New Zealand International Film Festival - more reviews

New Zealand International Film Festival - more reviews

We're entering the final furlongs of the NZFF in Auckland at the moment - but that doesn't mean the reviewing's falling by the way side! Here's a selection of the latest reviews....

The Loneliest Planet -
Slow cinema doesn't come more divisive than this. We follow the soon-to-be-married Nica and Alex (Hani Furstenberg and Gael García Bernal as they backpack around Georgia. This is a happy couple, a playful couple and a couple whose future seems set. However, when they start trekking deep into the mountains with a guide, it seems as if everything is going their way. But, when they encounter another trio, something happens which shocks the foundations of their relationship and has repercussions for the three of them. Beautifully shot, with long still frame images of the group walking against the marvellous backdrop of nature, The Loneliest Planet is an interesting rumination of what it means to be a man, what it means to be in a relationship and how one single decision can have lasting implications. The emphasis here is on more shots of the landscape, local music and less on the dialogue which is sparse. But by hanging back, giving less, there's more of a sense of devastated frustration as the events unfold (even discussing them briefly would spoil the film's relatively only surprise) - you're lulled into a false sense of security as the trek goes on and when Bernal's Alex fails his betrothed Nica, by leaving things unsaid, director Loktev brings a level of intrigue which suggests frustration but hints at a deeply scarred psyche and an uncertainty that everything will be alright again.


KLOWN - 
Mixing Curb Your Enthusiasm sensibilities, awkwardness and plenty of laughs, Danish film, KLOWN (based on a sitcom of the same name)stars Frank Havm and Casper Christensen as accentuated versions of themselves. Frank's a bit of a square, a guy who's happily goaded by friends into hopeless situations - and best friend Casper's one of those who does the goading. When Casper decides the pair is off on a canoeing holiday with a remit to pursue women at a one night only brothel, Frank comes along too. However, he's forced to bring his young cousin Bo along for the trip as he wrestles with the possibility of becoming a father for the first time. As Casper gets hornier and determined to have his way, things spiral out of control and Frank's caught a little in the crossfire. Klown mixes that awkwardness we're used to from Larry David with situational comedy that never feels contrived but whose outcome is nothing less than excruciating - and excruciatingly funny. You get the feeling Frank's trying to do the right thing even if Casper's motivation is below the belt. But what emerges from KLOWN is the kind of warm fuzziness and sentiment of following an inept man as he tries to negotiate what it means to be a father and a man. Sure, in some ways, once a photo's taken on a cameraphone, you can see what's coming - but nothing can prepare you for the onslaught of laughter which hits at the end of Klown. The Hangover's pictorial ending has nothing on this...Eschewing the looks of Dominique Pinon and shades of Larry David's awkwardness mixed with raucous comedy, provides a winning formula for Klown.


Barbara -  (Guest - Jacob Powell)

Christian Petzold's Barbara - the director's 4th NZFF inclusion - is a film with a very deliberate, measured cadence which serves to both heighten the underlying tension in the piece and give space to the beautifully framed visuals of the small pre-unification East german village it inhabits. Patient shots of the eponymous Barbara (a pitch perfect Nina Hoss) cycling along country lanes or peering out from between her lounge curtains. Though the spy story elements of the film are never far off - the local police frequently search Barbara's apartment and person, and she clearly participates in underground activity - they are very much backgrounded by the character study of this incredibly wary woman as she slowly adapts to unfamiliar surroundings and the people in them - in particular fellow doctor colleague Andre (Ronald Zehrfeld also in a strong performance). Petzold, Hoss and team have delivered a visually and narratively fascinating feature spacious enough for considered viewing.

