Triangle of Sadness: Movie Review

Director Ruben Östlund knows how to orchestrate the awkward.

His Force Majeure took a moment of rash behaviour and transferred it into a whole world of existential dread. But at its heart, that behaviour was grounded in a human truth many of us are unwilling to acknowledge in the open.

Östlund's back at it again with Triangle of Sadness, the second of two foreign films out this year which looks at an unhealthy relationship (the first being Norway's Sick of Myself) and lays bare the minutiae of human dynamics and discomfort.

This time around, Östlund focuses on Carl and Yaya, two influencers whose stars are waxing and waning at different times, but whose incessant need for oxygen keeps them in each other's orbit.

Carl (Harris Dickison) is enraged that Yaya (Charlbi Dean) won't pay for their dinner in an expensive restaurant, despite saying she would fork out for the food. Obsessing on this point on principle, Carl orchestrates a row between the two that would necessitate a fallout due to the imbalance in the relationship - but the pair end up reconciling and soon find themselves on a yacht populated by the super rich, thanks to Yaya's online profile.

However, things go somewhat awry for the duo when a perfect storm of greed, and a typhoon hits the ship.

Triangle of Sadness is utterly hilarious in parts - thanks largely to a sequence involving a captain's dinner, a storm, and a grotesque mash up of Stand by Me's most famous sequence and seafood.

But the 150 minute film stumbles and loses its way in its final third part, (the film's divided into three sections) proving to be as washed up in its dynamics and narrative as its cast members' characters are. 

It's possible that in truth, no one really feels sorry for the super rich, and Östlund's targeting of them feels like shooting fish in a barrel, despite his penchant for laying bare the class elements that come to the fore. There are some savage moments as Östlund delves into the dynamics, but it's tricky to care for the grotesque when they're so readily available to be mocked and so horrible in their behaviours anyway.

Centre to proceedings is the aforementioned captain's dinner sequence which is disgustingly compelling comedic viewing that really ramps up the grossness jettisoning the social satire. Perhaps this is the film's biggest flaw - it doesn't quite zero in on one target, preferring to slather all of them with various levels of blame and horror.

There's wickedness on show in Triangle of Sadness, but in truth, that falls by the weyside as Östlund meanders toward the end. It's still superior, but its lack of focus toward the end means you're left feeling this triangle has little point.

Empire of Light: Movie Review

Cast: Olivia Colman, Micheal Ward, Toby Jones, Colin Firth
Director: Sam Mendes

A slow film that is beautifully shot by Roger Deakins, Empire of Light's mix of elements don't quite come together perhaps as potently as they should - despite a powerhouse performance of emotion from Olivia Colman.

Colman stars as Hilary, the duty manager of a seaside cinema in 1980s England - living a listless life and struggling to deal with medication drugs. When newcomer to the cinema Stephen (Ward, mainly a cypher but with enough charisma to carry that off) arrives, Hilary strikes up a bond with him, eventually leading to a relationship.

However, as time goes on, Hilary's grip on life begins to falter.

Empire Of Light has moments of beauty and poignancy but at times, they're lost in the muddying mix of disparate social commentary elements that don't gel as they should. Is it a film about mental illness, is it a film about loving the cinema or is it a social picture of racism in south England in the 1980s? It seems Mendes who scripted this can't quite decide, and it shows on screen.

With a slow cinema feel and a disjointed start, the movie ends up settling on more of a character piece between the two leads and ultimately feels like another element of The Fabelmans story but transposed to another time and place.

However, throughout it all, Colman is incredible, her Hilary going from deep joy to soul-crushing lows without a hint of Colman seeming like she's having to flex any major acting muscles. With ease she makes Hilary a sad, pitiable character in one scene, and then in the other an utterly joyous vessel of delight, looking to capitalise on the chance to live in the briefest of moments.

It helps that Ward manages to work through some of the clumsy story metaphors thrust upon him (healing a wounded bird being the worst) and rise above some of the stereotypical writing of the times - he makes an excellent foil to Colman, and as a pairing there's none better in this tale.

