Silent Wedding: Movie Review
Silent Wedding
Rating: 6/10
Cast: Doru Ana, Meda Victor
Director: Horatiu Malele
Set in 1953 Romania, Silent Wedding is perhaps one of the strangest, most
haunting films I've seen so far this year.
It's the tale of Iancu and Ana - whose lusty relationship is the talk of the
small farming village where they live - Iancu's been with other women but the
elders of the village want him to settle down with Ana.
So, following negotiations in a pub, a date's set for the pair to marry - and
preparations begin.
However, during the start of the ceremony, a visitor to the village tells
them Stalin is dead - and consequently declares seven days of national mourning,
where nothing can happen.
That includes Ana and Iancu's wedding - but the villagers scheme a way to get
through the big day. They will hold the wedding - but it'll all be done in
silence so as not to attract any attention.
Silent Wedding is a surreal piece in places - and is outrageously inventive.
There's a kind of nuttiness to it which actually seems in context with the
story.
And yet it's based on quite a sad premise - intially the story is told
because the film begins with a camera crew coming across an abandoned factory in
a wasteland with elderly people scattered (alive) along the road. As the crew
investigates and talks to them, the mayor recounts to them how the factory came
into being - and how the village was left behind.
So it's a bittersweet tale which also appears to be diametrically opposed
to the comedy of The Three Stooges and Laurel and Hardy during the wedding. The
villagers use rags around the cups to toast the couple - and a toast is passed
on in the form of Chinese whispers.
These are part and parcel of the odd moments which are littered through the
film and which give it an overall feel of something a bit different and a little
quirky.
Silent Wedding is all about the characters - the richness and hilarity of
their emotional connections within the confines of their village life- so it's a
particular jolt at the end when it comes back to the wasteland where they used
to be.
Silent Wedding won't be to everyone's taste - though if you give it 90
minutes of your day, you'll probably feel like you've seen something different,
a bright and breezy alternative and antidote to what's currently at the
cinema.
Thursday, 11 February 2010
The Wolfman: Movie Review
The Wolfman: Movie Review
Rating: 7/10
Cast: Benicio del Toro, Emily Blunt, Anthony Hopkins, Hugo Weaving
Director: Joe Johnston
In 1880s London, Lawrence Talbot (del Toro) is summoned to the family home after the disappearance of his brother Ben.
Talbot is reunited with his father (Anthony Hopkins) - something that he hadn't planned on after fleeing domestic life after the death of his mother. After being called back by Ben's wife Gwen (Emily Blunt), the hunt soon turns to a funeral after the discovery of Ben's mutilated body.
Talbot begins an investigation into the brutal slaying of his brother - and even Scotland Yard's finest (including Hugo Weaving) are called in. But as Talbot digs deeper into claims an animal killed his brother, he's drawn into a dark world and finds himself facing his deepest fears.
The Wolfman is a straight forward remake of the 1941 film - complete with gory blood letting moments and some spine chilling scenes.
And quite frankly after the recent Twilight shenanigans of the wolves with their rippling abs and easy transformation, it's refreshing to see a Wolfman which is primal and angry. Rick Baker's creature work is pretty impressive - and the time-lapse photography when del Toro changes gives the whole thing a spooky dark feeling.
Del Toro himself, apparently a fan of the original film, is perfectly cast in this - his knack of carrying off a troubled character works wonders in Talbot as he questions his own sanity and the reality around him - by keeping Talbot away from too much emotion, Del Toro's created the perfect Gothic horror.
Emily Blunt acquits herself well and provides really the only humanity on display - although she feels a little wasted in the role; Hugo Weaving's glowering and deadpan Aberline has some great lines - but it's Anthony Hopkins who veers a little too close to Hammer horror hamminess which threatens to derail the proceedings. Fortunately though he's reigned in and just about manages to carry it off.
There's a moody malevolence to this Wolfman - it's dark all throughout blending a Gothic atmosphere with some edge of the seat shocks and plenty of gore.
