Underwater: Neon NZ Review

Underwater: Neon NZ Film Review

Cast: Kristen Stewart, Vincent Cassel, TJ Miller, Jessica Henwick
Director: William Eubank

You've seen Underwater before.

Whether it's the mix of The Meg's terror, or the barely disguised Alien rip off baby creature, or in the seabase under threat mentality of various episodes of Doctor Who, there's a sense of deja vu from the moment this murkily executed, frustratingly workmanlike film begins.

Stewart is Norah, a close-cropped techie type who's spent so long under the sea working on the drilling operation that she's no longer sure what day it is, or if she's awake or dreaming.

However, her tenuous grip on reality is rudely awoken when large sections of the miles-deep rig begin to fail and she's forced to run for her life. Siding with a handful of other survivors, including the rig's Captain (Cassel, largely wasted), it becomes a desperate run for life as it transpires something outside the walls, potentially shaken out from the company's deep-sea drilling, is hunting them - and won't leave anyone alive.

Underwater's production values are stunning.

While the CGI creatures are a massive let down, the visualisation of the suits, the grimy walls and subterranean corridors is a claustrophobe's nightmare.

Director William Eubank makes great fist of the encroaching walls and the creaks and jolts of the underwater rig falling in around our ears. Using tightly shot close ups, or images from within the helmets, he gives the film a sense of terror, of urgency and of uncertainty which is largely lacking from a lot of the rest of the script.

Inconsistencies of the creature's behaviour, a desire to give Stewart's Norah a line worthy of Ripley and some truly average CGI work drags Underwater into the sea murk, which is a shame, as there's a kernel of a good thriller horror lurking here, a ticking time bomb of man versus nature mixed in with an "God what did we do" ethos and paranoia that's worthy of any film.

But by showing the creatures, the film squanders any good will, and despite a more muted, racked by tics Stewart showing she's never a one dimensional actor, there was truly some real potential here to uphold the despair and the fight for survival.

Underwater is serviceable enough - just frustratingly, it feels underwritten and its potential lost at sea.

Underwater: Film Review

Underwater: Movie Review

Cast: Kristen Stewart, Vincent Cassel, TJ Miller, Jessica Henwick
Director: William Eubank

You've seen Underwater before.

Whether it's the mix of The Meg's terror, or the barely disguised Alien rip off baby creature, or in the seabase under threat mentality of various episodes of Doctor Who, there's a sense of deja vu from the moment this murkily executed, frustratingly workmanlike film begins.

Stewart is Norah, a close-cropped techie type who's spent so long under the sea working on the drilling operation that she's no longer sure what day it is, or if she's awake or dreaming.

However, her tenuous grip on reality is rudely awoken when large sections of the miles-deep rig begin to fail and she's forced to run for her life. Siding with a handful of other survivors, including the rig's Captain (Cassel, largely wasted), it becomes a desperate run for life as it transpires something outside the walls, potentially shaken out from the company's deep-sea drilling, is hunting them - and won't leave anyone alive.

Underwater's production values are stunning.

While the CGI creatures are a massive let down, the visualisation of the suits, the grimy walls and subterranean corridors is a claustrophobe's nightmare.

Director William Eubank makes great fist of the encroaching walls and the creaks and jolts of the underwater rig falling in around our ears. Using tightly shot close ups, or images from within the helmets, he gives the film a sense of terror, of urgency and of uncertainty which is largely lacking from a lot of the rest of the script.

Inconsistencies of the creature's behaviour, a desire to give Stewart's Norah a line worthy of Ripley and some truly average CGI work drags Underwater into the sea murk, which is a shame, as there's a kernel of a good thriller horror lurking here, a ticking time bomb of man versus nature mixed in with an "God what did we do" ethos and paranoia that's worthy of any film.

But by showing the creatures, the film squanders any good will, and despite a more muted, racked by tics Stewart showing she's never a one dimensional actor, there was truly some real potential here to uphold the despair and the fight for survival.

Underwater is serviceable enough - just frustratingly, it feels underwritten and its potential lost at sea.

Get ready for Hamilton Armageddon

Get ready for Hamilton Armageddon

Armageddon's coming back to Hamilton this weekend and Wellington next weekend.

The phenomenally popular pop culture expo hits Hamilton on May 25th and 26th at the Claudelands arena and then into the capital on June 1st to the 3rd at the Westpac Stadium.

Don't forget you can get all of the information on the guests at the official Armageddon site - and we'll see you at the show!

Game of Thrones actor Jason Momoa has just confirmed he will be attending the Hamilton and Wellington editions of the Armageddon Expo on 25^th - 26^th May and 1^st – 3^rd June respectively.

Famous for his role as Dothraki warlord Khal Drogo in the popular series, Momoa is expected to face record-breaking crowds of fans upon his return to Armageddon this year.

Armageddon organiser William Geradts says he expects Momoa to bring a whole new hoard of fans to the expos, in particular females.

“Game of Thrones is huge, one of the biggest cult shows we’ve seen in years with awesome folklore, characters and costumes, which is the perfect mix for Armageddon. Ticket sales are already going well, but once the public hears that Jason is coming, we’re expecting a spike in sales, and hoping to see more females than usual,” says Geradts.

