New Zealand Film Festival Reviews - Last Dogs of Winter special review

New Zealand Film Festival Reviews - Last Dogs of Winter movie review

I take a look at Costa Botes' new doco The Last Dogs of Winter which received its NZ premiere in Auckland at the mighty Civic theatre.

Garnering its New Zealand premiere in the first week, Kiwi documaker Costa Botes,who's celebrating his 30th year as a filmmaker, brings his latest, The Last Dogs of Winter to the festival circuit.

On paper, it should be a shoo-in - a doco about the northern most tip of the world, with promises of snow blitzed landscapes, eskimo dogs and polar bears. After all, we've already gone gaga on David Attenborough's Frozen Planet earlier this year.

And on screen, I'm happy to report it's more than a shoo-in; it's a totally engrossing spectacle of human(e) proportions

But this is no nature doco and we're not really there to witness the majesty of the white wooly bear as it lollops around its natural environment. (Even though some of those provide the obligatory "Aaaah" moments)

Oh no, Botes has turned his focus (so excellently centred in the last piece of his which I saw Candyman, the David Klein story) to the plight of the Qimmiq dog - or more specifically, the man who's trying to save them - a white haired, leather headband wearing guy called Brian Ladoon.

He lives in the township of Churchill in Canada (population 873 - and the majority of whom are bearded - unless they're women) and has dedicated most of his life to trying to ensure the survival of the Eskimo dog, which is now facing extinction.

Years ago, through a cull, neglect and controlled government programmes, there was a concerted push to get rid of the pooches and as a result only a couple of hundred remain.

Botes' way into this ice-capped world comes from a kiwi perspective; a former actor called Caleb Ross who you will remember from the TV show The Tribe. Ross found himself in Canada for a new love. But as the sun set on that relationship, he suddenly found himself having to start again and tempted by an ad which simply urged him to "Come to Churchill, breed eskimo dogs and see polar bears."

Who's going to refuse that?


But what Botes has managed to do, as he negotiated the wild and sparse landscape of Churchill, is to craft together a doco which offers an incredible insight into a world many of us will only ever glimpse through a lens.

It helps that he has a very affable subject in Ross, who's open to discussions and is perhaps, the younger heir to Ladoon's throne. He's certainly the polar opposite of the occasional spikiness of Ladoon, who it's fair to say, despite his calm exterior to the camera, doesn't get along with all the residents of Churchill. As Ladoon himself says at one point : "It's not everyone's cup of tea - but I don't drink tea."

Botes is also smart enough to know that scenes of dogs, chained in sub-zero wilderness landscapes with cold and wind whipping at their tails is likely to polarise some and cast a shadow on Ladoon's quest, as well as firing comments of mistreatment of the animals.

However, as Ross explains - the dogs are chained for various sensible reasons - including ensuring they don't run away. But, by deftly deferring this argument to someone who works with Ladoon rather than have him refute the claims, Botes' cleverly ensuring that the arguments have coherence, cogency and are rational. It's clever touches like these throughout the film which highlight what he's managed to do - put together a doco which is gentle charming, and gets under your skin without your realising it.

Of course, he's also sensible enough to intercut scenes of interviews with gorgeous shots of winter landscapes, replete with polar bears roaming - and there are certainly plenty of cute animal moments including close ups of the dogs, heads cocked and looking into the camera as well as shots of the polar bears frolicking and playing with each other and with the dogs. It's certainly kryptonite to the animal lovers out there - but what it shows is a snapshot of a life we've been given a fascinating glimpse into and one which is carrying on its vital work regardless of what's around and what nature's got in store in its harsher environments.

I have to admit, I would have loved to have seen a more official response or government feedback to what Ladoon's doing and while the doco's a measured and centred piece with a few people voicing their opposition to what's going on, it is, on the whole, sympathetic to the cause but a little lacking in exploring the divides that Ladoon's apparently created within the community. I'm not sure if it's that people chose not to be interviewed but it's a little disappointing that the contrary viewpoints aren't explored and expanded a little more fully. Even a line on screen explaining why would have steered this audience further and move the naysayers out of the anecdotal and into the fact.

While the doco ends with the possibility of a future for the programme, it's never implicitly implied, leaving the viewer with the ball fully in their court as to whether they wish to pursue this totally valid cause - it's an interesting way to end the piece.