Granted, you could argue this has been done before (it is a remake after all) and that you know exactly what's coming (one scene with Talbot inside an asylum examination room full of doctors as the full moon rises is one example) but it's how these scenes play out that is to be commended.
There are some disappointments though - the ending feels a little rushed and a bit of a mess; almost as if the writers weren't sure how to end the whole film. But with some great initial scenes when the Wolfman attacks and some horror gore, the cons are balanced nicely with the pros.
All in all, it's great to see an old school horror remake like this on the big screen; it doesn't rely too much on FX trickery and plays on your fears of what's out there in the dark- there's a real menace and Gothic horror to this Wolfman which deserves 90 minutes of your time.
Rating: 7/10
Cast: Benicio del Toro, Emily Blunt, Anthony Hopkins, Hugo Weaving
Director: Joe Johnston
In 1880s London, Lawrence Talbot (del Toro) is summoned to the family home after the disappearance of his brother Ben.
Talbot is reunited with his father (Anthony Hopkins) - something that he hadn't planned on after fleeing domestic life after the death of his mother. After being called back by Ben's wife Gwen (Emily Blunt), the hunt soon turns to a funeral after the discovery of Ben's mutilated body.
Talbot begins an investigation into the brutal slaying of his brother - and even Scotland Yard's finest (including Hugo Weaving) are called in. But as Talbot digs deeper into claims an animal killed his brother, he's drawn into a dark world and finds himself facing his deepest fears.
The Wolfman is a straight forward remake of the 1941 film - complete with gory blood letting moments and some spine chilling scenes.
And quite frankly after the recent Twilight shenanigans of the wolves with their rippling abs and easy transformation, it's refreshing to see a Wolfman which is primal and angry. Rick Baker's creature work is pretty impressive - and the time-lapse photography when del Toro changes gives the whole thing a spooky dark feeling.
Del Toro himself, apparently a fan of the original film, is perfectly cast in this - his knack of carrying off a troubled character works wonders in Talbot as he questions his own sanity and the reality around him - by keeping Talbot away from too much emotion, Del Toro's created the perfect Gothic horror.
Emily Blunt acquits herself well and provides really the only humanity on display - although she feels a little wasted in the role; Hugo Weaving's glowering and deadpan Aberline has some great lines - but it's Anthony Hopkins who veers a little too close to Hammer horror hamminess which threatens to derail the proceedings. Fortunately though he's reigned in and just about manages to carry it off.
There's a moody malevolence to this Wolfman - it's dark all throughout blending a Gothic atmosphere with some edge of the seat shocks and plenty of gore.
Granted, you could argue this has been done before (it is a remake after all) and that you know exactly what's coming (one scene with Talbot inside an asylum examination room full of doctors as the full moon rises is one example) but it's how these scenes play out that is to be commended.
There are some disappointments though - the ending feels a little rushed and a bit of a mess; almost as if the writers weren't sure how to end the whole film. But with some great initial scenes when the Wolfman attacks and some horror gore, the cons are balanced nicely with the pros.
All in all, it's great to see an old school horror remake like this on the big screen; it doesn't rely too much on FX trickery and plays on your fears of what's out there in the dark- there's a real menace and Gothic horror to this Wolfman which deserves 90 minutes of your time.
Thursday, 4 February 2010
Edge Of Darkness: Movie Review
Edge Of Darkness: Movie Review
Edge of Darkness
Rating: 6/10
Cast: Mel Gibson, Ray Winstone, Bojana Novakovic
Director: Martin Campbell
Back on the big screen for the first time in 7 years, Mel Gibson returns in conspiracy revenge thriller, Edge of Darkness helmed by NZ's very own Martin Campbell.
Based on a BBC mini series (which was directed by Campbell back when it was initially broadcast in the 1980s) Gibson stars as Boston detective Tom Craven, whose daughter Emma (Bojana Novakovic) comes home to visit.