Ultimately, Empire of Light is a mixed film, one that waxes and wanes in its own beauty and its own rhythms. Deakins' cinematography is exquisite - from the opening shots of the dark cinema coming to warm life with the yellow lighting glow through to the framing of the characters, every single scene is lovingly transposed and bountifully created.

If anything, Mendes' film feels like a fumble - but with the utter brilliance of both Colman on screen and Deakins behind it, it remains a watchable drama with hints of both what could - and what should - have been.

Champions: Movie Review

Cast: Woody Harrelson, Kaitlin Olson, Cheech Marin, Ernie Hudson, Kevin Iannucci

Director: Bobby Farrelly

An English language remake of the 2018 Spanish movie Campeones reteams Kingpin star Woody Harrelson and director Bobby Farrelly, Champions is a curious beast.

Aiming more at feelgood, but somehow managing to feel flat in its long duration, this film promises comedy but more often than not, delivers drama for its main actors - and comedy from its disabled cast.

Harrelson is disgraced basketball coach Marcus, who, after a DUI charge, finds himself on community service and tasked with coaching basketball team the Friends, a motley collection of boys with Down Syndrome. Their goal? The Special Olympics...

Following an entirely predictable path, Champions is exactly the kind of underdog story you'd expect from its genre, albeit one with more drama and sensitivity than perhaps you'd expect from a Farrelly brother behind the cameras.

Harrelson is fine as Marcus; in truth, he feels somewhat muted and more grounded in the role, but he gets a decent spark when facing off against on and off again love interest Alex (It's Always Sunny in Philadelphia's Olson), and the pair find a relatable dynamic that works well on screen.

The only problem with Champions is in how underwritten some of the Friends feel.

While Iannucci's Johnny gets the lion's share of the story (thanks to a connection to both Alex and Marcus), the rest of the Friends are left to deliver quirky one-liners and moments that very occasionally feel uneasy but never stray into exploitation. There's dignity in their treatment to be sure, even if not all of them feel fleshed out.

Incredibly, Farrelly treats the whole thing with sensitivity for the most part - any gross out gags are largely left to the sideline and the film greatly benefits from being empathetic to its characters. It does lack some majorly cathartic moments, and one entire sequence involving a Friends player and his boss feels like a squandered moment.

But given the story is about Marcus being told how he needs to get to know people to be a better coach, it somewhat sticks in the craw that this side of the character development is largely confined to only a few members of the Friends - aside from one last third act moment.

Champions aims to be feelgood, and while there's a lot of veracity in its execution, don't be entirely surprised if this sports underdog story and human redemption movie doesn't quite leave you feeling as uplifted as you'd expect.

It's solid, but not spectacular and there's a distinctly nagging feeling that in parts, if developed a bit more strongly, it could have been crowdpleasingly sensational.

Living: Movie Review

Cast: Bill Nighy, Aimee Lou Wood, Alex Sharp

Director: Oliver Hermanus

An adaptation of the 1952 Japanese film Ikiru, and blessed with an almost melancholy and ghost-like performance from Nighy, Living's subtle pleasures come from a story washing over its audience adjusting to its rhythms.

Opening with a 4x3 aspect ratio and sequences of bowler-hatted worker drones catching the train to their London offices, Hermanus delivers an England struggling to recover in the face of the second World War. Bowing to tradition, the film follows the story of Nighy's civil servant Mr Williams, the head of a Council hall team aimed at holding people up in red tape and bureaucracy.

Given a terminal cancer diagnosis, Williams goes AWOL from his routine, determined to suddenly shake himself out of his ennui and zombie-like state. Finding a friend in a former office colleague (played by Sex Education's Lou Wood), Williams tries to live out his final days in ways he should have embraced earlier in his life.

"If only to be alive like that for day" may be one of the sentiments espoused by Williams, but it's also the film's winsome message, aimed at making us all reflect on lives gone past and time spent in the present.

Yet there's melancholy a-plenty here and sadness lurking in more than just Nighy's terrifically nuanced performance. Whether it's the newcomer to the County Hall office wondering if the bureaucracy and delays proffered to the people should be his future, the beleaguered writer who delights in debauchery unable to find his muse or the lively companion who brings Williams out of his state, there's plenty of commentary here on how Brits live (or didn't) after two World Wars.

