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

Halo: Campaign Evolved: PS5 Review

Developed by Halo Studios
Published by Xbox Game Studios
Platform: PS5

MasterChief is back. 

But this time, he's come to a new console, bringing the iconic combat and fighting style he's renowned for on the XBox and upgrading it with this from-the-ground-up remake of the 2001 Halo: Combat Evolved game.

It's interesting that as a linear story, Halo: Campaign Evolved is singularly about shooting one thing, shooting the next and moving onto your next objective. Deep it isn't, but fun it certainly is thanks to a fluid combat style, no real jarring on the graphics front and an idea that really, these games are just about corralling chaos and unleashing it on screen.

Perhaps that won't be for some - during the 10 hours of campaign, there's little else to do but shoot as enemies drop, your weapons run out and you steal from others before unleashing hell. It's not like it's filled with side quests and in some ways, that 2001 simplicity is both the game's winning strategy and its Achilles Heel.

After a while, combat can simply start to feel quite repetitive, no matter how well thought out the corridors and maps are - it's just the reality of a game that's not there to do anything other than release bullet sponges and enable you to go mad with them.

From plasma rifles to Needlers, the weapon list is relentless, and delivers plenty of options to fire up your arsenal. Battling through spaceships, fighting the Covenant and its masses, the game's pretty full on and while the haptics are not well deployed on the PS5 version, the game's fluidity and speed makes up for the fact some of the simpler basics are missing.

With zoom in handling, better capabilities for driving vehicles and the chance to keep on playing without noticing any breaks in the Unreal Engine upgrade, Halo: Campaign Evolved will appeal to those who've always loved the MasterChief franchise.

But it's perhaps a harder sell for newer fans who've never really been exposed to the gung-ho world of the Halo franchise, given it's a remake of a 2001 game with a simpler ethos. The game's playable enough, yet crucially, it occasionally feels like it's too disposable to simply put down and leave for another time.

With bonus missions though and a commitment to space-age carnage, Halo: Campaign Evolved is a solid enough game to blast away the time.

Mum, I'm Alien Pregnant: Q&A with star Hannah Lynch

Mum, I'm Alien Pregnant follows Mary, a layabout slacker living at home (played by Hannah Lynch).
Wasting her days, she stumbles into an odd sexual encounter with her neighbour's son, Boo, played by Arlo Green.
And from there, things get more than a little crazy...

Hannah took some time to chat before the film's NZ premiere at the Auckland leg of the New Zealand International Film Festival on August 7. For more details on the film, head to nziff.co.nz

How on earth did you get approached for this film? 

I got the audition for the short film Help, I’m Alien Pregnant through my agency and looked at the logline with some intrigue and confusion I’ll admit. When I saw it was THUNDERLIPS I was immediately down, I’d previously watched their music video for Sheep, Dog and Wolf - Glare which I loved. I watched that music video so many times when it came out in 2014. Then I was like, these guys have a vision I’m sure of it. 

What was your initial reaction to the plot and the pitch? 

My initial reaction was to the short film. I thought the concept was pretty insane, really funny and I liked that THUNDERLIPS were taking a big swing with their filmmaking. After talking a lot to the producer Alix Whittaker about how the project came to be, being that it is based on the pregnancy she experienced, I felt confident to do this project with them all about a female body in the medical system as well as all of the insanity. 

At its heart, aliens aside, the key to this film is the relationship between Mary and her mum, played by Yvette Parsons. Can you talk a little about how you found the right groove for this soon-to-be-iconic relationship? 

Yvette and I had worked previously on James Ashcroft’s film The rule of Jenny Penn and we just got on like a house on fire. We realised both our mothers are Fijian and also, she remembered my mother from their meeting in childhood! 

From there we spent heaps of time together, which was easy because Yvette is the funniest person I’ve ever met. We would improvise all the time as mother and daughter because we thought we were funny. 

What was it like being on set for this one? Were there ever any outrageous moments that made you wonder what was next? 

It was a fun set! I love being on them when it feels like hanging out with your mates. There were many, many outrageous moments. The most insane was shooting in the set at the film's conclusion. The slime was freezing but the nest would get super-hot and sitting in the goo for days on end became its own kind of psychedelic experience. 

What do you make of the final film with all the trippy FX, both visual and practical? 

I love the practical FX. I think it's so cool to put the effort and energy into practicality, especially at a time when everything is becoming so digitally precarious. Make live stuff. 

What was it like the first time you saw Arlo Green's character's intimate bits? 

They tried to hide the prosthetics from me until we were shooting the reveal but then it was so chaotic in the moment; there were lots of people puppeting the prosthetic and setting off sparks that I was too overwhelmed to take it in. 