All in all, The Last Dogs of Winter is a sumptuously put together and utterly charming piece which is a feast for the filmgoer and showcases the fact that 30 years on, Botes is still an impressive talent and making film that visually enthralls and mentally stimulates.

Find out more about The Last Dogs of Winter at their Facebook page.

One last note, the premiere last night seguewayed into an interview with Costa and a Skype chat from Caleb in the Wintergardens of the Civic.

Unfortunately, having to rush off to another screening meant I left 15 mins in, but I wanted to commend the festival team for doing this and adding a new dimension to the screening.

Interestingly, Caleb was calling from Churchill which would suggest he's still involved in the quest to save the dogs - but I'd love to know how long he intends to stay and if this is his calling? If you were there, let me know. And maybe in future, for these key events, the festival could look at potentially recording them for posterity?


UPDATE - Costa's very kindly been in touch (which I thoroughly admire and am grateful for his time doing so) to answer a couple of the points I raised above. Here's his response.

"Hi Darren, as promised here are some comments in reply to the various points raised in your piece about my film, The Last Dogs of Winter.

Regarding your specific questions:

I too would have liked to have given some voice to an official response or government feedback about what Brian Ladoon is doing. Unfortunately, neither on a local or state level were they willing to engage with me. Essentially, Ladoon is a headache or a thorn in their side, so they were happier to stonewall me than explain their position. I was able to privately glean some insight about the official policy of wildlife management in Manitoba, and I have to say it's my opinion that this policy is a bit of a mess, mediating various conflicting agendas - wildlife conservancy, indigenous rights, eco-tourism. 

They don't like Ladoon because he does not recognise their authority. On the other hand, their authority does not appear to rest on anything solid. It's ad hoc bureaucracy, really. Not stupendously interesting. And not central to my topic either.

I chose to concentrate on Brian's conflicts close to home, and I think I have given these due weight.

Generally, I don't like filling up my movies with exposition. I'm a film maker, not a journalist. If people want to know more or get a journalistic perspective, that option is open to them. I have placed many links and points of view about this topic on the Last Dogs of Winter blog at my web site - http://costabotes.com.

To me, the point of any good film is simple - to emotionally highlight a simple human truth that can inspire and illuminate the way for other people. The end of this movie essentially celebrates the main character's persistence, and his passionate embrace of life. He's a unique individual, with unique problems, in an interesting unique situation. More than worthy of a filmic treatment.

Finally, to answer your questions about Caleb, yes, he is likely to stay in Churchill for a while longer. How long, I'm sure even he does not know. He still works with Brian, although more in an ad hoc capacity now. But he is committed to helping Brian review and modify his operation, so it evolves from being a subsistence venture, dedicated to simple survival or preservation of blood lines, to a self sustaining economic activity. This could be achieved by establishing a viable volunteer program, so that individuals with a love for these dogs and the outdoors can travel to Churchill and work with them. So that is what Caleb is trying to do. Time will tell how successful he is.

Thanks for the opportunity to comment, Darren. Much appreciated. 

Best wishes,

Costa"

Well, what can you say to this? Nothing, except, hats off to Costa for a) taking the time to read this blog entry and b) for responding in such an open way to the questions and comments raised. 

Brand new Hobbit production diary

Brand new Hobbit production diary

The eighth Hobbit production diary is now here.

And it includes the footage shown at Comic-Con this year...

The Hobbit - An Unexpected Journey hits cinemas a little later this year on December 13th 2012. (In case you didn't already know).

New Zealand Film Festival Reviews - Day Three

New Zealand Film Festival Reviews - Day Three

A wrap up of the latest NZ International Film festival films under the microscope..