Hermanus crafts a film that takes its time to sink in, but allows the quiet moments to soar and his star to rightfully claim an Oscar nomination as best actor.

Nighy's rarely been this commanding in a role, ironically one which requires a softer edge and an emotional turn for a man whose life has been lived doing what he's supposed to, but not what he ought to. It's a subtle difference and one which Hermanus exploits well throughout this emotional, sensitively-handed and excellently helmed movie.

Win a double pass to see 65 at the movies

To celebrate the release of 65 at the movies March 9, thanks to Sony Pictures New Zealand, you can win a double pass!

About 65

After a catastrophic crash on an unknown planet, pilot Mills (Adam Driver) quickly discovers he’s actually stranded on Earth…65 million years ago. 

Now, with only one chance at rescue, Mills and the only other survivor, Koa (Ariana Greenblatt), must make their way across an unknown terrain riddled with dangerous prehistoric creatures in an epic fight to survive. 

From the writers of A Quiet Place and producer Sam Raimi comes 65, a sci-fi thriller starring Adam Driver, Ariana Greenblatt, and Chloe Coleman. Written and directed by Scott Beck & Bryan Woods and produced by Sam Raimi, Deborah Liebling and Zainab Azizi. 

Also produced by Scott Beck and Bryan Woods.

65 releases in cinemas from March 9

To win, Just flick an email to darrensworldofentertainment@gmail.com with 65 as the subject and you're in the draw!

Creed III: Movie Review

Cast: Michael B Jordan, Jonathan Majors, Tessa Thompson, Phylicia Rashad

Director: Michael B Jordan

You know what you're going to get with boxing films.

Either it's an underdog story, a story about being on top then falling from grace or it's a one last shot at redemption kind of film. 

Creed III somehow manages to be all of those, wrapped up in an emotionally-grounded and at times, cliched and overwrought story. As well as a pugilist's dream, Creed III also manages to showcase once again the innate star power of Majors, the generosity of Jordan as a first time director and a different way to really show off a boxing match. And all of it wrapped up in a "you stole my life" thriller as well.

After just winning his way to a world title with his final ever fight, Michael B Jordan's Creed is in retirement, enjoying a Don King-esque role ("but without the hair" as his largely sidelined partner Bianca states) and mentoring at his gym.

But when Damien Anderson (Majors) a friend from long time ago appears from jail, Creed finds his world turned upside down and a long-buried secret unearthed.

Creed III benefits greatly from being a muted film that makes more of the emotional edges than the outright bluster of a boxing movie. 

It's what Jordan understands about the concept and formula that makes Creed III a film to enjoy. Along with some tightly shot boxing sequences, and a bravura execution of the final fight, Creed becomes a film about legacy, loss and also future while carving out a mournful tone throughout.

There are moments which are overwrought and overplayed though, with domestic dramas thrown into the mix and not properly resolved, and training montages feel overdone this time, overlaid as heavily as they are with music and hyperbolic scenes. Certainly while Thompson's character feels more pushed to the side and dealing with her issues, the story gives her weight when it's needed - but it's a frustration there's not more of that throughout.

What's most fascinating about Creed III though is how Jordan turns the spotlight on Majors as a foil, a niggle from the past that Creed won't deal with and is prevented from moving on from the trauma of. Majors is more than just a foil on screen though, with the pair's great chemistry hinting at a long history that's only scratched the surface of during the film's prologue. 

Majors' character feels lived in, and the tensions between the two feel fraught and meaty - sure there's the contrast of Anderson's scrappier edges brought on by life rubbing up against Creed's more headstrong and intelligent ways, but the sparks keep flying because of it.

Visually, it's the film's final fight which shows Jordan's vision behind the camera - the ropes of the ring are turned into a cage and the battle of wits between the pair is executed in a one-on-one that really changes up the way these movies are generally done. It's thrilling stuff which makes the journey worthwhile.

Creed III may well be the capper to the story of legacy, but ultimately, while it's not a knockout blow, it's a meatier more satisfying and nuanced take on the genre that proves to be as much for the heart as it is for the head.