August: Osage County: Movie Review

August: Osage County: Movie Review

Cast: Meryl Streep, Julia Roberts, Chris Cooper, Ewan McGregor, Margo Martindale, Dermot Mulroney, Abigail Breslin, Juliette Lewis, Julianne Nicholson, Benedict Cumberbatch, Sam Shepard
Director: John Wells

If you think your family gathering at Christmas is bad, you ain't seen nothing compared to August: Osage County.

Based on the stage play of the same name, it stars Meryl Streep as Violet, the monstrous matriarch of the Weston family. Struck with mouth cancer and addicted to pills, she finds her world comes unstuck when her husband Beverly (played by Sam Shepard) disappears without warning one day.

As the disparate family gathers to help the search, tensions from the past simmer and boil over, causing more anguish than any normal family gathering would cause - and Violet revels in them, spewing forth toxic bile on her own family...

For Julia Roberts' Barbara, her return to the homestead brings into sharp focus her separation from her husband Charlie (McGregor) and her distance from her daughter (Breslin) as well as the resentment from her sister Ivy (Nicholson) who's been forced to stay home all these years. Equally her other sister Karen (Juliette Lewis) breezes in her with her latest squeeze (Dermot Mulroney) causing more divides within the group. Add into that mix, Violet's very own sister Mattie Fae, who detests her son Little Charles, much to the growing chagrin of her own husband Charles (Cooper), and you can see how the roof is ready to explode in this mid-Western American powderkeg.

August: Osage County is a battering experience, a difficult film to sympathise with, presided as it is by the towering monster that is Violet. In some scenes, Streep's character positively chews out the scenery on display (and veers dangerously close into over-acting when compared to others in this troupe); while in other moments, this drug-addled poisonous snake is possessed of such insights that she can destroy anyone else on the screen. And it's the slightly-over-the-top nature of her turn that makes August: Osage County such a polarising experience as it blisters through such an affliction of meanness from its lead - even if the familiarity of family gatherings and meal-times with relatives proves a little too close to the knuckle.

Against everyone else, Streep fully owns her time on screen; but Julia Roberts comes close to matching her with a growing frustration that anyone forced to confront a sick relative / frustrating family member can relate to. Of the men on show, Cumberbatch seems to be woefully miscast as the clumsy halfwit, suffering from awkward guilt, Mulroney is nothing short of a sleaze and only Cooper (and Shepard in his brief scenes at the start) find the backbone of character to shine. In particular, Cooper's moment to stand tall against Mattie Fae's continuing barbs is devastatingly well done as Charles decides enough is enough - with just a few words and some acting, he delivers a punch that carries more emotion and conveys more weight than Streep's juddering harpy presents all the way through.

That's the thing with August: Osage County; it's almost unrelenting in its dysfunctional vitriol that you completely understand why the characters gradually leave as the venomous barbs begin to hit home. There's no reason to support a monster and there's no feeling in the audience that doing so is a remotely rewarding experience.

But that also doesn't make for a comfortable experience as the vile Violet lashes out and there's little spark as the disparate cast come and go; the character arcs aren't as rewarding as perhaps they may be in their stage versions, with just leaving (Exeunt omnes) being the MO that's overused - the overall feeling in August: Osage County is more one of it being there to shock than anything else - despite there being sadness lurking in Violet's background, and despite Streep's at times OTT turn, there's little to care about as this family implodes.

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LEGO Marvel Super Heroes: PS3 Review

LEGO Marvel Super Heroes: PS3 Review

Platform: PS3
Released by Warner Bros Games/ TT Games

There's just something about the LEGO Game series from TT Games - they capture the essence of every genre they take on and chew it up and spit it out with a comedic touch that's hard to deny.

From Star Wars, Harry Potter to Batman and Indiana Jones, I've loved and played every iteration of the franchise and adored them - LEGO Marvel Super Heroes is no exception at all. In fact, if anything, it's perhaps the best of a very, very wide bunch.

Giving you the chance to take on the stewardship of some 150 characters from within that world, there's so much for you to do - and so much fun to be had doing it.

As for the plot, well, Doctor Doom's collecting a whole series of cosmic blocks and it's upto the various good guys of the series to stop him - as well as the deadly allies he's teamed up with.

From controlling the likes of Iron Man and shooting stuff, to the web slinging exploits of Spider-man, there's no denying this game has a charm and fun nature that's hard to ignore and brilliant to engage with. Each has captured the essence of their character and instilled into a small brick like character - and it makes the whole game fun to play with. But it's the authenticity to the genre and the world which give it its appeal - it's the usual story, collect lego studs, find hidden bits and bobs and play as different characters, but the coup de grace is having Clark Gregg on board as Agent Coulson, a sure sign that this game sticks to its origins.

Each level is quite extended in many ways and isn't just a series of short encounters - with over 150 characters, there are baddies aplenty and sure, the levels end with a battle the boss, but with so many to choose from, it never feels repetitive in the slightest.

There's just something about LEGO Marvel Super Heroes that appeals to kids of all ages. You certainly will have a blast playing it and it's definitely one for the whole family this Christmas - it's a LEGO Game you can't afford to be without. And if you're a comic book fan, you'll be in heaven....

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Anchorman 2: The Legend Continues: Movie Review

Anchorman 2: The Legend Continues: Movie Review

Cast: Will Ferrell, Steve Carell, Paul Rudd, David Koechner, Kristen Wiig, Meagan Good
Director: Adam McKay

Nearly a decade ago, a small cult began to grow with the launch of the movie, Anchorman - The Legend of Rob Burgundy.

Now, Will Ferrell returns as Ron Burgundy in the second Anchorman film - Anchorman 2: The Legend Continues.

After the success of the 1970s, things are looking good for Ron and Veronica (Christina Applegate) - but when she's promoted to lead anchor ahead of him, the narcissistic Ron hits rock bottom - until an opportunity comes to him to be part of a 24 hours new channel, the Global News Network.

However, Ron's got problems as the rest of the Channel 4 news team are no longer working in news. But this is Ron Burgundy and he's never been troubled by anything. So, he sets out to get the gang back together and take the world of news by storm. Again.

Anchorman 2: The Legend Continues had promise.

The first was a creative flash in the pan, a veritable souffle of ridiculousness and long lasting catch phrases guaranteeing it a place in the pantheon of the comedy films.

This sequel, is to be frank, a patchy and disappointing affair. It starts off promisingly with the over-the-top nature kicking in and the stupidity on display for all to see. The idiotic lines come thick and fast as the parody starts to hit home.

And there are hints of satire around too, a sly mocking of the softer news formats and weaker news agenda of current times, the lack of integrity of reporters as they try to fill 24 hours of news, a dig at an Australian owner of a media empire and the idiocy of racial and sexual stereotypes. They all have real potential for the film to hit it out of the park (or Whammy, if you're Champ) throughout.

Yet, scenes go on without real punchlines, a series of skits that are loosely narratively hung together and end in gibberish after proffering a few smiles before blustering quickly into the next one. It's almost as if they were a gaggle of comedy moments that worked better on paper and in the rehearsal room than on the big screen.

Nowhere is this more blatantly apparent than in a final out-of-leftfield fight sequence that sees Ron and the team confronted by groups of news anchors from different stations - and proves a chance to pack in more celebrity cameos than you could shake a teleprompter at and be self-indulgent rather than add to the story or prove fodder for some quality quick fire gags.

Don't get me wrong though - Anchorman 2: The Legend Continues offers some laugh out loud moments - mainly at socially awkward Steve Carell's Brick Tamland, who spouts such absurdisms at odd moments that it's impossible to fall prey to this idiot savant who is more idiot than savant. To be honest though, he's a real highlight in this - despite a romance with his female double (played by Kristen Wiig) not quite hitting the creative mark.

Overall, Anchorman 2: The Legend Continues seems to be a case of getting the band back together for the band more than for anybody else. A once-over of the script could have helped and certainly a bit more editing would have tightened the comically weak structure - an entire sequence with Ron raising a shark as part of his character's growth would have been better off left as a deleted scene.

It's frustrating though as the satire is there in the wings, waiting and with a sharpening, it could have been so much more. If you're a fan of the first Anchorman movie or are willing to leave your brain at the door and get pre-loaded, you'll have some laughs. Everyone else may wonder what all the fuss is about as some of the barbs and laughs hit their target, while others miss.

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Dawn of the Planet of The Apes trailer is here

Dawn of the Planet of The Apes trailer is here

The first trailer for Dawn of the Planet of The Apes is here.