Bonjour Tristesse  (Guest - Jacob Powell) 
Otto Preminger's 1958 Bonjour Tristesse was pretty excellent to see on the big Civic screen in all its Cinemascope-Technicolor glory. Beset as it is with more than a few moments of stilted delivery, and one of the more privileged set of protagonists on screen in NZFF 2012 (though some would rightly cite Salles' On The Road ensemble in this category) it is still hard to resist the film's campy charms tacked onto its dark-edged story. David Niven does most of the dramatic heavy lifting in the role of gadabout playboy father Raymond whilst fresh faced pre-Breathless Jean Seberg stumbles along amiably in his wake. The standout factor ofBonjour Tristesse is Preminger's ability to compose a shot. Be it a busy scene in the Parisian streets, the interior of a crowded casino, or the solitude of their holiday beach house Preminger creates a visual balance and cinematic flow that makes this film a treat to watch

Rampart  (Guest - Jacob Powell)

Writer-director Oren Moverman follows up his debut feature The Messenger with a 2nd Woody Harrelson collaboration in crooked cop drama Rampart. The action is set amidst the actual Rampart scandal of the late 90s which blackened the reputation of the L.A. police department when a specialised anti-gang unit was found riddled with corruption and a culture of 'above the law' violence and powerplay. Harrelson plays corrupt, old school L.A. cop Dave Brown whose way of working and family life are in dual end-of-cycle slides into oblivion. Harrelson convinces as the distasteful constabulary dinosaur struggling, with little success, to reset his faulty moral compass. The film's major thematic elements remind of recent Herzog-Cage Bad Lieutenant outing, though with significantly less humour and none of the eccentric madness of the Herzog film. A reasonable movie experience in and of itself Rampart unfortunately pales in the light of more exalted NZFF company.


More NZ Film Festival Reviews -Reviews of Sightseers, On The Road and Bear
More NZ Film Festival Reviews - Reviews of Crazy Horse, Farewell My Queen, The Angels' Share, Bernie
More NZ Film Festival Reviews - Reviews of Your Sister's Sister, The Hunt
More NZ Film Festival Reviews - Reviews of the Wall, Room 237, Wuthering Heights
More NZ Film Festival Reviews - Reviews of First Position and Marley
More NZ Film Festival Reviews - Last Dogs of Winter special
More NZ Film Festival Reviews - Reviews of Beasts of Southern Wild, Wish You Were Here, This Must Be The Place, Cabin in the Woods, Killer Joe, Moonrise Kingdom
More NZ Film Festival Reviews - Reviews of The Shining, Amour, From up on Poppy Hill, Animation for Tots, Sound of My Voice, Into the Abyss

Le Chef: Movie Review

Le Chef: Movie Review

Cast: Jean Reno, Michael Youn, Raphaelle Agouge
Director: Daniel Cohen

In this French comedy, the hard man of Leon, Jean Reno stars as a top chef Alexandre Lagarde, the proprietor  and chef of a three star restaurant in France.

However, with pressure mounting on him to provide a new spring menu, Lagarde is facing being ousted from his job by the CEO of the restaurant, a meddling fool who wants him to drop a star so that he can cut costs, fire him and bring in another cheaper chef who specialises in molecular gastronomy, the latest fad.

And Lagarde is not the only one with problems; self trained ambitious chef (and longtime Lagarde fan) Jacky Bonnot (Youn) can't hold down menial cooking jobs and is constantly being fired. With his pregnant girlfriend Beatrice about to give birth, Jacky takes a job as a handyman at an old people's home -but thanks to a chance meeting with Lagarde, soon finds his path heading back towards the kitchen.


Le Chef is as light and flouncy as a twice baked souffle but as nourishing as a haute cuisine meal.

It's a comedy which is simple, with charm and humour and blessed with sumptuous shots of food which are sparingly used throughout the film.

Reno excels as the chef whose career is more important this his daughter and his life; likewise, Youn (who bears a passing resemblance to Steve Martin's character in Roxanne) is likeable and breezy in this mix of comedy and farce. They make a good duo as they teach each other the inevitable life lessons and dole out crazy oneliners here and there.

While it's all resolved in a suitably predictable style and with relatively little surprise, at a pacy 80 minutes, Le Chef is a soupcon of a treat; a veritable feast for the eyes and a light snack for the cinema going soul.

Rating:

Latest reviews from the New Zealand International Film Festival

Latest reviews from the New Zealand International Film Festival

We're into week 2 of the festival now - and here's a wrap up of what we got up to at the weekend.