Momoa returns to New Zealand after visiting Auckland Armageddon in 2009.

Geradts says Momoa’s career has “expanded exponentially” since he last attended.

“After playing Ronan Dex on Stargate Atlantis Jason’s popularity has sky-rocketed. He’s gone on to play Conan in Conan the Barbarian, Keegan in Bullet to the Head and of course Khal Drogo in Game of Thrones for which he’s established a cult following,” he says.

Momoa will be joined by a range of other fantasy, comic book and sci-fi stars including fellow actors from the Stargate franchise, Jo Flannigan and Mitch Pileggi.

The voice of Lisa Simpson, Yeardley Smith is another big name attending both Hamilton and Wellington Armageddons this year along with Lance Henrickson of Aliens fame, Tony Amendola from Once Upon a Time and, Sylvester McCoy from Doctor Who and The Hobbit, 12 dwarves from The Hobbit (Wellington only) and so many more.

All celebrities attending will take part in panels, signings and photos, so fans can meet them in person.

To see a full list of stars and events happening at the expos go to www.armageddonexpo.com

Tickets are available now from Ticketek.co.nz

Armageddon Expo Hamilton

Saturday 25^th May and Sunday 26^th May, 2013
Claudeland’s Event Centre, Hamilton

Armageddon Expo Wellington

Saturday 1^st June, Sunday 2^nd June and Monday 3^rd June
Westpac Stadium, Wellington

Tickets

One Day Passes

Adult $23 ($20 for presales)
Student $20 ($17 for presales)
Child 12 and Under $11 ($10 for presales)
Child entry is free with an adult ticket
Family 2 adults and 3 children $50 ($45 for presales)

Two Day Passes

Adult $40 ($35 for presales)
Child $19 ($17 for presales)

Three Day Passes (Wellington only)

Adult $55 ($50 for presales)
Child $28 ($24 for presales)

VIP Gold and Silver passes also available, see Ticketek.co.nz for details

Ant-Man: Blu Ray Review

Ant-Man: Blu Ray Review

Rating:  M
Released by Sony Home Ent

It's fair to say that as the Marvel Universe expanded its horizons, those running it really did start to lose track of what made the earlier movies so great - character and a degree of intimacy.

Particularly in the last Avengers movie, which concluded in a soulless retread formulaic finale that was redolent of many before, relied on a MacGuffin and that was so steeped in angst, all the joie de vivre threatened to be crushed forever.

So, it's a joy to report that, despite a lack of ant-icipation, Ant-man takes Marvel back to its origins, with a flick that feels like a set- up / origins piece that was so prevalent of Phase Oneand one that is an utter blast in the cinema due to its simple plot.

Those unfamiliar with the incredible shrinking man needn't feel left out. 

It's the story of down-on-his-luck Scott Lang (a brilliantly vulnerable yet timed to comic perfection Paul Rudd), an ex-con with a moral code who just wants to do right by his daughter Cassie after getting out of jail. 

But Lang is singled out by Doctor Hank Pym (Michael Douglas back on form and looking wearied enough to suggest an age and lifetime in the role prior to where we join the movie) to be the recipient of his shrinking super-suit and help Pym ensure that the current CEO of the Pym Industries Darren Cross (Corey Stoll in a relatively thankless role as the rather average and cartoon villain of the piece) doesn't use the tech for the wrong reasons and let it fall into the wrong hands.

Ant-Man is refreshingly small scale and, for the most part, all the better for it.

Sure, it's entrenched in the Marvel Cinematic Universe, but it never feels fully bound by its conventions, ongoing storylines or bogged down by the Infinity Gems saga. 

There are nods to the world around and an acknowledgement of the events in Age of Ultron(even Pym has a wariness about the Avengers getting their hands on their tech) but this is flick is more about the story of fathers and their legacies, rather than super-sized and angsty heroes coming together to save the day.

Ant-Man is at pains to put its redemption lessons and daddy issues front and centre of the film, with a mantra of the ordinary man being a hero squarely at the fore. Lang's told by his ex-wife at one point that his daughter thinks he's "her hero - so just be the person she already thinks you are"; Pym himself talks a lot about how he failed his daughter Hope (a worryingly sidelined Evangeline Lilly) and Cross is angry that his mentor Pym never fully trusted him or embraced him.

But it's the fact that Marvel's embraced these issues and looked more to address the intimacy of the films that's not proved an insignifc-ant contribution to the overall effect.

Granted, there are some pretty impressive visuals that revel in their Honey I Shrunk the Kidsand Planet of the Giants aesthetics, thanks to Pena's performance, there's a crackling line of comedy that buzzes all the way through (and clearly has Edgar Wright and Joe Cornish's DNA all over it) but there is never anything that wanders too far from the emotional edge that's clearly running through this ant's mandibles. And it's all wonderfully executed by Yes-Man director Peyton Reed.

It's not all perfect though - Stoll is never a full-on threat as the bad guy and the Marvel truck has gone back a few steps in its treatment and execution of women in this piece. Lilly deserved more of a presence in this first film (even if a mid-credits coda seems to promise more ahead) and is sidelined; it's once again a boy's world in this superior heist flick. And it has to be said the appearance of the wider world intrudes into this film - a mid-film sequence and even the post-credits moment feels like Marvel's going back to easy old habits, which is unwelcome after what's just transpired.

