The Heat: Movie Review

The Heat: Movie Review

Cast: Sandra Bullock, Melissa McCarthy, Marlon Wayans, Michael Rapaport
Director: Paul Feig

The cop buddy movie returns - this time with two female leads.

Oscar winning actress Sandra Bullock stars as uptight FBI agent Sarah Ashburn in The Heat; she's hoping for a major promotion despite being unloved by most of the troops she works with. Keen to please the powers that be, she's sent to Boston to help bring down a ruthless drug lord.

The only thing standing in her way is the brash and abrasive Boston cop Shannon Mullins (Melissa McCarthy, re-teaming with her Bridesmaids director Paul Feig) - they're as incompatible as chalk and cheese.

But, whaddya know, they've got to work together to bring down the bad guy - cue friction and fireworks.

The Heat is a buddy-cop movie which is lacking in sizzle, despite initially showing some promise.

Sandra Bullock does uptight very well - and perhaps a little too much, given how her character's roundly disliked by all those working with her but she borders on being arrogant and unwatchable that it's hard to initially latch onto her.

Likewise, Melissa McCarthy once again rocks her out abrasive, brash and rough cackling character to maximum crude comic effect throughout - and of course, given the two extremes of these career women, there's likely to be clashes ahead before the inevitable buddying up / slight agreeing to each other's point of view / thawing of the female rivalry gives way to their complementing each other.

Sure, it's formulaic with the slightly different slant on the cop movie in that this time, it's two female cops who don't quite gel (what a shocker), but what's more problematic about this film is how unfunny it actually is during its nigh on two hours running time. Which is a real shame given the pedigree it's come from. A few unexpected curve balls here and there in the forms of acerbic put downs really lighten the mix. There's a lot of fun to be had at a couple of running gags - one of which comes at the expense of an albino cop and another about Ashburn's penchant for the neighbour's cat, but it's not enough to sustain the load.

McCarthy and Bullock have good chemistry together but after a while the abrasive squabbling and squirm inducing excruciating moments tend to outstay their welcome and really grates. The Heat had real potential as a final pre-end credits piece shows which brings more laughs than have gone before.

The buddy cop genre has many entrants - and this recalls Rush Hour in some ways given the clashes - but The Heat isn't a memorable entrant into the admittedly already crowded pantheon thanks largely in part to a weak script and a lack of doing anything really new and different with the formula.

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Man Of Steel: Movie Review

Man Of Steel: Movie Review

Cast: Henry Cavill, Amy Adams, Michael Shannon, Russell Crowe, Kevin Costner, Diane Lane
Director: Zack Snyder

Epic.

That's the only way to describe the latest reboot of the Superman story.

Sucker Punch, Watchmen and 300 director Zack Snyder is the latest to dip his toes into the mythology of the red and blue caped crusader for justice - and relative unknown Henry Cavill is the latest actor to don the cape and giant S and stand for truth, justice and the American way.

As the film opens, we're transported to the world of Krypton, a planet about to fall thanks to the greed of its leaders who have mined the core for their own progress. Opposed to them but opting for a peaceful solution is Russell Crowe's haughty Jor-El; also opposed to them but via a diametrically opposed and violent solution is General Zod (a vicious Michael Shannon).

Realising their planet's number is up, Jor-El sends his only son to Earth to save him; but it's too late. Krypton is destroyed, Zod is banished and Kal-El is a loner, drifting from town to town, doing good deeds and hoping to go unnoticed. One plucky reporter, Lois Lane starts connecting the dots though...and things get worse when Zod escapes and turns up on Earth demanding Kal-El.

Threatening destruction of the world he now calls home, Superman has no choice but to reveal himself.

Man of Steel is brash, loud, epic, big, noisy and blockbuster in many ways.

It starts with nothing short of bold and big with the fight on Krypton (which looks stunning and sets out Snyder's visual flair with some considerable aplomb) - though Snyder does his best to give the prelude something of a heart and soul as Jor-El and Lyra mourn the loss of their son but face the potential of the saviour of their race. In amongst the FX and wonderfully realised technology, there sorely needs to be some quieter moments brought to the fore for the benefit of the movie itself and to allow the audience to catch their breath.

Crowe is all statesmanlike gravitas as Chief Scientist Jor-El, whose world is crumbling on many fronts - and a computer version of himself later on, certainly brings the more dour and serious elements of the sci-fi exposition and MacGuffin to the fore. Shannon by turns, is vicious and seething as Zod, whose desperation to find Kal-El is understandable (it's all for The Greater Good) and whose descent into military madness is perfectly executed. Amy Adams is to be praised for her Lois Lane. Granted, there's a bit of the spark missing between her and Clark, (as well as some of the playful banter) but she's got a dogged seriousness and stoicism which is endearing. Other players within the Superman mythos are given scant time to breathe and show personality (Perry White, Pete Ross) but that could come with time.

Henry Cavill is a commendable Superman (with one military type at the end commenting on how his cheekbones and steely jaw are "hot") but he never fully imbues his character with the humanity and potential moral turmoil that he really needs. Sure, he drifts from one place to the next, but could do with a little more humour and warmth as he does so. The brief moments when that does begin to shine through (such as his first flight through the clouds where he smiles with giddy joy) are sorely missed throughout as they bring soul to the piece which is occasionally bordering on the bloated.

But Snyder and the writers are to be commended in how they have executed the comic's 75 year history.

It's a Superman film which is completely respectful of the legend - iconic moments within the character's history are gracefully woven into the narrative via flashbacks here and there; and a future nemesis is glimpsed in a blink and miss it moment involving some tankers in the final showdown between Supes and Zod. The story blends in elements of Superman and Superman II with nary a care in the world - or a chance to stop and admire the view.

Perhaps, though, it's a touch too much - particularly during the final showdown sequences with General Zod, which see infinitely more destruction than the Avengers did, with very little consequence. It's a little too much smashing, bashing, flying and fighting as Snyder layers level on level of action that's almost constricting. This is a Superman where clearly the S is not meaning subtle. It could have used a few more moments to pause and reflect.

And an ending which has sent parts of the internet into meltdown with its moral dilemmas is to be commended for bringing a level of danger to Supes that has been missing from his do-gooder image for many years.

All in all, Man Of Steel is an epic blockbuster ride. Sure, it could do with easing off once in a while and stopping to take in some of the view but it's a breathless and creatively solid re-imagining of the Superman legend - with a sequel due next year, you'll believe a man can fly once again.

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Anna Karenina: DVD Review

Anna Karenina: DVD Review

Rating: M
Released by Universal Home Entertainment

It's to 19th Century Russia we go for this adaptation of Tolstoy's novel of love and passion, which re-unites director Joe Wright and star Keira Knightley for a third time. Keira Knightley stars as Anna Karenina, who's married to Jude Law's respected Russian hero, Alexei Karenin. But she's unhappy with her marriage and accidentally starts to look elsewhere while on a trip. She garners the attention of Count Vronsky (Taylor-Johnson), who in turn is being pursued by Kitty (Alicia Vikander), who is being sought by Levin (Gleeson).

Despite her best attempts to avoid Vronsky, Anna begins a tempestuous affair which threatens her position as a socialite and the life of a married aristocrat.


When Karenin learns of the affair, he forbids her from seeing him - but she carries on regardless, risking the life of a social pariah and outcast...at what price, happiness? 

Anna Karenina is a film which has amazing production designs. Scenes change as if they were set in a theatre - with actors walking apparently backstage as the sets change around them. It's a dazzling directorial touch from Wright which screams originality and brings the gusto and energy of the life performance to the screen, while still maintaining its passage as a film. Lavish sets adorn the celluloid and enchant the eyes as actors pirouette around the screen - one scene sees an actor open the double doors to a stark white snowy landscape - and give the film a life it so richly needs and deserves.

Tom Stoppard has penned the screenplay - and while he's condensed down a 950 page novel to a 2 hour film, it still manages to drag a little in its second half as the enthralling visual work gives way to a drudgery of a story of depression and lost love. And I have to admit, it was a struggle to care for Anna's predicament and ultimate fate in amongst all the sumptuous pomp of 19th Century Russia (which barely resembles Russia given the incredible amount of English accents).

It's not anything to do with Knightley's performance as Anna Karenina which is perfectly adequate at capturing the mix of conflicting emotions - nor is it anything to do with the sub plots of other versions of love, provided by the likes of a brilliant Matthew MacFadyen as the philandering Oblonsky or the moping Gleeson as peasant Levin. Some scenes crackle among the dour doledrums which permeate the final half of the film - a sequence where Anna finally reveals how she feels about Alexei sizzles with seething animosity and passion, something which is curiously lacking from the balletic courtship of Vronsky.

While Anna Karenina is highly stylised, it's ultimately an unmoving piece, devoid of connection as the lavish visual flair demonstrated so early on by Wright falls by the wayside and the whole thing gives way to a maudlin film about a thwarted passion, lacking in real tragedy and emotional bite.

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Mt Zion: DVD Review

Mt Zion: DVD Review

Rating: M

Released by Sony Home Entertainment

It's to 1979 New Zealand we go for this new local film opening on Waitangi Day, marking the debut acting performance of Australian Idol winner Stan Walker.

Stan Walker is Turei, a potato picker on the spud grounds of Pukekohe; his father (a restrained and commanding Temuera Morrison) runs the roost. A talented musician, Turei, dreams of getting away from the lands and pursuing his lifelong hope of making it on the stage. That chance comes along with the opportunity for Turei and his band-mates (including Ghost Chips) to win a spot to open for Bob Marley who's due into Western Springs for a concert.

However, in pushing those around him to help, Turei's put on a direct collision course with his father.

Mt Zion has an engaging earnestness to its honesty and integrity as the sweet family story plays out.

Sure, it's a little rough around the edges and occasionally slightly slow in places, but it has a heart and intimate focus which is hard to deny or not be swept along with. From time to time, Walker lacks some of the acting chops needed of him to give a bit of depth to his character, but an understated Temuera Morrison more than makes up for it. But, that said, it's an assured debut from Walker and when he belts out a song or two, it's hard not to get caught up in the moment. There's a nostalgic vibe to this flick and director Kahi has managed to brilliantly recreate the intimacy of home and community life in amongst the squabbles over land issues and the inevitable conflicts between father and son as Turei starts to grow up. Kahi's also to be commended for taking the script, which could have lapsed into something predictable, and fashioning something which has a real sentimental and touching centre, without over-romanticising the era.

With a blistering OST and vibe, Mt Zion is a gentle little Kiwi film which impresses more than you'd expect thanks to tenderness and intimacy.

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Doctor Who: Inferno: Special Edition DVD Review

Doctor Who: Inferno: Special Edition DVD Review

Rating: PG
Released by BBC And Roadshow Home Entertainment

In the second of the Jon Pertwee releases for this month, it's a special edition take on an absolute classic.

As a top secret project burrows to the crust of the earth to harness a new power, the Doctor finds himself transported to a parallel universe where the project is further on and closer to achieving its aims. But, in this alterna-verse, everything's at risk, and before long, the Doctor's fighting for his life and the future of the real Earth.

A classic by every stretch of the imagination, Doctor Who: Inferno: Special Edition is a great release. It pulls together the original special features from the initial release, before piling on the goodness including a piece which sees Toby Hadoke bring together the original stunt cast of Havoc for one major reunion. This piece alone has humour, heart and pathos as well as a reminder of how much of a family the old Who was.

Doctor Who: Inferno: Special Edition is an essential purchase; a Who that continues to give and a release that showcases the best of special features and script writing at its 70s best.

Extras: Commentary, making of, Hadoke vs Havoc, Doctor Forever, a look at the UNIT family - a great set.

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New Zealand International Film Festival - Cannes list revealed

New Zealand International Film Festival - Cannes list revealed

The Cannes List

Once again NZIFF audiences are amongst the first in the world to reap the harvest of May’s Festival de Cannes.

In 2013, we bring Auckland audiences a whopping 18 films from this year’s official Cannes selections.

In Competition

From the Competition, you’ll be able to see Heli, the controversial winner of this year’s Best Director award; Jia Zhangke’s A Touch of Sin, winner of the Best Screenplay prize for China’s most insistently contemporary filmmaker; Asghar Farhadi’s The Past, the eagerly awaited follow-up to his A Separation, and winner of the Best Actress award for Bérénice Bejo (The Artist). Stand by too for Kore-eda Hirokazu’s Jury Award winner, Like Father, Like Son, Paolo Sorrentino’s ravishing 21^st century response to La dolce vita, The Great Beauty; and Steven Soderberg’s brilliant foray into Liberace’s closet, Behind the Candelabra. No Palme d’Or for us or the rest of the world quite yet: word is that the version rewarded at Cannes requires further work. 

Un Certain Regard Section

From Un Certain Regard, the section that supplements the competition (and gives the cognoscenti  a chance to cry “That should have been in competition!”), we have The Missing Picture from Cambodia; the Kurdish western, My Sweet Pepperland; Omar, a riveting thriller from the West Bank; Norte, the year’s slow cinema masterpiece; Stranger by the Lake, our most hardcore offering of the year, but also a seductive and tense mystery (which should definitely have been in competition); and Sofia Coppola’s eagerly awaited foray into Paris Hilton’s closet, The Bling Ring.

Directors' Fortnight Section

The prestigious Director’s Fortnight gave the year’s most striking British film, The Selfish Giant from Clio Barnard, director of The Arbor; Jodorowsky’s surreal and long-gestating memoir The Dance of Reality and the Singaporean kid-vs-nanny tale Ilo Ilo, awarded the Caméra d’Or for best first film in all of Cannes.

Cannes Classic

From the sidebars, we have two refurbished greats, direct from their Cannes Classics premieres, Satyajit Ray’sCharulata (The Lonely Wife) looking better than new; and Weekend of a Champion the long lost documentary made with young Roman Polanski and his Formula one hero Jackie Stewart at Monte Carlo in 1971. 

Cannes has its Midnight Madness too, and that’s how we found out about Monsoon Shootout, a Mumbai police thriller with a what-if, triple Sliding Doors scenario.

On the Wire

Two more New Zealand films announced

He Toki Huna: New Zealand in Afghanistan

New Zealand 2013/80 mins/Censors rating tbc

Annie Goldson and Kay Ellmers’ doco, expanded from the film they made for Māori Television, takes a timely look at New Zealand’s military and media, notably journalist Jon Stephenson, in Afghanistan. 

Fantail

New Zealand 2013/83 mins/Censors rating tbc

Playing Tania, a feisty young petrol station attendant figuring out her place in the world with no real help from anyone else, Auckland writer-actress Sophie Henderson is mesmerising. Directed by Curtis Vowell.

Doctor Who: The Mind of Evil: DVD Review

Doctor Who: The Mind of Evil: DVD Review

Rating: PG
Released by BBC And Roadshow Home Entertainment

It's back 1971 for this latest outing with Jon Pertwee's Third Doctor and his companion Jo Grant - and a story which has languished in black and white for years.

Set in a prison, a mysterious machine can pacify even the most dangerous of criminals. When the Doctor and Jo end up there for a demonstration, it's soon clear the world's in danger with the reappearance of the Master. And as if that wasn't bad enough, an impending World peace conference is about to get underway. Are the two events connected?

Doctor Who: The Mind of Evil is remarkable in some ways and forgettable in others. First, the remarkable is the colourisation work done to the print; previously, it existed only in black and white and now is in colour. It's stunningly well put together and a real creditable job done by the team. But unremarkable are parts of the story; the peace conference strand simply disappears, there's way too much padding out at the prison as the Doctor and Jo are captured time and again - and for four successive cliffhangers to be exactly the same is unforgivable.

All in all, Doctor Who: The Mind of Evil remains a slice of watchable Who - but if you're expecting more from this set, which is also light on extras, you'll be disappointed.

Extras: Commentary, docos, subtitles, making of

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