The Shining 
Kubrick's snowbound psychological horror gets a big screen revamp for the film festival and the remastered version certainly looks impressive. You all know the story by now; caretaker brings his family to the Overlook Hotel to look after the hotel during the winter break - and then proceeds to try and murder them with an axe after going a bit mad (or being possessed by the spirits of the Indian burial ground that the hotel's built on). Jack Nicholson's as impressive as ever; starting out relatively grounded and then going totally ballistic at his wife Wendy (a goggle eyed and constantly hysterical Shelly DuVall) and moppet haired son, Danny. The thing is with the Shining is that even if you know the film backwards, it still manages to entertain and keep you enthralled as it spools out; it's also worth checking out Room 237 which is playing at the festival too and expands some of the hidden meanings in Kubrick's classic

Amour
Haneke's Palme D'Or winning film is a heartbreaking delve into a relationship and bond strengthened by years and devastated by illness.Geroges and Anne are in their 80s and living a life of retirement. But when Anne's struck by an illness which is debilitating, their lives are irrevocably changed as Georges is reduced to carer.You can't help but be moved by this tale which is poignantly and sensitively told with two compelling central performances.Subtly layered and shot beautifully, it really gets under your skin as it plays out.It's a haunting film, which leaves you wondering what you'd do if it happened to you-and the final act's shocking denouement elicited many a gasp from the audience.Haneke's on good form in this painful to watch film(which is only painful because it powerfully pushes emotional buttons)- Amour (aka Love) is about devotion and a bond - and it's a tragic and empathetic piece which will affect you more than you may realise.


From Up on Poppy Hill
The annual Studio Ghibli outing at the NZFF this times focuses on Japan in the 1960s with a group of Yokohama teens look to save their school's clubhouse from the wrecking ball in preparations for the 1964 Tokyo Olympics. It also focuses on the attraction of Umi and Shun, a pair whose lives may be entwined in ways they could never imagine.As ever, FUOPH is gorgeously animated and recreates the era very well, but unfortunately this latest SG outing's story doesn't quite have the resonance of prior cinematic fare-the story's nicely told, quickly resolved and lacks some of the emotional core of others.Sure, there's heart aplenty and humour,but this latest is more of a nostalgic piece than a showcase of SG's best. Not a disaster by any stretch, and great to see whole families there but FUOPH doesn't have the longevity of the studio's previous output and while gorgeously presented and with a beautiful OST ,it's a little lacking, which is a crying shame.

Toons for Tots (Guest reviewer Jacob Powell)

My pick? French short Alimation created sequences out of cake decorations by filming spinning cakes! But enough from me, I interviewed guest reviewer Emily (aged 3.11) whom I accompanied to the screening:

JP-Jake: Did you enjoy Toons For Tots?
Emily: Yes! It was fun the movies.
JP: Tell us about it.
E: The Gruffalo saw a little mouse but it looked like a Big Bad Mouse. I liked the man dressing like a tiger.
JP : Which was your favourite?
E: Trying to find the lion one. [aka Rumours] Because the lion was laughing and they were all laughing.
JP : Which was your least favourite?
E: Orange being a pineapple [aka Orange O Despair] because I like oranges and don't want it to be a pineapple.
JP : What was the funniest part?
E: Little mouse was roaring.
JP : The scariest part?
E: The old pineapple was trying to be a banana.
JP : Would you like to see more movies like these?
E: Oh, yes, yes, yeeesss! We can watch the same one again. Can we go tomorrow?

Emily's verdict: Toons For Tots = #win!

Sound of My voice (Guest reviewer Jacob Powell)
Less sci-fi than lo-fi, Sound of My Voice has lodged firmly in my brain. The debut feature from director Zal Batmanglij (brother of Vampire Weekend guitarist/songwriter Rostam Batmanglij, who incidentally scored the film) tracks the divergent responses of a sceptical couple who infiltrate a cult with the intention of secretly filming an exposé documentary. Cult leader 'Maggie' is played by magnetic co-writer Brit Marling who is firmly stamping her mark on the current indie cinema scene. As well as sharing subject matter with Sean Durkin's excellent Martha Marcy May Marlene (2011) the filmmakers cleverly opt to leave key issues ambiguous, letting the viewer's imagination take whichever path fancy or logic dictates. Despite a few glaring missteps (e.g. a slightly weak premise + some terribly written, exposition heavy scenes) Sound of My Voice proves a succinct, smartly directed film with a compelling central performance from Marling and enough dramatic exploration to make it a must see