However, Emma becomes sick and after vomiting blood, Craven decides to take her to the hospital. But barely out of the front door, she's shot dead in a drive by.
The police are convinced he's the target of the shooter, but Craven begins his own investigation - and gradually begins to realize he's slap bang in the middle of a massive conspiracy which has wider implications than he could ever realize.
So it's a return for Mel Gibson in front of the camera - and perhaps this world weary cop with his steely eyed determination is a suitable role to announce he's back. Gibson manages to convey Craven's simmering anger at his daughter's death and resolve to get to the truth in an excellent way (you're never quite sure exactly when he's going to explode) but unfortunately he's mired in a rather formulaic film which has all the trappings of your everyday thriller.
The problem with this is that the central story of corruption is nothing new and is not really told in an entirely original way. There's Ray Winstone's mysterious government agent Jedbergh, who mumbles and menaces his way through the story; he tries for enigmatic and ends up confused as to which side he's on; there's a sinister shadowy cabal who meet to decide how it'll pan out - and there's betrayal aplenty.
Aside from some jolts to your nerve moments (which are obviously coming), there's little original in how this pans out. .That's not to say it's not good - it's merely middle of the road, generic, formulaic thriller with chases, scenes of suspense and twists aplenty.
At the end of the day, Gibson's probably the main reason to see this - it's a welcome return to form for the man whose private life has overwhelmed his acting abilities.
Edge of Darkness
Rating: 6/10
Cast: Mel Gibson, Ray Winstone, Bojana Novakovic
Director: Martin Campbell
Back on the big screen for the first time in 7 years, Mel Gibson returns in conspiracy revenge thriller, Edge of Darkness helmed by NZ's very own Martin Campbell.
Based on a BBC mini series (which was directed by Campbell back when it was initially broadcast in the 1980s) Gibson stars as Boston detective Tom Craven, whose daughter Emma (Bojana Novakovic) comes home to visit.
However, Emma becomes sick and after vomiting blood, Craven decides to take her to the hospital. But barely out of the front door, she's shot dead in a drive by.
The police are convinced he's the target of the shooter, but Craven begins his own investigation - and gradually begins to realize he's slap bang in the middle of a massive conspiracy which has wider implications than he could ever realize.
So it's a return for Mel Gibson in front of the camera - and perhaps this world weary cop with his steely eyed determination is a suitable role to announce he's back. Gibson manages to convey Craven's simmering anger at his daughter's death and resolve to get to the truth in an excellent way (you're never quite sure exactly when he's going to explode) but unfortunately he's mired in a rather formulaic film which has all the trappings of your everyday thriller.
The problem with this is that the central story of corruption is nothing new and is not really told in an entirely original way. There's Ray Winstone's mysterious government agent Jedbergh, who mumbles and menaces his way through the story; he tries for enigmatic and ends up confused as to which side he's on; there's a sinister shadowy cabal who meet to decide how it'll pan out - and there's betrayal aplenty.
Aside from some jolts to your nerve moments (which are obviously coming), there's little original in how this pans out. .That's not to say it's not good - it's merely middle of the road, generic, formulaic thriller with chases, scenes of suspense and twists aplenty.
At the end of the day, Gibson's probably the main reason to see this - it's a welcome return to form for the man whose private life has overwhelmed his acting abilities.
Precious: Movie Review
Precious: Movie Review
Rating: 7/10
Cast: Gabourey Sidibe, Mo'Nique,, Paula Patton, Mariah Carey, Lenny Kravitz
Director: Lee Daniels
As we head towards Oscar season, some films are already emerging as contenders thanks to a clutch of nominations.
Precious is one of those films.
It stars Gabourey Sidibe as Claireece Precious Jones, an overweight, illiterate 16 year old girl in New York's Harlem.
Verbally, mentally and physically abused by her mother on a regular basis and sexually abused by her father, Precious does what she can to get by.
However, she's kicked out of school when it's discovered that she's pregnant for a second time - and is given the chance to enroll in a special school, Each One Teach One, run by Miss Blu Rain (Paula Patton).
Precious takes the chance on the school and gradually starts to improve her life - however, when her domestic situation comes to a head, it's clear Precious needs to make some life changing decisions - whether she likes them or not.
Based on the acclaimed novel, Push, Precious is not an easy film to watch - while it's got an uplifting end, it's sometimes a difficult (albeit darkly humorous) road to travel.
Mo'Nique is horrifying as Precious' mother - a powderkeg of resentment and twisted by abuse, she's just waiting to explode - and there is one particular moment that will horrify some (even if it is obvious that that's what's coming). However, in her final scenes with her daughter, Mo'Nique manages to subtly lift the character from abuser to leave you with your mouth hanging open as she talks of their family life.
Gabourey Sidibe is compelling as Precious - despite a heavy role to take, this first time actress brings an underlying respect and dignity to all that she undergoes, and good grief, it's the gamut of abuse, violence and bullying. Precious chooses to live in a fantasy world in her head when things get really bad - and it's here that Sidibe brings some joy to the character as she dances to music or attends premieres.
Some may feel that the message of Precious is given in a heavy handed way, but, to be honest, this film's not sugar coated and is a horrifying indictment of the reality that some have to endure on a daily basis. And sure, some of it feels like familiar territory as Precious struggles in class, but gradually overcomes the increasingly insurmountable odds against her.
However, it's not all dark - there's a lot of humour scattered throughout and in many unexpected places thanks to a sharp, sassy script. Both Mariah Carey as a social worker and Lenny Kravitz as a male nurse are good - but Precious belongs to Sidibe and Mo'Nique. It's their performances which give the film its power and while some may argue the ending is not upbeat enough given what we've had to endure, it's a churlish complaint about a film which for many will be a harrowing revelation.
Rating: 7/10
Cast: Gabourey Sidibe, Mo'Nique,, Paula Patton, Mariah Carey, Lenny Kravitz
Director: Lee Daniels
As we head towards Oscar season, some films are already emerging as contenders thanks to a clutch of nominations.
Precious is one of those films.
It stars Gabourey Sidibe as Claireece Precious Jones, an overweight, illiterate 16 year old girl in New York's Harlem.
Verbally, mentally and physically abused by her mother on a regular basis and sexually abused by her father, Precious does what she can to get by.
However, she's kicked out of school when it's discovered that she's pregnant for a second time - and is given the chance to enroll in a special school, Each One Teach One, run by Miss Blu Rain (Paula Patton).
Precious takes the chance on the school and gradually starts to improve her life - however, when her domestic situation comes to a head, it's clear Precious needs to make some life changing decisions - whether she likes them or not.
Based on the acclaimed novel, Push, Precious is not an easy film to watch - while it's got an uplifting end, it's sometimes a difficult (albeit darkly humorous) road to travel.
Mo'Nique is horrifying as Precious' mother - a powderkeg of resentment and twisted by abuse, she's just waiting to explode - and there is one particular moment that will horrify some (even if it is obvious that that's what's coming). However, in her final scenes with her daughter, Mo'Nique manages to subtly lift the character from abuser to leave you with your mouth hanging open as she talks of their family life.
Gabourey Sidibe is compelling as Precious - despite a heavy role to take, this first time actress brings an underlying respect and dignity to all that she undergoes, and good grief, it's the gamut of abuse, violence and bullying. Precious chooses to live in a fantasy world in her head when things get really bad - and it's here that Sidibe brings some joy to the character as she dances to music or attends premieres.
Some may feel that the message of Precious is given in a heavy handed way, but, to be honest, this film's not sugar coated and is a horrifying indictment of the reality that some have to endure on a daily basis. And sure, some of it feels like familiar territory as Precious struggles in class, but gradually overcomes the increasingly insurmountable odds against her.
However, it's not all dark - there's a lot of humour scattered throughout and in many unexpected places thanks to a sharp, sassy script. Both Mariah Carey as a social worker and Lenny Kravitz as a male nurse are good - but Precious belongs to Sidibe and Mo'Nique. It's their performances which give the film its power and while some may argue the ending is not upbeat enough given what we've had to endure, it's a churlish complaint about a film which for many will be a harrowing revelation.
Wednesday, 3 February 2010
Nine: Movie Review
Nine: Movie Review
Rating: 5/10
Cast: Daniel Day Lewis, Penelope Cruz, Judi Dench, Fergie, Kate Hudson, Marion Cottilard, Sophia Loren, Nicole Kidman
Director: Rob Marshall
Based on the Tony musical of the same name (which is itself based on Federico Fellini's 8 ý), director Rob Marshall (Chicago) unveils his version on the big screen.
Daniel Day Lewis stars as Italian film director Guido Contini, the maestro of cinema Italiano, who's under pressure to create his ninth film. Contini's revered in Italy (despite a string of recent flops - a running gag in the film) but is struggling to come up with a script for his ninth outing on the big screen.
But despite seeking inspiration from the women in his life - a prostitute from youth (Fergie), his mistress Carla (a fiery sparky Penelope Cruz), his wife Luisa (an ever dependable Marion Cotillard), his mother (Sophia Loren) and his muse (Nicole Kidman), he's got nothing.
With the studio on his back, sets being built and time running out, Guido's got nowhere to hide - can he get his magic back?
Nine is a sexy, spectacularly lavish affair - with its women giving their all both vocally and physically on the screen, it seemed destined not to fail. And yet, somehow, it manages to do so.
The mark of any decent musical is how well the songs fit into the overall scheme - and to be fair to Nine, the majority of them don't feel shoe horned into the screenplay simply for the film's sake. While Day Lewis is good and verges on farcical at times as he tries to avoid the ever tightening cinematic noose around his neck, it's difficult to empathise with this director who has it all and yet is suffering from writer's block.
The scenery around Rome is stunning and the sets are pretty impressive - but it's some of the musical numbers which fail to stay in the mind hours after you've left the cinema. The opening number as Contini wanders onto his partially built set and is met by the echoes of the women in his mind recalls the final moments of the Muppet Show opening as the gang sang through the arches - only mixed with a Pussycat Dolls audition.
Fergie does well as a prostitute whose influence on Guido's catholic lifestyle shapes him in later life and Penelope Cruz is excellent as the mistress - but they can only go so far as to stave off the quiet moments.
There are lulls throughout the film - and while I'm happy to admit there are always challenges to adapting musicals for the big screen, this one needed a little more effort on the writing front; it hangs together okay but never really grabs the audience.
Ultimately Nine is a case of style over substance; it's a brilliantly, visually dazzling feast but after it's done you'll be hard pressed to remember too much about it.
Rating: 5/10
Cast: Daniel Day Lewis, Penelope Cruz, Judi Dench, Fergie, Kate Hudson, Marion Cottilard, Sophia Loren, Nicole Kidman
Director: Rob Marshall
Based on the Tony musical of the same name (which is itself based on Federico Fellini's 8 ý), director Rob Marshall (Chicago) unveils his version on the big screen.
Daniel Day Lewis stars as Italian film director Guido Contini, the maestro of cinema Italiano, who's under pressure to create his ninth film. Contini's revered in Italy (despite a string of recent flops - a running gag in the film) but is struggling to come up with a script for his ninth outing on the big screen.
But despite seeking inspiration from the women in his life - a prostitute from youth (Fergie), his mistress Carla (a fiery sparky Penelope Cruz), his wife Luisa (an ever dependable Marion Cotillard), his mother (Sophia Loren) and his muse (Nicole Kidman), he's got nothing.
With the studio on his back, sets being built and time running out, Guido's got nowhere to hide - can he get his magic back?
Nine is a sexy, spectacularly lavish affair - with its women giving their all both vocally and physically on the screen, it seemed destined not to fail. And yet, somehow, it manages to do so.
The mark of any decent musical is how well the songs fit into the overall scheme - and to be fair to Nine, the majority of them don't feel shoe horned into the screenplay simply for the film's sake. While Day Lewis is good and verges on farcical at times as he tries to avoid the ever tightening cinematic noose around his neck, it's difficult to empathise with this director who has it all and yet is suffering from writer's block.
The scenery around Rome is stunning and the sets are pretty impressive - but it's some of the musical numbers which fail to stay in the mind hours after you've left the cinema. The opening number as Contini wanders onto his partially built set and is met by the echoes of the women in his mind recalls the final moments of the Muppet Show opening as the gang sang through the arches - only mixed with a Pussycat Dolls audition.
Fergie does well as a prostitute whose influence on Guido's catholic lifestyle shapes him in later life and Penelope Cruz is excellent as the mistress - but they can only go so far as to stave off the quiet moments.
There are lulls throughout the film - and while I'm happy to admit there are always challenges to adapting musicals for the big screen, this one needed a little more effort on the writing front; it hangs together okay but never really grabs the audience.
Ultimately Nine is a case of style over substance; it's a brilliantly, visually dazzling feast but after it's done you'll be hard pressed to remember too much about it.
Friday, 29 January 2010
I'm Not Harry Jenson: Movie Review
I'm Not Harry Jenson: Movie Review
I'm Not Harry Jenson
Rating: 6/10
Cast: Gareth Reeves,Marshall Napier, Renato Bartolomei, Ian Mune, Jinny Lee Story
Director: James Napier Robertson
A low budget noir thriller, I'm Not Harry Jenson tells the tale of best selling crime novelist Stanley Merse (Gareth Reeves).
Merse has hit a bout of writer's block as he tries to pull together his latest book about a killer, Harry Jenson. Despite the best attempts of a hooker and his agent and with the possibility of quitting his latest book, at the behest of his agent, Merse decides to take some time out to clear his mind.
He heads off on a hike in the bush with a gang of people he's never met before - but things turn nasty when one of his fellow trampers ( Shortland Street's Ben Mitchell) is found dead the next day - and Jenson's covered in blood.
Matters are made worse when another of the camping gang is found dead the following dead - and when flashbacks start showing Merse he was at the scene, he begins to question his sanity.
Has he crossed an unthinkable line and begun to live life as a murderer rather than just writing about it?
I'm Not Harry Jenson is a decent noir thriller for a first time director - shot entirely in Auckland's Waitakere Ranges, it uses the scenery brilliantly with sweeping aerial shots and looks stunning on the screen - which is quite an achievement given how tight the budget was for this film by director and writer James Napier Robertson.
There's a suitable edge of paranoia rumbling through - with scenes of close cut dialogue throughout - and it's convincingly carried off by Gareth Reeves (last seen as Ryan ; along with Renato Bartolomei - in TV2's thriller The Cult - don't forget you can watch the entire series here!) whose suitably edgy performance means even he's questioning whether he did it or not. And Reeves works well against Marissa (Jinny Lee Story) - their burgeoning friendship provides a little spark and grounds the drama with a sense of humanity.
However, I have to admit that I could see the end coming and the denouement would have worked a little better if perhaps one early scene had been cut from the final mix - unfortunately that detracted from the film overall.
That said I'm Not Harry Jenson clearly marks a talent out in the form of Robertson - he's got the best out of his cast and is bound for great things on the New Zealand film circuit.
I'm Not Harry Jenson
Rating: 6/10
Cast: Gareth Reeves,Marshall Napier, Renato Bartolomei, Ian Mune, Jinny Lee Story
Director: James Napier Robertson
A low budget noir thriller, I'm Not Harry Jenson tells the tale of best selling crime novelist Stanley Merse (Gareth Reeves).
Merse has hit a bout of writer's block as he tries to pull together his latest book about a killer, Harry Jenson. Despite the best attempts of a hooker and his agent and with the possibility of quitting his latest book, at the behest of his agent, Merse decides to take some time out to clear his mind.