I got a look later, it's fierce!

Why do you think New Zealand filmmakers are so good at the comedy horror genre? 

Maybe because New Zealanders are typically pretty nonchalant in the face of danger which often makes it funnier. Fear and humour - it just works. 

What do you want audiences to get from this film? 

I hope people have a laugh, give their mum a call and remember that you have autonomy over your life. Follow your own hunch! 

What's the one film you'll be going to at the Film festival and why? 

I’m really, really excited to see the shorts programmes this year! So many amazing up and coming filmmakers in this country. Also excited to see Rose, Sandra Huller is my obsession. 

What's next for you? 

I’m playing lots of music at the moment! Just released an album and am playing a release show on the 29th of August at Kahui St David’s, come through if you like to have fun!

Whispers in the Woods: Movie Review

Director: Vincent Munier 

Famed French wildlife photographer Vincent Munier takes viewers on an utterly incredible visual journey in Whispers in the Woods, a movie about the connection between man and nature, as well as the bond between stories and generations.

In Le chant des Forets (its French title), the Velvet Queen director delivers some stunning visuals as he negotiates the forests of Vosges in Eastern France, the home of bears, deer, owls, lynxes and others, with his grandson.

To say that Whispers in the Woods is part of slow cinema is both an understatement and a disservice. 

Whilst it's true the pace is almost glacial at times, the film's commitment is to both its soundtrack, which charts the aural world around us, and its visuals which prove life in all its forms is a wondrous thing.

Whether it's mist burning off from the forests to reveal the trees ("A sense of resurrection," Munier intones magnificently as the camera hangs on the spectacle) or shots of animals sticking their heads out of dead trees unexpectedly, Whispers in the Woods returns the kind of awe to the landscape which has been largely missing from the big screen for years and shoves nature to the forefront.

Whilst there's also a message about climate change destroying life in the forest, Munier's also keen to take the earpods out of our ears and listen to the shrill noise of the birds, the stirring sounds of the wildlife and to appreciate what we have on our doorstep.

As well as the message of not hurrying deforestation, there's a subtle second thread at play here - one of generational connection and passing on information to kin. Munier spends the time in the woods with his grandson, educating him on where to look, when to listen and as a result, the bond between them grows.

A stunning bigscreen outing, Whispers in the Woods offers a kind of solace rarely witnessed in the cinema these days - it's an incredible tribute to the simplicity of life in all of its various forms.

Whispers in the Woods is playing at the New Zealand International Film Festival - for screening times, visit nziff.co.nz

Rose of Nevada: Movie Review

Cast: George Mackay, Callum Turner, Francis Magee, Edward Rowe, Rosalind Eleazar 
Director: Mark Jenkin

British director Mark Jenkin returns to the world of Cornwall in the third of his Cornish trilogy films, a low-key scifi horror that mixes elements of Triangle with a level of existential dread that seizes on the nature and eco-system of living in a fishing town.

It starts with the creaking sounds of a boat, before segueing into shots of rope, moorings and birds - and before long, the sounds that offer comfort within a seaside community become something a little more disconcerting, thanks to Jenkin's use of still shots and an atmosphere of unease.

It's the tale of Nick (1917's George MacKay) and Liam (Callum Turner) a pair of desperate men trying to find work to cover various problems in their lives - be it leaking rooves or a need to pay for drinks down the local pub.

When the boat the Rose of Nevada reappears in the waters on a Cornish dock having been last seen in 1993, its owner Michael (Rowe) gives the two the chance to make some cash and go out on a trawling mission for a few days. But when they return to shore, both Nick and Liam find different lives awaiting them.

There's a touch of an elemental Cornish folktale here as Jenkin stacks the story with mystery, preferring to trade on the atmosphere rather than any form of direct explanation. For some, that may prove frustrating as answers are not forthcoming and the reason for the timeslipping nature of what's going on remains directly opaque.

But what emerges from Rose of Nevada is a sense of style amid the foreboding. Like a kind of Wicker Man vibe that taps into the unending implied menace of winding Cornish backroads, Jenkin turns the sea into something mystical and menacing. But he also builds a sense of community too, something that's key only to fishing towns where everything hangs on the quality and quantity of the catch.

The film's key inspiration is delusion and madness, as opposed to outright fear, and while Turner's Liam leans into the life that he's found, Nick is horrified - leading to an emotional ending that most won't expect.

Rose of Nevada is an oblique tale that once again showcases Jenkin as an esoteric unique British film voice. It's a voyage worth taking, if only for an unknown destination that will spark plenty of discussion.

Rose of Nevada is playing at the New Zealand International Film Festival - for times, see nziff.co.nz