A growing nation of genetically evolved apes led by Caesar is threatened by a band of human survivors of the devastating virus unleashed a decade earlier. 

They reach a fragile peace, but it proves short-lived, as both sides are brought to the brink of a war that will determine who will emerge as Earth's dominant species.

Dawn of the Planet of the Apes hits next year.




Check out the Dawn of the Planet of the Apes posters

Extended The Time of The Doctor trailer

Extended The Time of The Doctor trailer

Just released is a new longer trailer for Matt Smith's final outing in Doctor Who. 

The BBC America trailer offers a few more hints of what lies ahead...


The Time of The Doctor's due to play in the UK on Christmas Day. And in New Zealand, Prime TV's revealed it will air The Time Of The Doctor on Boxing Day at 8.30pm.

On Christmas Day and Boxing Day the channel will also air all the episodes from Matt Smith's last season as the Doctor. They start from 945am on Christmas Day

Here's the trailer for The Time of The Doctor:

Following on from the 50th Anniversary celebrations of Doctor Who, the first details have been revealed of Matt Smith's final outing as the Doctor, coming this Christmas.

The BBC's revealed the adventure will be called:  The Time of The Doctor.

An official synopsis has been given as well:

"Orbiting a quiet backwater planet, the massed forces of the universe's deadliest species gather,drawn to a mysterious message that echoes out to the stars. And amongst them – the Doctor.  

"Rescuing Clara from a family Christmas dinner, the Time Lord and his best friend must learn what this enigmatic signal means for his own fate and that of the universe."

The Wolf of Wall Street: Movie Review

The Wolf of Wall Street: Movie Review

Cast: Leonardo di Caprio, Jonah Hill, Margot Robbie, Kyle Chandler, Jean Dujardin
Director: Martin Scorsese

Here comes yet another portrayal of the pursuit of the American dream - and a ferocious piece of film-making from esteemed director Martin Scorsese, based on the memoir of the same name from Jordan Belfort.

Leonardo Di Caprio is Jordan Belfort, a wannabe stockbroker, who realises his dream and makes his way to Wall Street. But, his first day as a qualified stockbroker, turned out to be October 19, 1987 - aka Black Monday.

However, Belfort doesn't give up and starts his second life in a boiler room brokerage, offering penny stocks to the masses and delivering massive mark-ups to those selling. Soon, he's living an obscene lifestyle thanks to his Stratton Oakmont company - but attracts the attention of the FBI (in the shape of Kyle Chandler's Patrick Denham) who is determined to bring him down...

The Wolf of Wall Street is a hedonistic rise and fall picture that sears its way onto your eyeballs and into your cinematic consciousness. It's the tale of an anti-hero (one of Scorsese's familiar characters) who pushes his limits as far as he can and manages to inveigle his way under our skin and garner our support.

It helps that di Caprio is on fire here, delivering a bravura performance that's all bluster and bravado - one which commands your attention from the start to the very end as you hope the anti-hero gets his comeuppance. Like Belfort, we're seduced by the lavish excesses on the screen, sucked into his world and living the Wall Street Gordon Gekko mantra that "Greed is Good." Delivering drug-addled speeches directly to the camera and yet offering self-effacing moments when necessary (his first dalliance with Naomi lasts only 11 seconds), di Caprio's Belfort is at once an indictment and celebration of the American Dream and those of us who revel in it. He's as much addicted to the pills, the booze, the sex, the drugs and the lifestyle as we, as the audience, are addicted to his portrayal of it, sucked in from the moment the hookers and the scenes of dwarf tossing erupt from the offices of Stratton Oakmont as they wallow in their bacchanal style debauchery.

Morals go out of the window in Scorsese's piece, as the three hour story begins to unfold. The early moral compass of Belfort's first wife is jettisoned and we hardly glimpse any effect on those whom Belfort and his troupe of sharp-suited commandos defrauded; thankfully, Naomi, Jordan's trophy wife (promisingly played by former Neighbours' star Margot Robbie) becomes the voice of reason later on in the pic as she realises her mistake and rails against the debauchery of the world around her before it's too late.

Scorsese's littered The Wolf of Wall Street movie with as much humour as there are drugs around, giving it an extremely cartoonish feel. One sequence where Belfort tries to drive home to get his partner off the home phone which is bugged by the feds, is rife with physical buffoonery and laughs before twisting into something horrific and life-threatening. Moments like this are peppered throughout Scorsese's bankers-living-as-gangsters pic and show a spritely directorial fire. In fact, while the film begins to sag a little in its 3 hour run time, Scorsese shows no sign of loosing the reins or the plot, delivering moment upon moment of pure adrenalin thrill as this shallow and stylish paean to excess flows.

It helps that he has a great ensemble cast - from the brief but trailblazing turn from Matthew McConaughey as an impresario who inspires Belfort to the goofy white toothed co-founder Donnie Azoff (Jonah Hill), through to the powderkeg of Belfort's father (Rob Reiner) and The Artist's Jean duJardin as a Swiss banker, everyone delivers a searing turn that borders on parody at times but is wisely pulled back in by the director.

The Wolf of Wall Street is undoubtedly a visceral film of excess - from the larger than life performances of all involved - bar the quieter turns of Kyle Chandler's fed and Robbie's wife - to the debauchery, it's a brassy, bold piece of cartoonish film (complete with more crimes against the New Zealand accent) that is infectious in its shallow hedonism and utterly undeniable as a movie experience.

With no condemnation of Belfort's lifestyle, his choices and his crimes, the picture closes with a chilling snapshot of how the rich continue to ride roughshod over the system. But while the audience may be left a little appalled, there can be no doubt that this is Martin Scorsese having fun, cutting loose and more than delivering the goods - a film which rages and seethes as much as it is soaked in dark humour; one that dazzles as it deals out another indictment of the excesses of our times.

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Frozen: Movie Review

Frozen: Movie Review

Cast: Kristen Bell, Idina Menzel, Josh Gad, Jonathan Groff, Alan Tudyk
Director: Chris Buck, Jennifer Lee

Loosely based on Hans Christian Andersen's fairy tale, The Snow Queen, Frozen's the latest animated film to be fired out of the Disney cannon for the Christmas market.

Idina Menzel and Veronica Mars' star Kristen Bell are sisters Elsa and Anna (respectively) who live in the kingdom of Arendelle. Elsa's distanced herself from Anna over the years after discovering she has the power to create ice and snow; and fearing she'll hurt those she loves the most, she reckons ice-olation (sorry) is best.

However, Anna's more of an outgoing type; desperate to love, be among people and be loved. When trade negotiations begin with the neighbouring town of Wesselton, an accident means Elsa sends the whole kingdom deep into winter. Believing her to be a witch and enchanted, the inhabitants drive her out - but it's upto Anna to try and save the day, restore summer and ensure the future of Arendelle...

Frozen is a Disney film from the creators of Tangled; so, like Tangled, it follows a simple formula, which proved to be effective before - a strong female lead, animals that are anthropomorphic, and big showtunes which can be belted out from a stage. Throw into that mix, this time around, a comedy snowman called Olaf (admirably voiced by Josh Gad, who will definitely appeal to the youngsters within) and you've got a winning mix, which will delight the crowd and will do the job it's supposed to do.

And yet, there are moments in Frozen where it doesn't quite feel like there's enough to propel it through. A perversion of the usual denouement of these films is distinctly welcomed as it's love but not in the traditional Disney way which saves the day, but the rest of it feels like it's ripped from a book of formula, mixed up and spat out onto the big screen.

It's admirable to see that the sisters are so central to the story - particularly Bell's headstrong and independent Anna, and the men who swirl around their orbit aren't as well realised, there for comic effect and little else. Even Sven, the reindeer is sidelined as Olaf's dumb good nature is mined for the comedy.

The tunes within are powerful enough fodder and have you tapping your toes throughout; though they are instantly forgettable the moment you walk out of the cinema.

This time around, it felt personally that the darkness of the 3D glasses dampened some of the crisp experience one would expect from a world of ice; granted, the animation is stunning (Elsa's ice castle is wonderfully realised) but the muddiness from the RealD 3D meant the colours were lost a little in translation and the effect minimised, which is a real shame.

Overall though, Frozen sparkles in places and has a charm which is undeniable.

Personally, I'm frosty to its appeal - it does exactly what I'd expect, and does it admirably. It just has to be said though - it didn't thaw this critic's heart and leave me melting as I would have liked it to.

(But make sure you get there early, to enjoy a new Mickey Mouse cartoon that confidently blows the cobwebs out of 3D and is as inventive as it is charming)

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