He heads off on a hike in the bush with a gang of people he's never met before - but things turn nasty when one of his fellow trampers ( Shortland Street's Ben Mitchell) is found dead the next day - and Jenson's covered in blood.
Matters are made worse when another of the camping gang is found dead the following dead - and when flashbacks start showing Merse he was at the scene, he begins to question his sanity.
Has he crossed an unthinkable line and begun to live life as a murderer rather than just writing about it?
I'm Not Harry Jenson is a decent noir thriller for a first time director - shot entirely in Auckland's Waitakere Ranges, it uses the scenery brilliantly with sweeping aerial shots and looks stunning on the screen - which is quite an achievement given how tight the budget was for this film by director and writer James Napier Robertson.
There's a suitable edge of paranoia rumbling through - with scenes of close cut dialogue throughout - and it's convincingly carried off by Gareth Reeves (last seen as Ryan ; along with Renato Bartolomei - in TV2's thriller The Cult - don't forget you can watch the entire series here!) whose suitably edgy performance means even he's questioning whether he did it or not. And Reeves works well against Marissa (Jinny Lee Story) - their burgeoning friendship provides a little spark and grounds the drama with a sense of humanity.
However, I have to admit that I could see the end coming and the denouement would have worked a little better if perhaps one early scene had been cut from the final mix - unfortunately that detracted from the film overall.
That said I'm Not Harry Jenson clearly marks a talent out in the form of Robertson - he's got the best out of his cast and is bound for great things on the New Zealand film circuit.
Thursday, 28 January 2010
Invictus: Movie Review
Invictus: Movie Review
Rating: 6/10
Cast: Morgan Freeman, Matt Damon
Director: Clint Eastwood
This is a film some Kiwis may find difficult to watch.
Morgan Freeman stars as Nelson Mandela in the early nineties - recently freed and swept to power, Mandela's in his first term of office, fighting to heal a hurt and racially divided South Africa.
Realising the country was still at odds and desperately needing a healing, Mandela latched on to the South African rugby team, the Springboks, as the key to bringing them back together - but it's not an easy job for Mandela as he wryly notes at a test match, half the black population are cheering for the opposition rather than their national team because of what they represent.
However, the Boks are somewhat of a national laughing joke and haven't won a game in a long time. But Mandela meets with captain Francois Pienaar (a stoic Matt Damon) and rallies him to try and bring the team back from the brink of disaster to national treasure.
So the Boks begin to try and win over hearts and minds as they head to training camps with the public and look to improve their game.
And of course, it all comes to a head with the now infamous 1995 Rugby World Cup with its final which broke Kiwi hearts...
Invictus would make a good double bill with Goodbye Bafana which was released last year - that film concentrated on Mandela's friendship with a guard on Robben Island ahead of his release - Invictus then deals immediately with Mandela's rise to power.
Damon and Freeman are both good in their roles - although it has to be said Morgan Freeman is ever so slightly off in his portrayal of Mandela; while he looks quite close to the iconic man, he just manages to miss the vocal intonations of the man. For a man whose power came from his speeches and rallying, that just slightly detracts from Freeman's portrayal (although I do admit, he was born to play Mandela).
It's a witty, wry script with some very dry one liners and a nice relationship between Mandela's eternally loyal ANC bodyguards and the incoming white Secret Service providing much of the film's humour.
The film's central premise and story is a fair one - but I have to admit to feeling director Clint Eastwood could have been a little more subtle in some of his imagery (scenes when the Boks take the RWC focus on the trophy as a black hand, then a white hand take the cup - yes, it's symbolic, but I couldn't shake the feeling that I'd be clubbed with the subtlety). There's also some heavy handed moments when Pienaar visits Mandela's Robben Island cell.