First Position -  This ballet doco follows a group of six young dancers from different backgrounds who all share the dream of being the world's best and part of dance companies around the world. Primarily it centres on this group as they prep for the Youth America Grand Prix, the daddy of all the competitions. It's a fairly formulaic doco - we follow the kids as they get ready, revel in (or be repelled by) some of their backstory and wait for the results as they take to the stage for the final dances. Director Bess Kargman manages to luck out choosing six kids who've clearly got what it takes but never once exploits them for our enjoyment. From 11-year-old Aran, who just loves ballet so much, he can't put it into the words he needs to Michaela, an orphan from the horrors of Sierra Leone, this piece is as much about the kids and what drives them as the parents and what they've sacrificed. And talking of the parents, one stands out - Sabato, whose children Miko and Jules both compete but have different drives to do so. Yet it's Sabato's push to build so much pressure that leads to some (un)intentionally comic moments as they prance around to varying degrees of success. The cynic in me would suggest that we're emotionally manipulated into Michaela's corner as the almost insurmountable odds conspire against her (few others have so much about their personal lives revealed in such emotional ways) but I can't deny that there was a tear in my eye as the results of the Grand Prix played out. This is a doco which is slickly produced, colourful and engages with its audience from beginning to end as it charts the highs and lows of devotion, both on and off the dance mat.

Marley - The reggae legend gets his own doco in the festival and it appears the seal of approval from all involved with comments from a myriad of family and friends. In fact, the scope of this doco is epic, respectful and insightful to the non fans (I'm counting myself here) and fans alike. Director Kevin MacDonald's pulled together a piece which is vibrant, and relaxed at the same time (more to do with the music than the collective toking on Marley's life) and one which is at pains to point out why Marley was such a success. It's a snapshot of a melting pot which gives this musical profile some feeling of why Marley was such a hero to some and even illuminates a lot about the politics of Kingston at the time of the 70s. There's also sly humour throughout with much mirth espoused with laconic deadpan style by many - and a shot of one white boy rocking out to Marley is something akin to major face-gurning but is hilarious. Relying on archive footage, snippets of interviews with the man himself and a cracking OST, it's clear to see why Marley's appeal lives on for many (even a scene of Marley experiencing the marae welcome garnered a cheer). It's not all roses and smiles though with tensions highlighted between Marley and his Wailers - as well as his amorous ways - but they're handled in such a well presented way that you're drawn into his life more than you could ever expect. While the doco's a tad overlong (perhaps a necessity so everyone could have their say about this brief life which burned so bright) it's obvious Marley is a talent - so too is MacDonald for pulling together one of the most complete musical profiles committed to celluloid in a very long time. One love, y'all.


And one very quick line to urge you to make sure you're at the films on time - not just for the comfort of other cinema goers but because you get the chance to see some very impressive short films here and there too. So far, the highlight's been a little one called Ten Thousand Days (playing before Wish you Were Here) which was funny, quirky and amusing. It's these little bites of cinematic excellence that really make the festival worthwhile and a chance to be reminded that our talents are being showcased here as well!


Read reviews from the New Zealand International Film Festival Day Two


Check out the reviews from Day one of the New Zealand International Film Festival

New Zealand Film Festival Reviews - Day Two

New Zealand Film Festival Reviews - Day Two

A look at the crop of the films viewed at the New Zealand International Film Festival on Day 2 - reviews include - Crazy Horse, Farewell My Queen, The Angels' Share and Bernie.

Crazy Horse - a look inside at the (very pert) view of Paris' nude revue, Crazy Horse is more about the venue (initially) than its staff as it peeks into the world within. Some 30 minutes pass before anyone is named and director Frederick Wiseman spends more time on the filming of the tensions at a production meeting than in giving us back stories, which initially leaves you feeling he favours filming the silhouetted female form rather than tapping into the psyche. But in amid all the rehearsals, talk of choreography and occasional looks at the dancers watching outtakes of ballet dancers cocking up, a funny thing happens - you realize you don't care about knowing the trivia of lives only briefly glimpsed. Sensually filmed and a little on the erotic as the stage performances play out, Crazy Horse becomes an insightful look into what it takes to keep the Paris venue riding high - rather than being just about the day to day squabbles of the artistic.

Farewell, My Queen - The latest period piece takes us back to Versailles and the court of Marie Antoinette as the storm of the Bastille approaches. But it's not a pomp and ceremony piece (aside from the sumptuous costumes) with the director preferring to view life from the servants' point of view. To that end, we follow Lea Seydoux's Sidonie Laborde, a young servant whose job is to read to the Queen but who gradually finds herself drawn in more to the Queen's chamber and into the Queen generally. As the growing unrest and uncertainty hit the staff as the revolution nears the door, Laborde comes to find her security from being so close to the Queen (played by Diane Kruger) is under threat despite her slavish devotion. And one choice could see her life forever changed. Farewell, My Queen is a perfectly serviceable period piece which is more of an overview of lives about to change rather than a dramatic retelling of the end of Marie Antoinette's reign. Unfortunately a little slow in places, Farewell, My Queen does little to fully engage the audience and maintains a curious detachment from any real kind of emotion - despite the implied lesbianism and love on the screen - not a massive disappointment by any stretch of the imagination but an interesting and different insight into a story often told.

The Angels' Share - Ken Loach delivers an unabashed audience pleasing, absolute cracker of a film which is as charming and memorable as it is funny. From its opening montage of young offenders being sentenced to community work, you wonder if the trademark realism is about to pierce the relatively light proceedings. But the master of miserabilism on the council estate delivers such a tonal shift early on and unleashes corking tale from Scotland about an apparent no hoper called Robbie, who's running out of chances, that it'd be churlish to resist. Just when you think Robbie's story will see him beaten by family rivalries and forced to leave his new son, a second chance and a gaggle of misfit Scottish colleagues end up on a caper comedy rife with pathos, heart and humour. Loach works with leads who're unknowns and thus garners great performances from them as he draws this tale together. The Angels Share is about second chances, friendships and whisky - you'd be foolish to miss this wee dram of a film; it's an absolute ripper.

Bernie - Jack Black reteams with Richard Linklater in this latest film, a tale that loudly proclaims "What you're fixing to see is a true story." Set in small town Texas, Black stars as the slightly effeminate Bernie Tiede, a local mortician and all round good guy - the kind of guy who'll go the extra mile to ensure the widows are all happy after the event by delivering flowers, hugs and the personal touch. Plus, his dedication to his community sees him delivering everything they need - and more. But when Bernie befriends the nastiest  (and latest) widow in town (played with relish by Shirley MacLaine), the friendship pushes Bernie over the edge and he commits murder. Jack Black impresses mightily in this - his subtle dialled-down performance (as opposed to the usual OTT he brings) means his character feels multi dimensional and real; and with Linklater using plenty of talking head interviews to get into the small town frame of mind, everything's deliciously put together for a cinematic feast which is charming and memorably warm - a subtly blended mix of small town ideology and dark comedy.

More New Zealand Film Festival Reviews - Day one - and reviews from Day three.

Man of Steel trailer arrives

Man of Steel trailer arrives

Here's your first look at the new Superman movie, Man Of Steel - due in cinemas in 2013.

Starring Henry Cavill...

New Zealand Film Festival Reviews - Day One

New Zealand International Film Festival Reviews - Day One

With the New Zealand International Film Festival now underway, here's a quick wrap up of what I've seen so far. Keep checking back for more as the festival plays out in Auckland.

Beasts of the Southern Wild - This year's opening night film is a heady, visceral and tender tale of life, love and our connection to the world. Six year old Hushpuppy lives with her father in the Bathtub, a southern New Orleans delta continually threatened by rising flood waters. But she doesn't want to leave and her father refuses to evacuate them. When a storm comes though, and devastates their community, the pair trawl through the Bathtub trying to find survivors. Replete with an impressive lively OST and anchored by one of the strongest child performances seen on celluloid for a long time, Beasts is a unique vision of life and a joyous celebration of what binds us to the land and each other. But it all rises on the central performances of the child and her father - and thankfully by looking at life from the eyes of a kid, it's an insightful view which offers up a truly rewarding experience.

Wish You Were Here - When two Aussie couples head to Cambodia for a holiday, (two sisters and their respective partners) you'd expect it would all go to plan. However, when only three of them return, the pressure to find out what happened to Antony Starr's missing Jeremy ramps up - from the government and the police. But only Joel Edgerton's Dave holds the key to what exactly happened to them all... A tautly wound piece, this well paced piece offers up flashbacks to the event as well as secrets which are exposed with devastating consequences. A lack of real background to the four rarely proves a stumbling block to investing in the mystery and the clues provide dark hints as to what went on. Edgerton is the stand out here as the nervy and potentially guilty Dave, offering up a performance that's subtle, stifling and superb. A full review will follow when the film gets a nationwide release later in the year.