Into The Abyss (Guest reviewer Jacob Powell)

Mad master of documentary turns his camera on the death row experience. Unlike the West Memphis 3 documentaries - Paradise Lost trilogy + West of Memphis (also playing NZFF 2012) - Werner Herzog's Into The Abyss does not seek to advocate for or against a particular case. Rather the filmmaker attempts to explore the impacts of a death row sentence on all related parties: convicts, convicts' friends & family, victims' family, staff of the 'death house' facility etc. Intrinsically fascinating Abyss holds an audience without trouble but is a lesser Herzog work in terms of technical merit. The production has a made for TV feel, unsurprising perhaps as Herzog also filmed the Death Row Portarits series as TV length companion pieces. Herzog's trademark bluntness and humour both break through but inbetween times it feels as though he's working a little too hard to elicit emotional responses from the interviewees. Herzog's middle may exceed others' bests, nevertheless we've come to expect more.

New Zealand International Film Festival - latest reviews

New Zealand International Film Festival - latest reviews

As the festival heads into its final week in Auckland, here's a selection of my latest reviews from the Civic, Rialto and SkyCity.

On The Road - after a somewhat disastrous week for KStew and Rpatz after she was caught cheating on Robert Pattinson with Snow White director Rupert Sanders, it's a cinematic return to form for the actress who shows she can actually emote when it's needed in this adaptation of Jack Kerouac's renowned book. Sam Riley stars as Sal Paradise, KStew as Mary Lou and Garrett Hedlund as Dean Moriarty. After the death of his father, Sal, a fledgling but struggling writer, heads out across America with his friend Dean and hopes that the travelling will inspire his writing. And that's, erm pretty much it in this adaptation which is a sprawling, well acted, but emotionally detached road movie that pretty much encapsulates the feeling I imagine the book would have. I say imagine, because I've not touched Kerouac's tome so can't tell you if it's true to the tone or the feel or plot points (if they even exist). In terms of atmosphere, there's certainly plenty of hepcat hedonism and feeling of young pretentiousness afoot but I never really felt deeply engaged in these self absorbed poets/ writers as they shamble through a form of life. Kristen Stewart finally gets to really emote on the big screen and brings a bit of vibrancy to MaryLou and Riley impresses as Sal, who only really comes to life when others around him flourish. There's as much of a rambling freeform narrative here as there are beats in an ever lasting jazz piece and to be honest, it was a struggle to really care about these guys and the girl who's caught between the life on the road or the fiancee back at home, patiently waiting. Though cameos from Amy Adams, Viggo Mortensen and a brilliant Steve Buscemi liven up proceedings, if it weren't for the captivating performances of Sam Riley and Kristen Stewart, I would have demanded this ride pulled over mid way through and let me off.




Bear - a superb little short that perfectly companioned Sightseers, Bear is well worth seeing. It's about a couple and the male half of said couple isn't exactly in the best books as his other half heads off to do some mountain biking. To say any more would just destroy the surprises on what's one of the smartest and funniest shorts I've seen this festival.



Sightseers - the best black comedy you will see at the NZFF this year. As an ex-pat Midlander who's been forced to endure some caravan holidays, I can perfectly attest to what Ben Wheatley's brought to this killer film. Steve Oram and Alice Lowe play Chris and Tina, a pair of recent lovers who decide to escape Tina's stifling mother by heading away on a caravanning trip around the Yorkshire dales in the UK. But Chris is a veritable powder keg of anger, waiting to boil over...and as the mundane turns to murderous, the very dark humour is ratcheted up to 11. The thing is with Tina's slightly creepy attitude (scarred after her mum's dog died in a knitting needle accident that she caused) and Chris's bristling ginger beard of pure rage, SightSeers manages to be a spectacle which heartily amuses and equally horrifies - a radical dosage of ultra violence complements (and yet never overshadows) this apparently occasionally improvised mix; throw in some great banter (one scene sees Tina's mum shouting that her daughter was an accident) as well as a whole heap of phrases which are destined to become quotable (brown lipstick anyone?) and this is the perfect concoction of horror and humour. But what Wheatley's also managed to capture is the various personalities who inhabit caravan holidays - be they the annoying pedants, noisy neighbours or new age nutjobs, it's a perfect dichotomy of lives lived in middle England. Replete with great shots of the countryside and a cup so filled with black darkness that it runneth over, Sightseers is to be wholeheartedly recommended. This year's Natural Born Caravanners if you will.