Ultimately, thanks to a massively charming Rudd and the lighter touch of the script, Ant-Man is entertaining fare, a welcome diversion from the darker edges and continual set-ups that have become the norm for these films and shorn of the ongoing mythology. 

Ant-Man is light, inventive, frothy and above all, fun - this caper has refreshed the Marvel cinematic offering and it's to be hoped that this formula won't be lost in future.

Rating:

Ant-Man: Film Review

Ant-Man: Film Review

Cast: Paul Rudd, Michael Douglas, Corey Stoll, Evangeline Lilly
Director: Peyton Reed

It's fair to say that as the Marvel Universe expanded its horizons, those running it really did start to lose track of what made the earlier movies so great - character and a degree of intimacy.

Particularly in the last Avengers movie, which concluded in a soulless retread formulaic finale that was redolent of many before, relied on a MacGuffin and that was so steeped in angst, all the joie de vivre threatened to be crushed forever.

So, it's a joy to report that, despite a lack of ant-icipation, Ant-man takes Marvel back to its origins, with a flick that feels like a set- up / origins piece that was so prevalent of Phase One and one that is an utter blast in the cinema due to its simple plot.

Those unfamiliar with the incredible shrinking man needn't feel left out. 

It's the story of down-on-his-luck Scott Lang (a brilliantly vulnerable yet timed to comic perfection Paul Rudd), an ex-con with a moral code who just wants to do right by his daughter Cassie after getting out of jail. 

But Lang is singled out by Doctor Hank Pym (Michael Douglas back on form and looking wearied enough to suggest an age and lifetime in the role prior to where we join the movie) to be the recipient of his shrinking super-suit and help Pym ensure that the current CEO of the Pym Industries Darren Cross (Corey Stoll in a relatively thankless role as the rather average and cartoon villain of the piece) doesn't use the tech for the wrong reasons and let it fall into the wrong hands.

Ant-Man is refreshingly small scale and, for the most part, all the better for it.

Sure, it's entrenched in the Marvel Cinematic Universe, but it never feels fully bound by its conventions, ongoing storylines or bogged down by the Infinity Gems saga. 

There are nods to the world around and an acknowledgement of the events in Age of Ultron (even Pym has a wariness about the Avengers getting their hands on their tech) but this is flick is more about the story of fathers and their legacies, rather than super-sized and angsty heroes coming together to save the day.

Ant-Man is at pains to put its redemption lessons and daddy issues front and centre of the film, with a mantra of the ordinary man being a hero squarely at the fore. Lang's told by his ex-wife at one point that his daughter thinks he's "her hero - so just be the person she already thinks you are"; Pym himself talks a lot about how he failed his daughter Hope (a worryingly sidelined Evangeline Lilly) and Cross is angry that his mentor Pym never fully trusted him or embraced him.

But it's the fact that Marvel's embraced these issues and looked more to address the intimacy of the films that's not proved an insignifc-ant contribution to the overall effect.

Granted, there are some pretty impressive visuals that revel in their Honey I Shrunk the Kids and Planet of the Giants aesthetics, thanks to Pena's performance, there's a crackling line of comedy that buzzes all the way through (and clearly has Edgar Wright and Joe Cornish's DNA all over it) but there is never anything that wanders too far from the emotional edge that's clearly running through this ant's mandibles. And it's all wonderfully executed by Yes-Man director Peyton Reed.

It's not all perfect though - Stoll is never a full-on threat as the bad guy and the Marvel truck has gone back a few steps in its treatment and execution of women in this piece. Lilly deserved more of a presence in this first film (even if a mid-credits coda seems to promise more ahead) and is sidelined; it's once again a boy's world in this superior heist flick. And it has to be said the appearance of the wider world intrudes into this film - a mid-film sequence and even the post-credits moment feels like Marvel's going back to easy old habits, which is unwelcome after what's just transpired.

Ultimately, thanks to a massively charming Rudd and the lighter touch of the script, Ant-Man is entertaining fare, a welcome diversion from the darker edges and continual set-ups that have become the norm for these films and shorn of the ongoing mythology. 

Ant-Man is light, inventive, frothy and above all, fun - this caper has refreshed the Marvel cinematic offering and it's to be hoped that this formula won't be lost in future.

Rating:

Edge of Tomorrow: Movie Review

Edge of Tomorrow: Movie Review

Cast: Tom Cruise, Emily Blunt, Bill Paxton, Brendan Gleeson
Director: Doug Liman

Blockbuster season is upon us - and the latest entrant to the popcorn pantheon sees Tom Cruise stuck in a war is hell analogy.

With the earth invaded by creatures known as the Mimics and with nations toppling around them, Tom Cruise's spin doctor Major William Cage finds himself thrust onto the front line by a vindictive general (Brendan Gleeson) on the eve of a major last push from UK soil.

Unable to cope with the concept of fighting, and with a Normandy style beach landing just around the corner, Cage does all he can to escape the war - but to no avail. Thrust into the theatre of war, Cage is killed by a Mimic - only to wake up and find that he's jumped back in time and is being forced to live the same 2 days over and over again....