This Must Be the Place - Sean Penn as retired rock star Cheyenne (who's part Edward Scissorhands, part Ozzy, part Robert Smith from the Cure first thing in the morning) sets on a road trip to find the Nazi war criminal who persecuted his recently deceased father. Full of quirky offbeat visual moments and subtle touches of humour throughout, This Must Be The Place is a road trip film which is fuelled by heart as well as a stonkingly good OST (and appearance from David Byrne). Penn's a touch above what you'd expect from him as the oddity unfurls bringing layers of subtlety to the performance - but with cameos from David Byrne and Harry Dean Stanton, the film's a classy if bizarre affair. However, in all the occasional weirdness and whimsy, there's a strong beating centre which remains with you long after it's finished - and most of that is thanks to Penn's measured performance as the ex glam rocker looking for redemption and a sense of identity. Definitely worth catching while the buzz is very hot.

Killer Joe - Matthew McConaughey brings the menace as a Texan cop Joe, who's also a contract killer in this black humoured slice of trailer trash luridness which is peppered with some sickening violence. When a trailer park family concocts a plan to bump off their mother for an insurance pay-out, Joe's brought into the picture - but as ever, things don't go according to plan. There's a sleaziness amongst the pitch black humour which means KJ won't be to everyone's tastes (and certainly the violent denouement may appal some like Killer Inside Me did) but McConaughey is very good as the measured mean man whose every calm delivery is peppered with menace and implied threat; but it's Juno Temple as trailer park Dottie who scores the break-out here, with a turn that's way above those around her. KJ is a polarising piece, but with some great performances which will linger after the lights have gone up, it shows director William Friedkin is still a force to be reckoned with.

Moonrise Kingdom - Wes Anderson's latest whimsical outing collects together eccentricities, visual gags and quirks aplenty as it unfolds on the screen. In 1965 New England, a tale of first love blooms as scout Sam breaks out from his troop and meets his love Suzy who frees the shackles of her lawyer family (played by the ever deadpan Bill Murray and a stoic Frances McDormand). But the 12 year old pair's escape doesn't go unnoticed and a search is launched for them as a hurricane approaches. A lightly deft piece which is dazzlingly funny and heartfully humorous throughout, despite dealing with slightly precocious kids and more innocent times. A star packed cast offers up the very best of what's given to them but the film belongs firmly to the two leads and Anderson, whose eye for the artfully insane and utterly charming are once again spot on in this crowd pleasing sure-fire audience winner.

The Cabin in the Woods - Joss Whedon's much- vaunted Cabin gets its Incredibly Strange outing - and a review which won't proffer up anything of the spoilery nature. Suffice to say a group of good looking teens head into the woods for a weekend away - but as ever, when they get there, things turn rather hellish. Billed as genre mashing and genre bending, TCITW is actually a pulpy, trashy piece of film which plays with horror conventions, mocks the twists and turns and slaps on the smarts as well as the laughs. There's also a lot of gore too as the cleverness unfolds. Best watched with a packed audience, TCITW is a bit of a self referential enigma, as you can't help but feel that you've been subverted and had your expectations messed with as it unfolds. This effective genre piece is grounded by great performances by Richard Jenkins and Bradley Whitford and is peppered with in jokes that horror fans will lap up. Humorous, shocking and a sly tipping of the genre, mean that Cabin will be a cult hit that deserves a wide audience. And talking of the audience, seeing it at a packed Civic with a massive crowd was a major buzz. It's also best viewed without any prior knowledge of what's about to unfold too - so stay away from the internet! (Also on hand at the NZIFF screenings is the Kiwi star of the film, Anna Hutchison to offer a bit of background on why it's taken so long to release and to get a flavour of the experience).

The Dark Knight Rises: Movie Review

The Dark Knight Rises: Movie Review

Cast: Christian Bale, Anne Hathaway, Tom Hardy, Joseph Gordon Levitt, Gary Oldman, Michael Caine
Director: Christopher Nolan

It's finally here - the ending of the epic Batman franchise from Christopher Nolan.

To say The Dark Knight Rises is one of the most anticipated films of the year is a massive understatement. Fans have been speculating over it, with slavish obsession and devouring every still released online.