New Zealand International Film Festival - Week One highlights

New Zealand International Film Festival - Week One highlights

Well, the first week of the New Zealand International Film Festival has nearly ended now and it's time to reflect back on what you should be making sure you see as the festival winds its way around the country.

There's been a heap of films to head to - and there's a stack of stuff ahead too.

But one thing I find when I watch films or people find I've been to see a lot, is they ask "What do you recommend?"

Every opinion's subjective of course, but my advice is not to listen to one critic - make sure you take in as many opinions as you can and views on the films and get out there and see something. Because to be honest, there's been more cinematic fare on this past week than there is actual time to view everything.

So far, though, to my mind, my highlights of what I've seen have been:

The Hunt - I was knocked sideways by this one and in a very good way. Mads Mikkelsen absolutely nailed the performance of a kindy teacher ostracised after a false accusation of child abuse - and the young girl actress Annika Wedderkopp (who plays Klara his accuser) was spot on too. But what's hit me most about this film is how much I'm still thinking about it. Trust me when I say that is a major thing for a critic - particularly at this time of the year when we gorge at the cinematic smorgasbord. (Or should that be DCP table?)
The Angels Share - Ken Loach comedy which centres on Robbie, a new dad on a last chance in Scotland and determined to change his ways. But, when all the odds seem stacked against him, he finds a salvation in whiskey. Thankfully, this is not a cue for trademark Loach miserabilism; rather a chance to cut loose and throw together a sweetly adorable heist movie with a bunch of first time actors. I saw this at a packed Civic and that certainly added to the atmosphere. Sometimes, a crowd (when not late, texting or talking) is a blessing in disguise.

The Cabin In The Woods - This is another where the packed Civic helped stir up an atmosphere added to a great night out. Producer Joss Whedon's meta horror is certainly the most fun I've seen at the festival so far, adding in the right mix of gore and laughs to propel you through it. Kudos to Ant Timpson for fighting to get this one screened after it was heading direct to video.


Actually, Cabins and woods have been a recurring theme at my festival so far this year. I've been to four films at this point, which have had Cabins in woods - from the horror (of course), Your Sister's Sister, The Hunt and Die Wand, it seems to be the motif du fest.

The Wall (Die Wand) - in which The Lives of Others' Martina Gedeck stars as an unnamed woman, dropped off in a valley, and who finds herself trapped within by an invisible wall. The kicker - it appears everyone else has been frozen and she's trapped. 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. A lack of resolution may frustrate some but the best films provoke discussion and this one certainly does that.

As for the Twitterverse. here's a round up of a few faves. Remember to use the hashtag #nzff when talking film and the conversations you can have will be continuous. 

- Daniel Rutledge (@DanielRutledge) of 3 News Online, reckons Cabin In The Woods - "amazing deconstruction of horror, + great horror itself, crazy fun at Civic" and Rebellion, which he says "packed an emotional punch"

- @Bridgetholland - "Diana Vreeland; The Eye Must Travel. Such a talented and original fashionista. Visually beautiful fim, great photos, audio"

- @jacobunny - "CABIN: funny, scary, way better than I'd expected | ROOM 237: fascinating meditation on obsession w/ a Kubrickian backdrop"

- @mimsycable -  "Had some really good cries at 'Marina Abramovic: The Artist is present' at the @NZFF - my top pick so far at the fest"

- @themyrka - " Caesar Must Die, just friggin' awesome and inspiring. A winner straight out of the blocks #nzff"


There's plenty still ahead too - with the likes of West of Memphis seeming to be a guaranteed hit, Klown and Holy Motors providing stimulation ahead. Plus Mads Brugger will be in town to discuss his doco The Ambassador. And I'm certainly looking forward to Studio Ghibli's latest, Up on Poppy Hill - every year their animations are just eye poppingly gorgeous on the big screen.

New Hobbit image

New Hobbit image

A brand new Hobbit image has surfaced courtesy of the totally awesome Empire film magazine.

