Friday, 12 February 2021

Honest Thief: DVD Review

Honest Thief: DVD Review


In Honest Thief, a fairly competent story is given plenty of heart and soul before falling into old action genre tropes, and fizzling when it should really be ramping up.

An earnest Liam Neeson delivers another variation of his Taken routine, this time performing as Tom, a former marine cum IED disposer turned bank robber with a conscience.

Following a meet-cute with Kate Walsh’s Annie at a storage depot, Tom decides to turn his back on bank robbing life to settle down.

So deciding to turn himself in, Tom calls in the FBI, and tries to convince them he’s their man. Initially Reticent, two of the FBI’s most disgruntled (for reasons never fully expanded upon) decide to rip Tom off, steal the cash and make off with the perfect crime.

But when Tom is crossed, he takes the fight to the FBI, using a variation on his set of special skills to get revenge.

Honest Thief starts by placing characters into its story, developing them before they deciding to throw them in the shackles of a relatively plodding typical action film.
Honest Thief: Film Review

Neeson gives good hangdog face and his burden is obvious, even when the script fails him. But by the time Jai Courtney’s maniacal glee enters the frame. The film eschews any desire to further service its characters, preferring merely to service a rote plot that neither fizzles nor burns in its final third.

There is a story of how middle management flounder in life, how males lose their direction and how guilt catches us all up, but Honest Thief is less interested in that and more interested in ensuring a happy ending for all, the baddies are caught and love will find a way.

An abrupt end doesn’t help things and serviceable action scenes exist only because they have to and not because they ramp up tension or push you to the edge of your seat.

Honest Thief is watchable enough fare, but unless Neeson does something new and fairly soon, the twilight of his career will be notable only for a long list of average actioners - that’s the honest truth, but also would be a crying shame.

Thursday, 11 February 2021

Rams: DVD Review

Rams: DVD Review


A re-imagining of Grimur Hákonarson's Cannes Award-winning Icelandic movie, Australian director Jeremy Sims' latest offers more of a lighter tale than the bleak original.
Rams: Film Review


Neill and Caton are Colin and Les, two estranged brothers who are at war with each other, and whose quarrels have divided the community. When Colin suspects Les' award-winning ram of having a rare disease, he has no choice but to tell the authorities, setting in motion a purge of the region's sheep and devastating livelihoods potentially for a generation....

The Australian version of Rams is less interested in providing the kind of bleakness that was so redolent of the Icelandic original. 

From broader strokes to an almost comedic performance from an OTT official, the film isn't wanting to wallow in the darkness of the first, that came with both an oppressive Icelandic setting and a grim outlook. But given its desire to reach a wider audience, this is perhaps understandable.

Instead, by setting the film in the Aussie outback with its pristine paddocks and rolling hills, Sims' take on Rams is less nuanced, but nonetheless effective, thanks largely to a stellar performance by Neill as Colin. (Although the ending leaves a lot to be desired.)
Rams: Film Review


Neill delivers a weathered and wearied performance that taps into the farming mindset of less said, more demonstrated - from occasional looks to the heart-rending viscerally numbing moments after he has to slaughter his sheep, Neill delivers a masterclass in understated and builds a character that's both loveable and questionable in some of his antics.

Caton has less to work with but manages to turn in a brother whose anger and resentment has gone beyond my brother's keeper ethos and is tinging on self-destruction. But when needed, he provides a more than adequate foil to interactions with Neill's Colin.

Ultimately, despite the bucolic background, there's still the elegaic feel of the original to Rams, and a slower pace gets to the heart of both the characters and the community affected by the outbreak of disease and the devastation of loss. It may have softer edges than the original, but it has an eye for the subtleties of farm life and those who dwell within it.

There's a rhythm adjustment needed for Rams, but work with it, and it offers a strongly rewarding experience that offers insight into how men behave later in life, and how rural life shapes a certain perspective and outlook.

It may be occasionally stymied by some of its broader comedy strokes, and its desire to err from the darkness blackish comedy within, but given its central performance from Neill, it's eminently watchable.

Wednesday, 10 February 2021

Ammonite: Film Review

Ammonite: Film Review

Cast: Saoirse Ronan, Kate Winslet, Gemma Jones, Fiona Shaw, James McArdle
Director: Francis Lee

God's Own Country director Francis Lee turns his precision lens to the story of fossil hunter Mary Anning in this tale of frustrated ambition and love.
Ammonite: Film Review


Winslet is Anning, who spends the days on the beaches of Dorset scouring for fossils in among the inclement weather and muddy cliff faces while facing the reality of barely making ends meet in her tourist seaside shop.

With days of discovering major fossils behind her, and with poverty continuing to knock at the door, Anning is faced with no choice but to look after the convalescing Charlotte Murchison (Ronan) after her wealthy husband insists and offers to pay. But, despite the initial distance between the pair, and the clear class divides, a relationship, forbidden by society, develops.

Handsomely shot, and at times, run at a glacial pace, Ammonite lacks the intensity of the kind of relationship explored in Lee's stunning debut, God's Own Country.

Winslet's steely determination throughout renders Anning an almost impenetrable character, whose motivations are hard to fathom. Lee wisely uses other interactions with Anning to flesh out her story, and when Anning finally lets some of her guard down, Winslet subtly integrates nuance into her delivery and lightens her tone, brightening the screen and breathing life into an almost fossilised character.

Equally, Ronan helps push through some of the coldness of the movie, with glances and moments helmed by Lee helping fuel more of a character. From looking longingly at a room full of people to disappointed looks to her husband (McArdle in a brief but memorable turn), Lee's camera captures more insights into the pair than the script allows.
Ammonite: Film Review


In fact, it's Lee's capturing of the intricacies and minor details (a horse's strap, a camera hanging on eight ceramic ornaments that have more significance later on) that provide a more handsome and rich tone that Ammonite could have done more with. His eye for seeming visual insignificances of the world around his characters does much to fill the obvious narrative gaps that will leave some feeling cold and isolated.

Tuesday, 9 February 2021

Minari: Film Review

Minari: Film Review

Cast: Steven Yeun, Han Ye-ri, Alan Kim, Noel Kate Cho, Will Patton

Director: Lee Isaac Chung

Quietly unassuming but even more devastating for being so, Minari is a perfect pearl of a film about the American immigration experience.

Minari: Film Review

The Walking Dead’s Stephen Yeun is Jacob Yi, a speedy chicken sexer who has moved his family to the outskirts of rural America for a better life in the 1980s.

But when his wife Monica (Ye-ri, an effective foil) glimpses said life of a trailer on wheels with a 50 acre plot of land she’s horrified. Their two kids aren’t much more impressed either but they have no choice but to settle in.

The couple's youngest David has his a heart murmur and his mother worries at their distance from a hospital should the worst happen; their eldest seems content to carry on a domestic life but both kids are on edge, firing paper planes with "Don’t fight" messages scrawled on their wings into the rows that develop over time.

Eventually Jacob acquiesces and welcomes his mother-in-law to live with them so they can become a true unit and get on with life.

Minari: Film Review

To say more about Minari is not to reveal more for fear of spoilers, merely a statement that this semi-autobiographical film from Lee Isaac Chung isn’t about plot machinations or dramatic reveals.

While the poster and trailer may  be led by the child David and promise a kind of quirkiness reserved for many films of its ilk, Minari isn't about easy simple and lazy stereotypes. There's an earnestness, humour and warmth that's ripe for the viewing.

It’s a gentle film that wraps you in its rhythms and one which is content to shock you over how engrossed and invested you’ve become in this family as the final moments of quiet slice of tragic devastation play out.

Veracity underpins every scene of this bucolic coming of age movie, skilfully shot by Lachlan Milne and directed by Chung. Each frame is a masterpiece in minimalism and a highly-skilled execution in immersion.

Minari: Film Review

Minari is beyond effective throughout, seeding you deeply into the world of these South Korean immigrants. It's another effective examination of the human condition, and of the journey others take in our worlds - and it's easily one that deserves to be part of any awards' talk which happens.

Monday, 8 February 2021

Deerskin: DVD Review

Deerskin: DVD Review

French director Quentin Dupieux, the guy who brought us Rubber, returns to the festival with an offbeat look at masculinity and bizarrely, fashion.

A greying Jean DuJardin is Georges, a man who appears firstly on the road, and secondly out of sorts. Clad in ill-fitting chinos, and drably coutured, his first stop is at a rest stop, where he throws his jacket in the loo, pushes it down with his feet, and retreats as the facilities begin to flood.
Deerskin: NZIFF Review

Having dispatched his wardrobe with veritable aplomb, Georges buys a full length, tassles and all, deerskin jacket, that comes with a digital video recorder. Dubbed The Beast by its seller, the jacket seems to exert a hold over Georges, demanding that all jackets be destroyed....

Deerskin is dubbed as a comedy, but it's not exactly laugh-out-loud amusing, more unusual and offbeat than anything.


Beiges, browns and other drab colours provide a palette of malaise that affects much of the mood of the film, and symbolises the collective atmosphere of loss.

DuJardin is committed to the lunacy and the delusion, but grounds his Georges in a kind of broken sadness that's universally recognised, before it teeters off ultimately and heads into the unhinged arena.

At 76 minutes, the film's stretched about as thin as it can go, but the descent into madness is well put together and sold mainly by DuJardin's sense of detachment and Adele Haenel's Denise's desperation to escape a crummy job and buy into the delusion.

"You can't make sense of it now, but it rocks," is one line intoned during proceedings, and may be much of the audience reaction to how Deerskin plays out, and descends into obvious genre tropes.


Ultimately, Deerskin paints itself into a corner, as is demonstrated by an ending that comes out of the blue, but Dupieux's commitment to the journey of lunacy allows it to not outstay its welcome.

Just.

Sunday, 7 February 2021

Baby Done: DVD Review

Baby Done: DVD Review


Released by Madman Home Ent

Less a comedy, more a drama that lacks a little bite, the relatively predictable Baby Done treads a path for its protagonist and New Zealand film seldom glimpsed before.
Baby Done: Film Review


A bright and perky Rose Matafeo plays Zoe, an arborist who deplores the constant baby showers of her friends and who vows never to become a mum just because everyone else is doing it.

However, fate deals her and boyfriend Tim (former Harry Potter star Matthew Lewis aka Neville Longbottom) a two line shaped hand, and sends Zoe into a spiral of denial...

There is heart in Baby Done; however, promising a riotous comedy and then delivering anything but is a minor disappointment. In truth, there are some laugh out loud moments, indications of where the cast is allowed to go off script, cut loose and generally have fun. Drawn from the well of real-life couple Vowell and writer Sophie Henderson, there's veracity in the film's veins, even if there's not gut-busting moments expected of a comedy.

Stand-outs like Rachel House's snooty school principal riffing with Matafeo's Zoe, a mistimed confetti bomb and the all-too-brief wearied ante-natal class teacher (Alice Snedden) are sequences that give Baby Done a bit more life when proceedings start to sag - but they do also remind what could have been if the tone was a little more concisely honed.
Baby Done: Film Review

That said, Matafeo and Lewis make a nice ordinary couple, one who are at pains to cope with the direction their lives are suddenly going on. Lewis delivers dependable and solid, who runs toward the idea of being a dad rather than away (a genre trope nicely subverted). Matafeo's Zoe has energy, and affability as the story coasts along - but she's an easy companion to tag along with, and carries the film through its more uneven and underwritten edges.

All in all, Baby Done doesn't quite deliver on its promise and there are one too many pregnant pauses in its execution, but it does offer a protagonist who wants to behave badly and fight against the societal expectations of expectant mothers. It could do with a dash more freewheeling, but it does deliver a star turn from Matafeo to enjoy.

Saturday, 6 February 2021

Gods of Egypt: Neon NZ film Review

Gods of Egypt: Neon NZ film Review

It's possible that the latest swords and sandals film will fall short, but it is not through lack of trying and digital ambition.

Essentially a throwback to the Ray Harryhausen FX pics of yore, Gods of Egypt centres around the age old rivalry between god brothers Horus (Game of Thrones' Nikolaj Coster Waldau) and Set (Gerard Butler).

When Set murders his father Osiris (Aussie Bryan Brown) on the day of Horus' coronation and rips out his eyes (the source of his power) Egypt is plunged into chaos.

Entering the fray is mortal thief Bek (an utterly underwhelming Brenton Thwaites) whose plan to raid the tomb and restore Horus' sight renders his nubile missus Zaya (Courtenay Eaton) dead as they flee.

Hoping Horus can save her from the afterlife, Bek strikes a bargain with the god and the mismatched buddies set off on a mission of redemption.

Gods of Egypt's creature ambitions out-strip its budget and the result is an FX addled character-less mess that lacks the charm of the likes of Clash of the Titans, but is reminiscent of what makes them successful.

Gerard Butler, complete with Scottish brogue, chews every piece of crumbling masonry in every scene he appears in, imbuing his Set with the tyrannical edge that's needed, but very little else. Equally, Coster-Waldau manages to convey a degree of misery and pity as the wronged god but he does little to give the character an edge that's needed. 


Worst offender is Brenton Thwaites, whose acting is in the very loosest sense of the word - it's like he's reading the script for the very first time and doing little with it.

Geoffrey Rush shows up to cash his cheque as the sun god Ra in a side story that sees him effectively manning a spaceship of the gods and fighting off a smoke monster (no doubt left over from Lost) determined to plough the Nile into its belly.

In between the slow-mo shots and some slightly shonky looking CGI, director Alex Proyas (who did such a masterful job with the much under-rated Dark City) does what he can, but there simply is little in reserve to carry this through. 

Digital wizardry left over from the Hobbit has these gods taller creatures than the men around them, but it's an image that never quite manages to succeed thanks to a script that fails to deliver any kind of dimension to the proceedings or any kind of stand out moments, thanks to characters that are weak and severely dramatically malnourished.


Ultimately, Gods of Egypt's FX are where the film rises and ironically falls. The scope of ambition and the design is impressive, there's no doubting the evocative nature of the era is well-realised, but it's all background dressing. With hammy dialogue, a weak story and visuals that are redolent of both Tomb Raider and the MummyGods of Egypt is a mess of mythical proportions and a missed opportunity to stake its own place in anything other than infamy rather than cinematic mythology. 

Very latest post

Honest Thief: DVD Review

Honest Thief: DVD Review In Honest Thief, a fairly competent story is given plenty of heart and soul before falling into old action genre tr...