Edge of Tomorrow is based on the Japanese novel, All You Need Is Kill and is a heady mash up of the sci fi and other genres you've seen before - from Starship Troopers to Groundhog Day, Saving Private Ryan to Looper, Elysium with its exo-suits and even Cruise's last outing, Oblivion,  it's derivative in many ways.

Humour permeates the first third of the film with Cruise's Cage being offed in a variety of ways, in a plethora of situations that if you're not a fan of the superstar may bring you an element of perverse glee (as well as make you think it's some kind of bizarre cinematic video-game).

Though, it's Cruise that shines through in this as he starts out as a smug PR weasel of a man forced into a baptism of fire on the battlefield; with each death, there's a grim edge that creeps into his character and an attitude that he manages to sell incredibly well, with his own old age helping.

Equally, Blunt impresses as the bad-ass Rita Vrataski, despite starting out as the "Full Metal Bitch", heroine of the army and gradually softening to Cage's continued assault. Toned and combat ready, she carries her no-nonsense one-note heroine as Cage's foil throughout - she shoulders the burden of the bulk of the laughs during the reset sequences in a nice twist of expected gender stereotypes. Mention must also go to the evangelical Bill Paxton who, as a base sergeant, spouts such litany of Biblical proportions on combat that you almost feel like signing up yourself.

Liman's brought together an alien invasion that's visually original too, with spidery-style octopus like creatures ripping through the troops during the Saving Private Ryan beach landings. Speed and visual FX impress and make up for some of the convenient lapses in time travel logic and plotholes that permeate parts of the film (why is Gleeson's general so adamant that Cage will fight, how does an airship get off a base during lockdown).

Though it has to be said, the final portion of the film almost muddies the whole experience with a showdown that's as generic and predictable as most sci fi fare and derails the sparkiness and edge that delivered a freshness so early on, despite the sci-fi hokum and flimsy premise.

All in all, Edge of Tomorrow is a fine example of its oeuvre, a fun blockbuster sci-fi blast that reinstates Cruise as the king of the popcorn flick and proffers up Blunt as the queen of kick-ass.

Rating:

Edge of Tomorrow: Blu Ray Review

Edge of Tomorrow: Blu Ray Review

Rating: M
Released by Roadshow Home Ent

With the earth invaded by creatures known as the Mimics and with nations toppling around them, Tom Cruise's spin doctor Major William Cage finds himself thrust onto the front line by a vindictive general (Brendan Gleeson) on the eve of a major last push from UK soil.

Unable to cope with the concept of fighting, and with a Normandy style beach landing just around the corner, Cage does all he can to escape the war - but to no avail. Thrust into the theatre of war, Cage is killed by a Mimic - only to wake up and find that he's jumped back in time and is being forced to live the same 2 days over and over again....

Edge of Tomorrow is based on the Japanese novel, All You Need Is Kill and is a heady mash up of the sci fi and other genres you've seen before - from Starship Troopers to Groundhog Day,Saving Private Ryan to Looper, Elysium with its exo-suits and even Cruise's last outing,Oblivion,  it's derivative in many ways.
Humour permeates the first third of the film with Cruise's Cage being offed in a variety of ways, in a plethora of situations that if you're not a fan of the superstar may bring you an element of perverse glee (as well as make you think it's some kind of bizarre cinematic video-game).

Though, it's Cruise that shines through in this as he starts out as a smug PR weasel of a man forced into a baptism of fire on the battlefield; with each death, there's a grim edge that creeps into his character and an attitude that he manages to sell incredibly well, with his own old age helping.

Equally, Blunt impresses as the bad-ass Rita Vrataski, despite starting out as the "Full Metal Bitch", heroine of the army and gradually softening to Cage's continued assault. Toned and combat ready, she carries her no-nonsense one-note heroine as Cage's foil throughout - she shoulders the burden of the bulk of the laughs during the reset sequences in a nice twist of expected gender stereotypes. Mention must also go to the evangelical Bill Paxton who, as a base sergeant, spouts such litany of Biblical proportions on combat that you almost feel like signing up yourself.

Liman's brought together an alien invasion that's visually original too, with spidery-style octopus like creatures ripping through the troops during the Saving Private Ryan beach landings. Speed and visual FX impress and make up for some of the convenient lapses in time travel logic and plotholes that permeate parts of the film (why is Gleeson's general so adamant that Cage will fight, how does an airship get off a base during lockdown).

Though it has to be said, the final portion of the film almost muddies the whole experience with a showdown that's as generic and predictable as most sci fi fare and derails the sparkiness and edge that delivered a freshness so early on, despite the sci-fi hokum and flimsy premise.

All in all, Edge of Tomorrow is a fine example of its oeuvre, a fun blockbuster sci-fi blast that reinstates Cruise as the king of the popcorn flick and proffers up Blunt as the queen of kick-ass.

Rating:

Dolphin Tale: Blu Ray Review

Dolphin Tale: Blu Ray Review

Rating: PG
Released by Warner Home Video

From the people who brought you the inspirational Blind Side, comes Dolphin Tale, a similarly spirited family movie based on a true story.

Gamble stars as Sawyer, the young kid of a broken family; his dad left him and his mum (Judd) years ago and as the flick starts, Sawyer’s about to lose his cousin to the war abroad and is forced to go to summer school to boost his grades.

However, whilst heading in on the first day, Sawyer finds a dolphin on the beach caught up in a crab trap. Sawyer helps cut the dolphin free and it ends up in the local marine aquarium, where Dr Clay Haskett (Connick Jr) and his co-workers try to nurse it back to health.

But things get worse for Winter (the name they end up giving the dolphin) when her fin has to be amputated – and facing an uncertain future.

And it’s not just Flipper’s pal who’s got trouble – Dr Clay’s Marine centre’s in dire financial straits and Sawyer’s schooling has also taken a dive.

The thing with a Dolphin Tale is you can see what it’s doing a mile off; it’s one of those films which feels like a made for TV movie that occasionally the American audiences revel in and the rest of us wonder why schmaltz like this continues to be made.

Firstly, aside from the opening where the dolphins frolic in the water, the 3D in this film is pointless; it adds little to the story.

Secondly, there are so many clichés at play in this you can see them before they even show; every stereotype is here – from the kid with a broken family who needs the wounded animal to heal – both for his well being and the animal’s - to the doctor facing financial adversity.

And yet, for everything that’s served up in this overtly sickly sweet film with terribly earnest acting, there’s just something about it which keeps it engaging – just.

That would be Morgan Freeman’s appearance as a prosthetic limbs specialist. He brings a welcome note of humour which pricks the dour feel of the film just at the right moment. Essentially he’s playing another nice guy, but the warmth he brings just about saves this saccharine celluloid outing.

All of the cast give it their all and there’s certainly something to be said for the family feel of this film – if you’re willing to leave your day to day cynicism at the door.


Extras: Animated short, behind the scenes with the real dolphin, spotlight on scene, additional scene and gag reel

Rating:

The Five(Ish) Doctors are here

The Five(Ish) Doctors are here

Hot on the heels of the Day of The Doctor, 5th Doctor Peter Davison has launched his mini episode, The Five(Ish) Doctors.

With no Classic Doctors in the 50th anniversary Doctor Who celebrations, Peter Davison joins forces with other Time Lords to be involved.

This mini episode is available to view on the BBC Iplayer and also features Lord of The Rings director Sir Peter Jackson and Ian McKellen, as well as Sylvester McCoy, Colin Baker and Paul McGann.

http://www.doctorwhonews.net/2013/11/the-fiveish-doctors-reboot.html

Dolphin Tale: Movie Review

Cast: Harry Connick Jr, Winter the dolphin, Morgan Freeman, Ashley Judd,  Nathan Gamble, Kris Kristofferson

Director: Charles Martin Smith

From the people who brought you the inspirational Blind Side, comes Dolphin Tale, a similarly spirited family movie based on a true story.

Gamble stars as Sawyer, the young kid of a broken family; his dad left him and his mum (Judd) years ago and as the flick starts, Sawyer’s about to lose his cousin to the war abroad and is forced to go to summer school to boost his grades.

However, whilst heading in on the first day, Sawyer finds a dolphin on the beach caught up in a crab trap. Sawyer helps cut the dolphin free and it ends up in the local marine aquarium, where Dr Clay Haskett (Connick Jr) and his co-workers try to nurse it back to health.

But things get worse for Winter (the name they end up giving the dolphin) when her fin has to be amputated – and facing an uncertain future.

And it’s not just Flipper’s pal who’s got trouble – Dr Clay’s Marine centre’s in dire financial straits and Sawyer’s schooling has also taken a dive.

The thing with a Dolphin Tale is you can see what it’s doing a mile off; it’s one of those films which feels like a made for TV movie that occasionally the American audiences revel in and the rest of us wonder why schmaltz like this continues to be made.

Firstly, aside from the opening where the dolphins frolic in the water, the 3D in this film is pointless; it adds little to the story.

Secondly, there are so many clichés at play in this you can see them before they even show; every stereotype is here – from the kid with a broken family who needs the wounded animal to heal – both for his well being and the animal’s - to the doctor facing financial adversity.

And yet, for everything that’s served up in this overtly sickly sweet film with terribly earnest acting, there’s just something about it which keeps it engaging – just.

That would be Morgan Freeman’s appearance as a prosthetic limbs specialist. He brings a welcome note of humour which pricks the dour feel of the film just at the right moment. Essentially he’s playing another nice guy, but the warmth he brings just about saves this saccharine celluloid outing.

All of the cast give it their all and there’s certainly something to be said for the family feel of this film – if you’re willing to leave your day to day cynicism at the door.

Dolphin Tale: Movie Review - Rating:

The Secrets We Keep: Film Review

Cast: Noomi Rapace, Chris Messina, Joel Kinnaman
Director: Yuval Adler

The Secrets We Keep could have been a tense chamber piece of claustrophobia and nagging doubt - a story of identity, trauma and unreliable memory that kept audiences guessing.

But instead what emerges - aside from a twitchy whirling Rapace - is a film that doesn't really offer much tension, or opportunity to make you wonder who is right and who is wrong.

Rapace is Romanian gypsy Maja, a woman rebuilding her life in post World War II America with new husband, doctor Lewis (Messina, in a relatively straight and thankless role). One day when out with her son, she hears a whistle and her bubble is burst.

Obsessed that the whistle is from one of her former tormentors from her days in a camp, Maja stalks the man, kidnapping him and plunging him into the family basement.

Despite his protestations that he's not the man she remembers, and with a loosening grip on her own sanity, Maja is put on a path with her past that could permanently derail her future.

The Secrets We Keep is a lesson in patience.

But the almost chamber piece nature of the film doesn't really lend itself to any lingering doubts over who is right, who is wrong, and what has happened unfortunately. 

While Rapace turns in a nervy, edgy performance of a woman on the verge of losing everything, the cat and mouse game isn't nearly as strong as it could be - and the psychological elements don't grip as bitingly as they could.

The period detail and the use of beige and green palettes suggest much provocatively during the film, but the overall tone is one of indifference.

Kinnaman delivers a strong and emotionally wrenching performance in the one scene he's gifted as the captive, and Messina is solid but never spectacular. This is Rapace's film, and while she steals every moment she can, the script doesn't do enough to service the kind of range she delivered in the Dragon Tattoo series.

A lack of real tension proves fatal to The Secrets We Keep and the lack of intensity proves deflating to the overall mystery. There may be secrets in this film, but in honesty, the knowing of them doesn't sadly prove worth the journey.

Lucky: DVD Review

Lucky: DVD Review

There's no denying the poignancy thrust deep upon Lucky, by first time director John Caroll Lynch, and with Harry Dean Stanton as the lead.

With Stanton leaving us last year, the tale of Lucky, and his impending mortality is more than touching - it's lent a kind of moving tribute that seems woefully unprepared for its effect on audiences.

Stanton plays Lucky, a former Naval officer, who lives a day-to-day existence in an Arizona town, negotiating the banalities of life with the grace that comes from the end of your life. Ambling from one moment to the next - be it a series of yoga moves in the morning, a visit to the local diner for coffee and the crossword or the bar to see friends, Lucky does little except survive - and he's content with his lot.

But one day, after collapsing for no real reason, other than the town doctor telling him he's old, Lucky's routine is shattered by the impending sense of mortality.

Lucky is the kind of film where nothing happens, but everything matters.

From the central character's rugged face, worn down by a life that's been mixed and blessed to a truly wondrous speech inside a bar that's as bittersweet as it is joyous, there's a certain mournful tone that overtakes this film and shakes your core. A resonant rumination wrapped up in an enigmatic intriguing tone.

But it's also one of immense joy as well - an appreciation of Harry Dean Stanton's work, his character so imbued with both sadness and fear of what's next - you simply couldn't have picked anything better for his final film.

However, Carroll Lynch's camera settles into the lyrical poetic moments here, but also captures what are at times, little more than moving photographs, vistas of the deserted mountains, a tortoise ambling by - and he wraps it all up in a script that's as wry as it is whimsically witty. Settle into the rhythms early on, and Lucky is deeply rewarding.

There's a lyricism at play here, a feeling of the motions of life lived and of death faced. And it's wondrous to behold. Poignant and powerful, a celebration of the human connection it may well be, but it's also about the unsaid bonds that bind us all.

At its heart though is Stanton. His delivery of just two words - "I'm scared" - carry more in the cinema and in life than could be believed; it's both heartbreaking and universal, a tacit admission of what comes next and what dogs us through our life. But at the same time, Stanton's insertion into this world of quirk and humanity proves to be deeply moving - and with a final shot that's as perfect as ever a send-off could be, Lucky proves to be a lyrical salute to both Stanton and life itself. 

Lucky: NZIFF Review

Lucky: NZIFF Review

There's no denying the poignancy thrust deep upon Lucky, by first time director John Caroll Lynch, and with Harry Dean Stanton as the lead.

With Stanton leaving us last year, the tale of Lucky, and his impending mortality is more than touching - it's lent a kind of moving tribute that seems woefully unprepared for its effect on audiences.

Stanton plays Lucky, a former Naval officer, who lives a day-to-day existence in an Arizona town, negotiating the banalities of life with the grace that comes from the end of your life. Ambling from one moment to the next - be it a series of yoga moves in the morning, a visit to the local diner for coffee and the crossword or the bar to see friends, Lucky does little except survive - and he's content with his lot.

But one day, after collapsing for no real reason, other than the town doctor telling him he's old, Lucky's routine is shattered by the impending sense of mortality.

Lucky is the kind of film where nothing happens, but everything matters.

From the central character's rugged face, worn down by a life that's been mixed and blessed to a truly wondrous speech inside a bar that's as bittersweet as it is joyous, there's a certain mournful tone that overtakes this film and shakes your core. A resonant rumination wrapped up in an enigmatic intriguing tone.

But it's also one of immense joy as well - an appreciation of Harry Dean Stanton's work, his character so imbued with both sadness and fear of what's next - you simply couldn't have picked anything better for his final film.