Their latest issue in the UK is a preview of the Hobbit and inside the mag there's plenty of pics and chat with those involved in The Hobbit.

And their cover's a quite new image too...

The Hobbit - An Unexpected Journey hits cinemas December 12th.

John Carter: Blu Ray Review

John Carter: Blu Ray Review

Rating: M
Released by Sony Home Entertainment and Disney

It's 100 years after the first appearance of John Carter in a series of books from Edgar Rice Burroughs- and I'm willing to bet most of you have never heard of him (or assume it's that bloke played by Noah Wyle in ER).

Taylor Kitsch (of Friday Night Lights fame) stars as John Carter, a Confederate captain, who's on a quest for gold back in the 1860s when we first meet him. But when he's cornered by Bryan Cranston's Civil War Captain and on the run, he finds himself transported to Mars (or Barsoom as the inhabitants call it) and thrust into the middle of a Civil war.

But not only that, Carter finds himself aligned initially with the Tharks, a 10 foot tall green skinned Martian race - and has to acclimatise fast.

However, it soon transpires there's a greater force at work here with the fighting being manipulated by a race of godlike beings, the Holy Therns, whose leader Matai Shang (the ever brilliant Mark Strong) is determined to stop at nothing to ensure their will is done...

What an odd curio this film is; there's little distinctive aside from the CGI - which I can recall as a stand out moment or definitive action sequence from the actual flick itself.

Let's start with some positives though; those definitely have to be thanks to the CGI. 

The world of Barsoom (or Mars as we know it) is stunningly well put together in its scope and grandeur. I really believe that a civilisation on Mars would look like that in all its grainy, desolate, sand-ridden architecture. After Avatar's world, it's probably the most beautifully realised creation in terms of backgrounds ever to grace our screens. The effort that's gone in to make it so plausible and immersive is extremely commendable.

To a lesser degree, the Tharks are a success as well - their four armed digitally realised gangliness makes you think of greener versions of the Prawns from the brilliant District 9. And dragonfly style craft which are used to traverse the wide masses of the world are visually impressive as well.


Likewise an inflated faced, 6 legged dog creature which befriends Carter is a welcome dose of funny; and is clearly honed from the workings of a guy who's crossed Pixar studios floors.

But this is sort of where John Carter runs into a little bit of trouble - visually, hands down, it's an ambitiously scaled, wonderfully realised space epic; but narratively it's a little wanting and doesn't keep the mind satiated with what it's offered to the eyes. Sure, it's a wonderfully put together mash up of several genres including sci-fi, pulpy comics, Western, Cowboys and Aliens to name but a few, but it's not enough.

Confused and confusing, its story isn't everything it could be. And unfortunately, in terms of scale for its action, nothing truly stands out. Sure, there are set pieces which look good but they're instantly forgettable the moment they're over. In many ways, by being a forerunner as well (as in written over 100 years ago), it's clear the action sequences have been already done on the big screen. It's an unfortunate failing that it doesn't offer up anything which you may not have seen before - a chase on the dragonfly riders is reminscent of pod racing in Star Wars is just one example.

Of the main cast, Taylor Kitsch does okay in his first multiplex lead; he's never really outstanding and never imbues Carter with one stand out moment from within the action; Mark Strong is reliably good as the manipulative deity and Dafoe brings some welcome humour to Tars Tarkus as he befriends Carter. Some will go googly-eyed over the kickass temperament of Lynn Collins' Dejah Thoris who starts off strong willed and goes weak in Carter's thrall.

Unfortunately though as the denouement rolled around, I'm sorry to say I wasn't emotionally invested in either the characters or their fates - and I certainly wasn't on the edge of my seat hoping there will be an immediate return to Basoom (as the 11 books suggest there would be a wealth of material for).

Don't get me wrong - John Carter is not a bad film; it offers up a suitably sized scoop of silly blockbuster fun (despite the humour which is there at the beginning quickly trailing off in favour of sci-fi pomposity) for a few hours. It's just not perhaps the sci-fi epic it could have been - and it's certainly - and unfortunately -not quite the start to a franchise you'd be hoping for.


Extras: 100 Years in the making, Audio commentary


Rating: