving them the answers and has an almost meditative quality in some episodes.

Watching my son Alwyn as a toddler, when he was grappling with new emotions that were often quite confusing and overwhelming for his little body and brain, I could really empathise with that. I actually think adults get as much out of watching Kiri and Lou as kids because the themes are so universal. I got messages during lockdown from adults who would say, “I don’t even have kids but I watch Kiri and Lou and it has helped me during one of the most difficult periods of my life”. These messages would make me cry. Adults of course feel loneliness, grief, rejection, rage, etc too, and a lot of adults never learnt ways to process these things in a constructive and healthy way, so I think it can be quite healing. Kiri, in particular, has quite a few moments during both the TV series and the film where she is confronted with an unfamiliar feeling which she can't quite articulate and through voicing this through song or a conversation with a friend, she's able to work through it. I think that is one of the biggest draws about this show is that it's helping kids (and adults!) name and talk about their feelings in a gentle and creative way.

What's been the best part of making the film? And audience reaction here and abroad?

We made 104, 5-minute episodes of the Kiri and Lou TV series, and in making the film, we all got the opportunity to get to create a longer-form journey for these characters which I think everyone in the team was ready for. The film is a prequel to the series so getting to explore Kiri and Lou’s origin story was so much fun. It was so cool thinking about how the characters we know and love from the TV series became who they are.

When we premiered in Annecy, the audience reaction was incredibly positive and we got the most amazing feedback in our Q and A afterwards. It made me realise how far the show has travelled and how diverse the Kiri and Lou audience is. It was the first time I’d watched anything from the Kiri and Lou universe in a room full of people so it was an amazing moment.  I now can’t wait to share it with a NZ audience!

What do you want audiences to get out of it?

I really feel like Kiri and Lou can do good in the world and we need more shows like this one. We live in such an adult-centric society, and art for kids sometimes doesn’t get the same attention or effort put into it as something made for adults. But I can honestly tell you the attention to detail and the consideration, time and energy that goes into the making of Kiri and Lou is like no other. Nothing is rushed (which is good because stop animation is a very slow process haha) and we always go back and re-do things if we feel it’s not right. It’s a show with huge heart and I think it will be a very special first film for a lot of kids. The music is amazing, the animation is incredible and the writing is A+.

I think one of the main messages of the film is that it’s ok to show vulnerability and we don’t need to mask it with bravado or through feigning confidence. Being honest when you’re feeling anxious or sad creates meaningful connection with someone else, and chances are, they are feeling the exact same way. It also reminds kids that difference is something to be celebrated not something to avoid. Kiri and Lou are very different from one another, but this is exactly what makes their relationship so special. They really bring the best out of each other!

If you could play any other character in the Kiri and Lou world, who would it be and why?

I actually also play the role of Pants, who is obviously very different to Kiri in both vocal quality and in personality, so I’m very lucky to get to play two such distinct characters. But I think my next choice would have to be Small - I love her so much and she has some absolute bangers of songs in the series like “Do a Little Jump” and the episode “What is Art?” is one of my favourites.

What are your animation inspirations?

My Dad is a huge Simpsons fan so we always had that on every evening growing up. Nancy Cartwright is of course an absolute inspiration. My other favourite animated shows are Rick and Morty, Adventure Time, The Wild Thornberrys, Recess (hello 90s kids!!), Big Mouth and Harvey Birdman, Attorney at Law.

I saw some incredible animated films at Annecy Festival too - Iron Boy and We Are Aliens would be my top two recommendations!

What does it mean to you to be a part of the NZ Film Festival for kids? Traditionally, there used to be a big all family film aired during the festival, you must be thrilled to be that this time?

It means so much. And at The Civic, which is like THE dream venue in Auckland. I feel like kids don’t get to attend many events at the Civic usually, so it will be such an exciting first visit for a lot of kids. Under the starry sky, with all that ornate, gold detailing - it’s such a beautiful venue. And again, with it being a NZ film, with NZ accents, it’s really cool to be sharing it with a NZ audience.

What other films will you see at the festival?

I’m looking forward to seeing Big Girls Don’t Cry, Crocodile, 100 Nights of Hero, The Voice of Hind Rijab, The Ungrateful Tenant and Sad Girls. But honestly, I want to see them all!

What's next for you?

We’ve got the Kiri and Lou in Concert series with the various orchestras across Aotearoa through August - Auckland, Wellington and Dunedin. All details on the Auckland Philharmonia, Orchestra Wellington and DSO websites! We performed this show in Christchurch in July and it was so much fun. I host the show and the orchestra plays music from the show live on stage. Hearing the music live for the first time was such an emotional experience for me - I had to hold back the tears! And it was again so amazing getting that direct feedback from the Kiri and Lou fans in the audience, something we obviously don’t get to see when people are watching the show at home.

And then for something completely different, I have just started rehearsals for a play called Job with Silo Theatre which runs from the 3rd-20th September at Q Theatre. Directed by Shane Bosher and starring myself and Stephen Lovatt, Job is an 80 minute psychological thriller set in a therapist’s office. It’s very intense and quite dark so honestly couldn’t be further from Kiri and Lou! I feel very lucky to get to do such a wide variety of work in the industry and hopefully these two projects will balance each other out a bit lol. Aside from work, I’ll be hanging with my son Alwyn and partner Tom, and doing all the usual parenting things!

Kiri and Lou Go Raaa! premieres at the New Zealand International Film Festival - for more info, head to nziff.co.nz