However, Carroll Lynch's camera settles into the lyrical poetic moments here, but also captures what are at times, little more than moving photographs, vistas of the deserted mountains, a tortoise ambling by - and he wraps it all up in a script that's as wry as it is whimsically witty. Settle into the rhythms early on, and Lucky is deeply rewarding.

There's a lyricism at play here, a feeling of the motions of life lived and of death faced. And it's wondrous to behold. Poignant and powerful, a celebration of the human connection it may well be, but it's also about the unsaid bonds that bind us all.

At its heart though is Stanton. His delivery of just two words - "I'm scared" - carry more in the cinema and in life than could be believed; it's both heartbreaking and universal, a tacit admission of what comes next and what dogs us through our life. But at the same time, Stanton's insertion into this world of quirk and humanity proves to be deeply moving - and with a final shot that's as perfect as ever a send-off could be, Lucky proves to be a lyrical salute to both Stanton and life itself.

Land of The Giants: Complete Collection: DVD Review

Land of The Giants: Complete Collection: DVD Review

Released by Madman Home Entertainment

There's just something about Irwin Allen's early 1960s TV series that appeals.

From Lost In Space to The Time Tunnel, Allen had a way of capturing the world of fantasy with imagination, never letting FX budget constraints hold him back and ensuring the shows' key push was their narratives.

So it is with Land Of the Giants, a show that essentially has all the elements of an Allen serial and that very occasionally looks dated, in the way that old episodes of Doctor Who have lost a little of their sheen.

In this 14 disc set, over 51 remastered episodes, we follow the crew of the commercial spaceship The Spindrift, after it crashes on a remote planet similar to Earth, but where everything is 12 times larger.

Cue the over-sized props, and menacing animals that are insignificant in this day and age.

Escapism is what Land of The Giants is about as the crew are separated, captured and have to survive in this series that ran from 1968. The remastering is solid, but the special features are exceptional on this with things ranging from unaired pilot to interviews with the actors, through to stills galleries; It's as complete as it can be - though a longer documentary would be nice.

A blast of 60s nostalgia and imagination, Land of The Giants: Complete Collection is for fantasy fans only really - but that audience will be satiated by this nice complete collection.

Dr Who: Paradise Towers: DVD Review

Dr Who: Paradise Towers: DVD Review

Dr Who - Paradise Towers
Rating: PG
Released by BBC and Roadshow

This four part serial from 1987 is not one of Who's finest hours.

When Sylvester McCoy's 7th Doctor takes Bonnie Langford's Mel to Paradise Towers to relax, the pair finds themselves in a world that's fallen into ruin.
Overrun by gangs and with a series of sinister goings on, the Doctor realises he must save the day - once again and overthrow a vicious evil lurking deep within Paradise Towers.

This adventure is a difficult watch - even for fans of the show.

McCoy spends a lot of the story gurning and Richard Briers is barely much better as the fascistic Chief Caretaker of the block; it's a serial which verges on tedious rather than entertaining.

Extras: Thankfully, these are a slightly higher quality bunch (almost as if those behind the release knew how weak it was) with a doco looking back at the making of the serial; a vignette on how McCoy was cast as the Doc and an interesting three hander where Sophie Aldred, Janet Fielding and Sarah Sutton reflect on their time as Who companions.

Rating: 4/10 

Win a double pass to attend Auckland's Armageddon Expo!

Win a double pass to attend Auckland's Armageddon Expo!

To celebrate the upcoming Armageddon Expo, you can win a double pass to the event thanks to our friends at the festival!

Pop culture merchandise, a star-studded guest lineup and the latest in gaming, cosplay comics and animation and film are proving to be a recipe for success for this year’s Auckland Armageddon Expo ticket sales. 
                    

Anticipation for the largest event in the history of the expo is building ahead of the Labour Day weekend event.

Returning to Auckland’s ASB Showgrounds this October the 2017 event features the biggest line-up of celebrity guests the expo has ever hosted including stars from HARRY POTTER, CASTLE, DOCTOR WHO, ARROW, TEEN WOLF, THE 100, SUPERNATURAL, GUARDIANS OF THE GALAXY and more, as well as a myriad of other activities including; Drive-In Movie Screenings, the Brother Cosplay Contest, Zombie Alley, E-Sports competitions and wrestling among other things. The show will continue to host a massive range of exhibitors from home crafted artist alley stalls, collectibles, anime merchandise to a number of MASSIVE Gaming and entertainment areas with Disney/Marvel, PlayStation, Nintendo, MightyApe Hewlett Packard, Samsung and more!

Event organizer, William Geradts says of the anticipation, “The public response to our announcements so far have been insane, amazing but insane. I’m confident we are on track for the biggest event we have ever had bar none and to see it coming all together after 22 years of building this event from the ground up is immensely satisfying”.  

Get ready to meet your favorite stars and experience the incredible that is #AUCKGEDDON 2017!

Auckland Armageddon, October 20^th-23^rd, ASB Showgrounds #AUCKGEDDON

To win a copy thanks to the Armageddon expo team, all you have to do is email  your details to this  address: darrensworldofentertainment@gmail.com or CLICK HERE NOW!

Include your name and address and title your email ARMAGEDDON!
Competition closes Oct 15th

Good luck!

A Shaun the Sheep Movie: Farmageddon: Neon NZ Review

A Shaun the Sheep Movie: Farmageddon: Neon NZ Review

Director: Will Becher, Richard Phelan

It's hard to explain why A Shaun the Sheep Movie: Farmageddon works so well.

From its sci-fi easter eggs to its general desire to encapsulate timeless British silliness with throwaway gags (a bull in a china shop being the best), there's something about Aardman's work that just feels iconically English, yet universally funny.

While this latest may lack the heart of the first Shaun The Sheep movie, it's lost none of the madcap charm as we return to Mossingham. With a UFO sighting in the village, the farmer decides to cash in to try and make some money to upgrade his harvester.

However, Shaun's already met the alien, and in true buddy movie mentality, sets out to get the little critter home before the shady government agencies capture him first....

From slapstick silliness to pratfalls, scifi gags that include ET, Doctor Who, a wonderful Hitchhiker's nod and a truly brilliant 2001: A Space Odyssey pastiche, A Shaun the Sheep Movie: Farmageddon is family fare for everyone to enjoy.

Once again, Aardman's homed in what makes British humour so amusing, and shows once again this animation studio's spent more time than any other weaving in gags into every single frame.

Sure, under closer analysis, it does lacks the emotional edge of the 2015 debut, but it over-delivers the silliness and packs in more jokes than you can take in. A finale doesn't quite match up all the pieces, but all in all, Aardman's still delightful and determined to leave you grinning.

There's also an opening reminder of how Wallace and Gromit led the way with their Grand Day Out (even down to the robot's roots in Farmageddon), but while they may be benched due to the sad death of Peter Sallis, Shaun The Sheep has certainly got years to go - here's hoping we don't have to wait another 5 years for the next outing.

A Shaun the Sheep Movie: Farmageddon: DVD Review

A Shaun the Sheep Movie: Farmageddon: DVD Review

It's hard to explain why A Shaun the Sheep Movie: Farmageddon works so well.

From its sci-fi easter eggs to its general desire to encapsulate timeless British silliness with throwaway gags (a bull in a china shop being the best), there's something about Aardman's work that just feels iconically English, yet universally funny.

While this latest may lack the heart of the first Shaun The Sheep movie, it's lost none of the madcap charm as we return to Mossingham. With a UFO sighting in the village, the farmer decides to cash in to try and make some money to upgrade his harvester.

However, Shaun's already met the alien, and in true buddy movie mentality, sets out to get the little critter home before the shady government agencies capture him first....

From slapstick silliness to pratfalls, scifi gags that include ET, Doctor Who, a wonderful Hitchhiker's nod and a truly brilliant 2001: A Space Odyssey pastiche, A Shaun the Sheep Movie: Farmageddon is family fare for everyone to enjoy.

Once again, Aardman's homed in what makes British humour so amusing, and shows once again this animation studio's spent more time than any other weaving in gags into every single frame.

Sure, under closer analysis, it does lacks the emotional edge of the 2015 debut, but it over-delivers the silliness and packs in more jokes than you can take in. A finale doesn't quite match up all the pieces, but all in all, Aardman's still delightful and determined to leave you grinning.

There's also an opening reminder of how Wallace and Gromit led the way with their Grand Day Out (even down to the robot's roots in Farmageddon), but while they may be benched due to the sad death of Peter Sallis, Shaun The Sheep has certainly got years to go - here's hoping we don't have to wait another 5 years for the next outing.

A Shaun the Sheep Movie: Farmageddon: Film Review

A Shaun the Sheep Movie: Farmageddon: Film Review

Director: Will Becher, Richard Phelan

It's hard to explain why A Shaun the Sheep Movie: Farmageddon works so well.

From its sci-fi easter eggs to its general desire to encapsulate timeless British silliness with throwaway gags (a bull in a china shop being the best), there's something about Aardman's work that just feels iconically English, yet universally funny.

While this latest may lack the heart of the first Shaun The Sheep movie, it's lost none of the madcap charm as we return to Mossingham. With a UFO sighting in the village, the farmer decides to cash in to try and make some money to upgrade his harvester.

However, Shaun's already met the alien, and in true buddy movie mentality, sets out to get the little critter home before the shady government agencies capture him first....

From slapstick silliness to pratfalls, scifi gags that include ET, Doctor Who, a wonderful Hitchhiker's nod and a truly brilliant 2001: A Space Odyssey pastiche, A Shaun the Sheep Movie: Farmageddon is family fare for everyone to enjoy.

Once again, Aardman's homed in what makes British humour so amusing, and shows once again this animation studio's spent more time than any other weaving in gags into every single frame.

Sure, under closer analysis, it does lacks the emotional edge of the 2015 debut, but it over-delivers the silliness and packs in more jokes than you can take in. A finale doesn't quite match up all the pieces, but all in all, Aardman's still delightful and determined to leave you grinning.

There's also an opening reminder of how Wallace and Gromit led the way with their Grand Day Out (even down to the robot's roots in Farmageddon), but while they may be benched due to the sad death of Peter Sallis, Shaun The Sheep has certainly got years to go - here's hoping we don't have to wait another 5 years for the next outing.