Nymph()Maniac: Volumes I and II: Movie Review

Nymph()Maniac: Volumes I and II: Movie Review

Cast: Stacy Martin, Charlotte Gainsbourg, Stellan Skarsgaard, Christian Slater, Shia LaBeouf, Uma Thurman
Director: Lars Von Trier

Cinema's enfant terrible returns to fire off another salvo of provocation and start up another round of taboo discussion.

This time round, following a series of O face posters, and a tease campaign that's been guaranteed to whip all and sundry into a frenzy, and over a more cinema friendly 4 hour, 2 volume cut (though he has worked on a 5-and-a-half-hour director's cut), he tells the tale of Joe (played in later years by Charlotte Gainsbourg and in younger form by newcomer Stacy Martin). After being discovered beaten in an alleyway by Skarsgaard's Seligman, Joe takes to telling him of her life and loves and how she came to be in said alleyway.

Nymph()maniac Volume 1 deals with Joe's more formative years, her relationship with her ailing father (played by Christian Slater) and her coming to terms with who she is.  Divvied up into five chapters in Volume I, it also looks at her relationship with her apparent love Jerome (played by Shia LaBeouf who delivers one of the worst English accents ever committed to celluloid). It's clearly aiming for the more inflammatory, as it shows a couple of young girls trawling a train for men to sleep with as a competition to one up each other and win a tub of candy. Yet, it's also incredibly playful in among the graphic moments. Seligman is to all intents and purposes a monk, who's chosen books to life and who draws various analogies with Joe's choices to fly fishing. It's hilarious at times how shoehorned in that becomes but it serves as a philosophical bent to the film as well - parallels between sex and sin are drawn, the Fibonacci numbers are mentioned in among Joe's apparent regrets as she rhapsodises over her life.

The crowning moment of Nymph()maniac Volume 1  comes from Uma Thurman's appearance as a slighted woman who brings her children to Joe's house so that they can see the "whoring bed". It's a shocking scene as it teeters on extremely uncomfortable, pathetically sad and something more volatile.

Nymph()maniac Volume 1 ends on an almost unoriginal note - before images of plenty of sex are thrown in as a trailer for Nymph()maniac Volume II. It's touches like this that leave you unsure whether von Trier's playing with you and your expectations or the marketers have decided the most provocative moments will make you feel something. But the thing is, Nymphomaniac is not actually as button-pushing or as controversial as it purports to be. It's almost as if von Trier's lost some of his bite in among the playful narrative moments and close ups of phalluses; you roll your eyes in almost boredom rather than in anger. It's the most stunning part of Nymphomaniac - that a once notorious auteur has had to rely more on the marketing than the celluloid content to shock.

Nymph()maniac Volume II disappoints as it runs out of steam - it goes more for graphic rather than the philosophical debate and while Gainsbourg commands the screen, the final moments, just when you think von Trier's done more to combat accusations of misogyny and that sex is art, he throws in a moment that makes you throw up your hands in frustration as the screen goes to black.

All in all, Nymph()maniac is nowhere as bad or as notorious as you'd expect - it's certainly not titillating or erotic, merely functional in parts. You may actually be more surprised by what you see, but if you're a Von Trier connoisseur, you'll definitely feel the controversial auteur isn't as bad as he could be and that's perhaps the biggest shock of the film.

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Autumn Events Q&A

Autumn Events Q&A

It's almost time - with winter drawing in, and autumn firmly here, it can only mean the New Zealand International Film Festival is on the horizon. But before then is the brilliant Autumn Events (find out more about the films at the NZIFF website on nziff.co.nz)
I caught up with Festival director Bill Gosden to see what's what about the event which runs from April 11th to May 18th in Auckland, Christchurch, Wellington, Napier and Dunedin.

It’s back again – what’s the thinking behind this event?
To capitalise on the twin opportunities provided by some acclaimed digital restorations and state-of-the-art projection facilities in several of the country’s most fabulous cinema venues.

How much discussion goes into the programme?
First, there’s the internal conversations around the office about trying to balance and diversify the programme - and then there’s the discussions with the rights holders.

What are your criteria for choosing the films on offer?
We need to know that the digital work is top notch. That requirement has ruled out a few great films currently available in very disappointing digital transfers. Anyone who has watched the flesh tones shift around in a Blu-Ray of an old Technicolor favourite will know what I mean. Likewise, some restorations have gone back to source material and bypassed subsequent grading to devastating effect: in the Psycho transfer you never doubt that you’re watching actors under studio lights and you can see the skin blemishes through the powder on Janet Leigh’s face. No such calamities on our classic programme!

With one screening in each city, is it the feeling of making this an event?
The economies of operating in these great venues alone make each screening a luxury! And at the Civic, Auckland; Embassy, Wellington; and Regent, Dunedin, we’re returning these films to exactly the kind of venue they were designed to fill.

It’s quite the line-up of talent isn’t it? 
That’s for certain. We’re not exactly unearthing unknown gems here. What’s compelling to me is what remains fresh or striking enough in these films to retain the impact of first contact. The bravado and conspicuous risk to human life in Aguirre remain staggering and exciting. Brando’s sensitive brute still cuts to the heart. Orson Welles’ infamous “cuckoo clock” speech is forever spine-tingling in its flagrant cynicism. As for the contemporary resonance of Dr Strangelove, how galling is that? And Audrey Hepburn still looks appealing in those insanely elegant Givenchy gowns of 1956.

What do each of them bring to the big screen?
Spectacle. We chose films that expand to those grand spaces with images, and emotion.

It’s also a chance to see Miyazaki’s cruelly-robbed-of-an-Oscar last movie as well -what can you tell us about that?
He says The Wind Rises is his last, and we’re all reluctant to take his word for it, but it is most definitely a film about looking back. Dealing as it does with the aeronautical engineer most famous for equipping the kamikaze pilots of WWII, it’s also a film about recognising the inherent amorality of an ardent creative spirit. Many have found this a surprising choice of theme for Miyazaki, considering the positive spirit that has characterised every one of his key works. It struck me as a moving expression of chagrin in the face of all the evils in the world no artist can vanquish, and yet there’s a placidity about it too, a state of acceptance. It’s a troubling, beautiful film, animation for grown-ups, and not at all suitable for an Academy Award.

Astaire, Brando – who’s the best?
How opposite could two superstars be? You want romance or you want sex? Maybe you’re a greedy filmgoer like me and want both these guys. It’s amazing that two such radically different screen presences were both working in the same decade. Astaire is the debonair master of control, every tap and step rehearsed, every dance, no matter how exuberant, choreographed to stay absolutely within the frame. What can you do but sit back and revel in the romantic fantasy? With Brando the relationship is so much more intimate. You sit forward, not back. He does so little – you hear him breath and he seems to need all the oxygen in the room.

A last minute addition of a Peter Sellers classic too...
The last-minute nature of this Auckland confirmation is unfortunate, but the slot became available late in the piece. We were aware that Dr Strangelove had recently played Wellington, but not Auckland. It’s the 50th Birthday restoration and you won’t have to Google far to see how much political commentary this particular anniversary has generated.

Just finally, which of the venues is the best and why?
The one in which you are sitting.

Actually, I know I said that was the last question, but c’mon, give us an exclusive for this year’s New Zealand International Film Festival....
Everywhere I look at the moment: films about fathers and sons. Last year’s Kore-eda film was getting in early. Expect at least five of them at NZIFF 2014.

For more on the Autumn Events and the times / locations of screenings, head to the NZIFF website!

Newstalk ZB Movie Review - Noah, Mr Peabody and Sherman and The Hunger Games

Newstalk ZB Movie Review - Noah, Mr Peabody and Sherman and The Hunger Games

Here's the latest batch of Jack Tame movie reviews - Noah, Mr Peabody and Sherman and The Hunger Games

Plus Jack talks his concrete obsession and puts me on the spot....

http://www.newstalkzb.co.nz/Auckland/listen-on-demand/audio/1380710682-Darren-Bevan--Noah

New Edge of Tomorrow trailer

New Edge of Tomorrow trailer

There's a new trailer for the Tom Cruise / Emily Blunt actioner,  Edge of Tomorrow.

The film's due out in June in NZ

First look at Batman: Arkham Knight

First look at Batman: Arkham Knight

Warner Bros. Interactive Entertainment and DC Entertainment have today unveiled all-new screenshots and artwork from Batman: Arkham Knight, Rocksteady Studios’ epic finale to its trilogy of Batman: Arkham videogames.  The screenshots showcase Batman and the Batmobile, as well as the new villain, Arkham Knight. 

Batman: Arkham Knight is based on DC Comics’ core Batman license and will be available exclusively for the PlayStation®4 computer entertainment system, Xbox One, the all-in-one games and entertainment system from Microsoft, and Windows PC.  The game is scheduled for release worldwide in 2014. 

In the explosive finale to the Arkham series, Batman faces the ultimate threat against the city he is sworn to protect. The Scarecrow returns to unite an impressive roster of super villains, including Penguin, Two-Face and Harley Quinn, to destroy The Dark Knight forever. Batman: Arkham Knight introduces Rocksteady's uniquely designed version of the Batmobile, which is drivable for the first time in the franchise. The addition of this legendary vehicle, combined with the acclaimed gameplay of the Batman Arkham series, offers gamers the ultimate and complete Batman experience as they tear through the streets and soar across the skyline of the entirety of Gotham City.

Teenage Mutant Ninja Turtles first look trailer

Teenage Mutant Ninja Turtles first look trailer

We are very excited to bring to you the return of Leonardo, Raphael, Donatello and Michelangelo, not your favourite Renaissance artists, but your favourite mutated turtles!

Paramount Pictures is pleased to help you relive your childhood years this morning with the release of the first teaser trailer for TEENAGE MUTANT NINJA TURTLES, ahead of its September 18 release.

Watch the Teenage Mutant Ninja Turtles first look trailer below:

Noah: Movie Review

Noah: Movie Review

Cast: Russell Crowe, Emma Watson, Jennifer Connelly, Anthony Hopkins, Ray Winstone
Director: Darren Aronofsky

Stone Transformer type creatures, a Lord of the Rings Treebeard style battle, a potential murder of babies and a flood of Biblical proportions.

It can only be director Darren Aronofsky's take on Noah.

Yep, water surprise.

You read that right - it's the old Bible story but through the old Aronofsky skew of perception, where the lead actor may - or may not - be facing the onslaught of madness. (Think Black Swan's psychological machinations).

Russell Crowe is Noah, who one day experiences a vision that the world is about to be flooded in watery destruction (the first of Aronofsky's brilliantly visual interpretations) and decides to build an ark to save the creatures so that the Creator (never God in this film) can start again. But his plan to help them avoid the initial floods (though, he intones, he and his family must be judged too) causes conflict within his family and also with tubel-Cain (Ray Winstone, looking drowned and like he failed a Game Of Thrones audition) who amasses an army to seize the ark and ensure their survival.

Epic in scale, it's easy to see why Noah may offend some - particularly with the introduction of the Watchers, a set of Stone Transformers type six armed creatures which are fallen angels, grounded by the Creator to keep an eye on Earth and Man.

While I distinctly don't remember these from earlier studies - or the magical and mythical - (which would have no doubt piqued my interest), they exist simply to perhaps engage the younger end of the audience and also to provide an epic LOTR style fight as they defend the ark from Tubel-Cain's masses, before exploding into Rapturous light and heading skyward-bound in a redemptive arc deemed necessary by Hollywood.

Of the acting, Crowe is difficult to read to start off with as Noah, the man whose visions cause so much conflict; initially, he's a father and a forager for his kith and kin, but as the quest takes his toll, we see one of Aronofsky's key motifs come into play - a man on the descent of unswerving belief and searching for something else, self-destructive or otherwise. It's here Crowe gets his acting chops on (even if the dialogue does fail him) and manages to provide some more depth to the wronged scavenger - even if you're never quite clear on whether his interpretation of events is right or not. That said, you can't fault Crowe's commitment to the cause.

Elsewhere, Jennifer Connelly is largely wasted as Naameh, his wife; Emma Watson looks Harry Potter-esque as Ila, Ray Winstone is half-eyed and slurring as Tubel-Cain and Welsh tongued Anthony Hopkins veers between venerable and OTT as the hermit Methuselah, who appears obsessed with gathering berries rather than playing grandfather.

Yet, it's Aronofsky who's the real star (and ironically, divisive presence) of this apocalyptically epic piece - his trippy execution of Noah's initial vision (all watery and floating bodies) is evocative and disturbing, suggesting a mania in his lead that's fearful and lost; equally, his peppering of the film with images of the snake, the apple and Man's destruction verges on the hallucinogenic in places; but his bravura time-lapse sequence showing the birth of creation and the Let there be light speech demonstrates a bravura flair that's only dragged down by the other flawed elements of the piece, which draws to a hysteria as the end comes and Noah threatens to teeter over into the unthinkable. At times, the bombastic score could do with being eased off as it blasts all and sundry with ominous tones that are unnecessary.


While it's clear that Noah was a passion project for director Aronofsky, I can't help but have a nagging feeling that this somewhat bloated telling of a Biblical style film for a modern day audience which veers from its subject material in some ways is likely to rankle; it appears to be a flight of schizophrenia for its director in places thanks to flawed ideas and execution, but in other moments, its visual execution and evocative displays of originality lead to plenty of impressively creative touches.

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