So, does it provide a satisfactory conclusion to the franchise?

Eight years after the events of The Dark Knight and Batman's left Gotham after the death of D.A Harvey "Two Face" Dent. Hunted by the police and blamed for the golden boy's end, the Caped Crusader's become a myth and Bruce Wayne's not much better - a recluse living in Wayne Manor and never seen in public.

But when cat burglar Selina Kyle (Anne Hathaway) breaks into Wayne's safe and ends up on his radar and when a masked terrorist named Bane (Tom Hardy) threatens to take over the city, Bats has no choice but to come out of seclusion and save his beloved city.

There's more to the story but to be honest, revealing some of those intricacies, details and nuances of the script would veer into spoiler territory - and being frank, this Bat-threequel is best viewed unspoiled.

Christopher Nolan has crafted an epic ending to the series - and one which is reverential to the source mythology and one which has truly raised the bar for comic book films. It begins with an audacious piece of action and the thrills never let up until the end some 165 minutes later. Visually, the film offers so much, satiating both fanboys seeking the spine-tingling moments and the casual viewer wanting a great blockbuster.

While the film's somewhat disappointing denouement may not stand up to repeated inspection and tearing apart thanks to its conventional story which is spread over a somewhat bloated middle part, two things need to be remembered - one, it's a comic book film (which is bound to have a MacGuffin or two on hand) and two, it's the performances which anchor this film from beginning to end.

Christian Bale's vulnerable Batman is a flawed hero we can readily identify with; he's a tortured soul more than ever who's to be broken spiritually and physically by what's put in front of him; but Bale brings his A game to the performance, providing the emotional intensity during some quieter scenes needed to ground this film and bring a payoff which is rich and satisfying as he becomes the Batman who's an inspiration and a symbol to others. Likewise, when he's kicking ass as the Batman; this is a guy who's given a rounded and powerful performance to a character loved by many.

Gary Oldman's spot-on as a conflicted Commissioner Jim Gordon, a man who takes up the mantle of defending his beloved city; Morgan Freeman, is well, Morgan Freeman as Lucius Fox - and Sir Michael Caine is venerable, vulnerable and humane as butler Alfred.

Of the newcomers to the cast, Tom Hardy's anarchist Bane (who sounds a little like your English mate trying to do a Sean Connery style impression through a Darth Vader mask) is impressive; the ferociously intelligence and physical presence are astounding and instantaneous, giving his baddie a commanding feel which doesn't let up until the end (and if you know your Bat mythology, you'll realise how important it was to get Bane so right.) The scenes when Bats and Bane go mano a mano are intense, but not in the over the top way that you may have expected. And it's a performance which is a physical one too, with the eyes conveying a lot of his emotions - Hardy's to be commended.

Equally, Anne Hathaway is perfect as Catwoman (although she's never called such on screen); her Selina Kyle is a slinky, vampy, sly character which is given a few humorous lines to punch through the occasional pomposity which is prevalent. Marion Cotillard offers up some class as a member of the Wayne Enterprises board.

But the real star of the cast is Joseph Gordon-Levitt, whose idealistic and very human policeman John Blake becomes a driving force for belief. His Blake has the belief which has become so jaded and lacking in both Batman and Commissioner Gordon - and his character's story arc is thrilling to behold. Gordon-Levitt continues to impress as an actor and seals his place as one of the best talents on offer with this copper.

Visually, Nolan's utilised the best of the action he could muster, delivering up some flawless sequences which make maximum use of the IMAX format (and the playboy technology available) and offer some of the most impressive set pieces committed to celluloid.  In fact, overall, Nolan's provided a polished and tonally epic spectacle throughout; it's a film which talks of flawed heroes, of how the ordinary man can start a revolution and how belief can fuel hope - but it's not without a few flaws here and there (as well as some true comic book one-liners)

Sure, it's a fitting send off for the film and the franchise, and to concentrate on a few narrative misfires here and there seems a little unfair because overall, The Dark Knight Rises offers up much for the movie lover; this is a Batman movie which is a grand and satisfying end to an epic series; it's an unmissable event which lives upto its hype and offers a rich spectacle which the multiplexes will rightfully be packed out for.


Rating: