Bel Ami: Movie Review

Bel Ami: Movie Review

Cast: Robert Pattinson, Uma Thurman, Kristin Scott Thomas, Christina Ricci, Colm Meaney, Philip Glenister
Director: Declan Donnelan, Nick Ormerod

Robert "R Patz/ Edward" Pattinson stars in this period romp based on the classic French Novel Bel Ami by Guy de Maupassant.

It's 1880 Paris and Rpatz is George Duroy, a returning soldier from the war. Down on his luck and living in abject poverty, Duroy has a chance meeting with fellow former soldier Charles Forestier (Glenister) while out on the town.

Feeling compassion toward his old compadre, Forestier gives Duroy a job as a journalist on the newspaper La Vie Francaise despite a lack of experience. However, with some tutoring from Forestier's wife (played by Uma Thurman), he's soon the toast of the newspaper.

But he also comes face to face with the realities of the corrupt Parisian high society to which he aspires: the sleazy colleagues, the wily financiers, and manipulative mistresses, and realising that there's a power game to be played here, he begins his own manipulations to ensure that he stays in the upper echelons of society, beginning an affair with Christina Ricci's Clotilde.

However, events begin to conspire against Duroy and soon he's left plotting revenge and vowing never to be caught in a world of poverty ever again...

Bel Ami is gorgeously shot but is tremendously pedestrian and shallow in places.

(Even if its release comes at a bitterly ironic time with Kristen Stewart cheating on Robert Pattinson and revealing she had been with director Rupert Sanders - some could see this film as a RPatz lovefest revenge piece...)

Pattinson fails to impress early on and through a combination of dead eyes, brooding eyebrows, sulky looks and moody silences, he tries to bring (and largely fails) some chemistry with the women on the Parisian front as he tries to manipulate his way through society. It's largely because the film feels so rushed you have trouble believing that the character of George Duroy could ascend so quickly. But if you're after a shirtless naked Robert Pattinson, baring his bum and giving it his all during sex scenes, then this film is for you...

It's a real shame because in the back end of the film, his character's anger, manipulation and desperation really are translated well by the actor - but you have to really bear with the film to get to that point and it's a hard slog to reach that dramatic conclusion.

And in all honesty, I don't believe it's Pattinson's performance which is at fault - it's his directors who've not realised how wooden and detached his character's made to be.

It's a disappointment because Bel Ami has some very good scenes. But as it plays out over a short period of time in the film, the pace leads them to feel rushed; one scene where the editor of the newspaper, a minister and Duroy play cards brings everything a film like this should to the table - it offers an insight into the manipulative ways, seething jealousies and political games which are afoot.

Elsewhere in the cast, Thurman's impressive as a political puppeteer, Kristin Scott Thomas amuses as a lady who falls for Duroy's "charms" and Ricci still looks too young to be doing sex scenes. (Plus Ricci and Pattinson have a complete lack of chemistry throughout.)  They're a mix of women and portrayals in this film, and given that it's intimated that the women have all the power, I'm not entirely convinced by the acting of the main three.

All in all, Bel Ami is a muddled mess which borders on the dull in its first half and manages to up its game toward the end. It's no Dangerous Liaisons and lacks the edginess and danger of such a film - sadly,despite all his hollow eyed occasional seething mopiness, it's not entirely RPatz's fault - the directors have squandered their chance to make a Bel Ami which has sizzle, pearls of peril and threat as it tears its way through politics and Paris.

Rating:

Magic Mike: Movie Review

Magic Mike: Movie Review

Cast: Channing Tatum, Alex Pettyfer, Matthew McConaughey, Olivia Munn, Cody Horn
Director: Steven Soderbergh

Yes, yes, as you can see, it's that film about the strippers.

But if you're expecting a full on raunchy night out with the ladies, you may be in for a little bit of a surprise.

And for the film lovers out there, a bit of a surprise from renowned director Steven Soderbergh - and yet again, another surprise from Channing Tatum.

Magic Mike is based on Tatum's experiences as a stripper - and follows his character, a guy called Mike, who's a self-professed businessman, entrepreneur and of course, dude throwing his robes off on stage and gyrating around for the cold, hard cash in the wilds of Tampa.

When he meets up with the Kid (Alex Pettyfer, looking a bit mopey, chiselled and scruffy) on a construction job, the two end up becoming friends and Mike introduces him to the world of stripping - a world which The Kid embraces whole heartedly being 19 and out for a good time.

But Mike does a little more than simply introducing him to the world - he takes him under his wing, and cares for him.

Inevitably though, the Kid's entry into this occasionally sleazy pasttime causes real problems for Mike...

Let's be clear about this, Magic Mike has scenes of Channing Tatum stripping (and others) and full routines that highlight the extreme pecs appeal of the rock hard abs of the cast which have been hired as the "Cock Rocking Kings of Tampa." And said scenes, and indeed routines, will cause many of the female audience to wilt, blush and generally whoop and holler at the screen. I will concede they're very well done, pandering to what an audience wants and are liberally used throughout. (Although I will confess I am deeply grateful that it's not in 3D)

And yet, this film is about more than the pelvic hip thrusts of the beefed-up man candy which are strutted during some mightily impressively choreographed dance scenes.

Soderbergh's pulled together a kind of cross between The Full Monty meets Boogie Nights which is more dramedy than drunken hens' night out antics.

Usually, these kind of hedonistic pieces would be filmed from the viewpoint of the newbie - but Soderbergh's flipped that, choosing to follow Mike, a genuinely nice guy who wants more to his life than his stripping (even though, based on his chiselled talents, that's clearly where the cash is) with businesses being run on the side and a desire to set up a custom-made furniture company. It's wise to have concentrated on Mike too, as the Kid's generally unlikeable and offers little to give you any real lasting connection throughout.

It's here that Tatum excels again, putting in an underplayed performance which channels sensitivity, charm and a bit of angst as Mike hits a very early mid-life crisis and begins to lose his way. Tatum's really impressed recently in a string of roles (21 Jump Street, The Vow) which have shown he's a little more than just a good lookin' guy. His Mike is occasionally mopey, lacking any real connections with anyone outside of his fake stripping world and give him a universal appeal to both women (who're lusting over him) and men, who've no doubt been dragged to the cinema with a nagging idea of what's ahead. Plus his fledging relationship with the admittedly rather bland sister of The Kid works thanks to his sparkiness and playfulness.

But I have to confess, in amongst the undeniable energy, the star of the piece is Matthew McConaughey's club owner Dallas, whose self parodying, lounge lizard is a blast to watch whenever he's on the screen (fully clothed or otherwise). McConaughey has a ball playing this and there are hints of rifts between Dallas and Mike, who's wanting a bigger stake in the club, which add an undercurrent of uncertainty to their relationship and a frisson to the dramedy that's unfolding.

All in all, Magic Mike is the perfect blend of angst and cheesy stripper moves (I never thought I'd be writing that) and is actually more of a downbeat low-key drama with heart (with a thoroughly predictable denouement) than you'd ever have expected from the posters and promos.

Rating:

New Zealand Film Festival Reviews - latest from the fest

New Zealand Film Festival Reviews - latest from the fest

The very latest reviews from the New Zealand International Film Festival as it continues in Auckland. As the first week continues and the plethora of choices multiply, I'm getting a bit of onside help from Akl writer Jacob Powell to help cover as many films as we can between us.

The Wall
The Lives of Others' Martina Gedeck stars as an unnamed woman in this slightly bizarre, left of centre, day after tomorrow feeling psychological piece. After being dropped off at a cabin, the woman (who's never given a name or background throughout the film) sets about her day-to-day existence with only Lynx, a dog left behind by the previous owners. One day, when heading out for a walk, she bumps into an invisible forcefield, separating her from the world beyond. Obviously shocked and with no clues as to what's happened, the woman retreats to the safety of her cabin and regroups - but heading out again, she finds the wall still there and the few people she can see beyond are frozen and unmoving. But she gradually discovers she's not alone with animals ending up in her care and near her home to provide her with what she needs. However, her reality is jolted when she hits a crisis point... Sparse, sombre and a tour de force one woman feminist performance, Die Wand, is a surprising piece of cinema which uses sound, its fantastic valley surroundings to maximum effect. Some images are stark, haunting and frightening - and a lack of real resolution or reason as to what's unfolded leads your mind to wild conclusions and expectations.  Gedeck is nothing less than compelling throughout in this piece which is adapted from a book and is told via flashbacks. But the tonal shift when events change dramatically at the end, seems to sit at odds with what's already unspooled in front of you and prove more baffling and frustrating after investing some two hours in this intelligently put-together feminist existence. Die Wand is a challenging piece of cinema, destined to provoke questions and discussion which makes it the perfect fodder for the New Zealand International Film Festival.

Room 237 

Probably one for the film nerds, conspiracy theorists, and sociologists - but ZOMG, WHAT a film!? Rodney Ascher's Room 237: Being an Inquiry into The Shining in 9 Parts is an exquisitely fascinating documentary of five persons' close reading of Kubrick's 1980 adaptation of 1977 Stephen King novel The Shining that spirals down the wormhole of neurosis and beyond, appearing once again on the other side. Fact meets fiction as the full gamut of possible and impossible theories is expounded with regards to Kubrick's genius as applied to this piece of cinema; just as you find yourself attesting to the plausibility of someone's point of view they stretch your credibility to breaking again. Wonderful stuff that, in terms of type and level of appeal, I would sit alongside the equally compelling Z Channel: A Magnificent Obsession which played NZFF 2005. Room 237 is shaping up to be one of my picks of the NZFF 2012. (Guest reviewer - Jacob Powell)


Wuthering Heights

Social realism in the North Yorkshire moors! For her 3rd feature rising British auteur Andrea Arnold turns her hand to adapting Emily Bronte's much revered 1847 classic Wuthering Heights and does so with a strong directorial vision. Arnold's film is firmly clothed in its Northern setting capturing the grim, forbidding environs in which Cathy & Heathcliff's young love blossoms in crisp detail, extracting the raw beauty behind the ever present wind. It is fair to say that the viscera of everyday country living gets more attention from the film than does its limited dialogue. Similarly Arnold dials back the use of music preferring ambient sounds from within the scene. The obsessive, single-minded focus on the world the characters inhabit reflects the nature of the intense bond between the two protagonists; finding a sense of home in the spare, cold crags and moors mirrors the tenor of the relationship they grow into. Arnold delivers classic romantic drama as a work of cinematic art. (Guest reviewer - Jacob Powell)

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.