But there are moments which pull you in - the idea Mandela walks out of a meeting to find out how the game's going give that edge of characterization and subtlety that Eastwood does very well in all of his film. He also does the rugby scenes well - it's nothing original for sweeping aerial shots, slow mo sounds as the players meet in the scrum and the game unfolds. However, the fact you're right in the thick of the game,makes it thrilling watching for the non-rugby fan.
You can't be a NZ reviewer and not mention the final - while the talk of food poisoning and subsequent furore is glossed over, some AB fans may find the last 30 minutes of the 2hr 20 minute film a trifle hard to sit through as the loss comes into focus once again. Eastwood does a good job of recreating the final and the tension throughout the dying moments (and even the portrayal of the unstoppable Jonah Lomu is visually quite close to the man himself).
Overall, Invictus is a good film but I did leave kind of wishing Clint Eastwood had been a little less heavy handed during some aspects - because thanks to the performances of Damon and Freeman, this inspirational film could have soared a little higher than it actually does.
Rating: 6/10
Cast: Morgan Freeman, Matt Damon
Director: Clint Eastwood
This is a film some Kiwis may find difficult to watch.
Morgan Freeman stars as Nelson Mandela in the early nineties - recently freed and swept to power, Mandela's in his first term of office, fighting to heal a hurt and racially divided South Africa.
Realising the country was still at odds and desperately needing a healing, Mandela latched on to the South African rugby team, the Springboks, as the key to bringing them back together - but it's not an easy job for Mandela as he wryly notes at a test match, half the black population are cheering for the opposition rather than their national team because of what they represent.
However, the Boks are somewhat of a national laughing joke and haven't won a game in a long time. But Mandela meets with captain Francois Pienaar (a stoic Matt Damon) and rallies him to try and bring the team back from the brink of disaster to national treasure.
So the Boks begin to try and win over hearts and minds as they head to training camps with the public and look to improve their game.
And of course, it all comes to a head with the now infamous 1995 Rugby World Cup with its final which broke Kiwi hearts...
Invictus would make a good double bill with Goodbye Bafana which was released last year - that film concentrated on Mandela's friendship with a guard on Robben Island ahead of his release - Invictus then deals immediately with Mandela's rise to power.
Damon and Freeman are both good in their roles - although it has to be said Morgan Freeman is ever so slightly off in his portrayal of Mandela; while he looks quite close to the iconic man, he just manages to miss the vocal intonations of the man. For a man whose power came from his speeches and rallying, that just slightly detracts from Freeman's portrayal (although I do admit, he was born to play Mandela).
It's a witty, wry script with some very dry one liners and a nice relationship between Mandela's eternally loyal ANC bodyguards and the incoming white Secret Service providing much of the film's humour.
The film's central premise and story is a fair one - but I have to admit to feeling director Clint Eastwood could have been a little more subtle in some of his imagery (scenes when the Boks take the RWC focus on the trophy as a black hand, then a white hand take the cup - yes, it's symbolic, but I couldn't shake the feeling that I'd be clubbed with the subtlety). There's also some heavy handed moments when Pienaar visits Mandela's Robben Island cell.
But there are moments which pull you in - the idea Mandela walks out of a meeting to find out how the game's going give that edge of characterization and subtlety that Eastwood does very well in all of his film. He also does the rugby scenes well - it's nothing original for sweeping aerial shots, slow mo sounds as the players meet in the scrum and the game unfolds. However, the fact you're right in the thick of the game,makes it thrilling watching for the non-rugby fan.
You can't be a NZ reviewer and not mention the final - while the talk of food poisoning and subsequent furore is glossed over, some AB fans may find the last 30 minutes of the 2hr 20 minute film a trifle hard to sit through as the loss comes into focus once again. Eastwood does a good job of recreating the final and the tension throughout the dying moments (and even the portrayal of the unstoppable Jonah Lomu is visually quite close to the man himself).
Overall, Invictus is a good film but I did leave kind of wishing Clint Eastwood had been a little less heavy handed during some aspects - because thanks to the performances of Damon and Freeman, this inspirational film could have soared a little higher than it actually does.
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