Exists: Movie Review

Exists: Movie Review

Cast: Samuel Davis, Roger Edwards, Brian Steele, Dora Burge, Denise Williamson
Director: Eduardo Sanchez

It's back into the woods once more for the director of The Blair Witch Project who made such a killing with the movie back in 1999 and changed the found footage horror genre forever.

This time around, a group of friends head into a remote wood in Texas to party at an uncle's cabin, armed with a bazillion cameras, beers and hormones. On the way to the venue, the group hits something on the road - and dismissing it as a deer, they continue to head to the cabin.

But, later that night, a wailing starts in the woods - and soon they're being hunted by a Sasquatch...

Exists is exactly what you'd expect from the found footage genre.

There's an overload of shoe-horning in of cameras (everyone's always recording these days) and a series of horror tropes and conventions which are present from beginning to end. Sure, there's the obligatory shots of nondescript good-looking people getting passionate (thanks to one of their group perving on them and taping it all) and granted the group chooses to go further into the woods "for a short-cut" when they're being chased (cue eye-rolls of incredulity), but despite a bumpy 30 minutes that does little to endear you to the group, Exists soon proves to be remarkably solid.

With a fearsomely evocative sound-scape that manages to ramp up some of the tension in the cabin in the woods, Exists starts to come into its own as the Sasquatch begins to attack after its provocation.

Early onslaughts are confined to the blurred furry beast being glimpsed, running through the woods as one of the group tries to escape on a bike or from views of those hiding within the cabin, but Sanchez and the script don't shy away from revealing the beast in its glory and for subverting the genre by having the creature attack in the full light of day. There's a feral ferocity and animal logic to the Sasquatch which is commendable, even if its final interaction ends up being somewhat out of character.

Mind you, it's not to say that some of the more truly stupid moments don't detract from the film - a gung-ho firing of a gun with limited ammo by one character amed up on machismo being the true high of dumb behaviour - but the clever seeding of the cameras actually pays off with multiple angles in a climactic showdown revealing more than these usually would. Other scenes aren't as lucky though with darkness and muffled moments muddying the tension and proving frustrating rather than frightening as you struggle to work out exactly what - if anything - is going on.

All that said, if you go down to the woods today for Exists, you may actually get a bit of a cinematic surprise.

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Frank: DVD Review

Frank: DVD Review

Rating: M
Released by Madman Home Ent

Frank is one of the weirdest yet sanest pieces of cinema around with a great insight into what it means to be a musician and how the creative gene pool work.

Domnhall Gleeson plays Jon, a wannabe singer songwriter, who spends a lot of his time forcing creativity to come when there really is none. Stuck in a seaside town, in a dead-end job and with aspirations beyond his talent, his chance comes after a bizarre moment when he witnesses a keyboard player of a group trying to drown himself on a beach.

Striking up a conversation with the band's manager, Don (McNairy), Jon's asked to step in if he "can play C,F or G". Thrust onto the stage that night with stardom in his eyes, he discovers the lead singer of the band is Frank, a man whose sole tic is to wear a big giant papier mache head.

Thinking it's a stage thing only, Jon soon discovers that Frank lives inside the head and is a cypher for the rest of the band, pushing their creativity and frustrations - given the chance to record an album with the group, Jon soon finds himself ensconced in the lifestyle but frustrated none of his music is taken onboard. After 12 months writing, the band finally write their album and set out on a tour....which is when things start to not go according to plan.

Frank is based on the character Frank Sidebottom and is a piece that's inspired by an article written by Jon Ronson, who co-created the movie.

Part tribute to the character and also part documentary (if you read the article), there's something wilfully obscure and offbeat about Frank as it dances to the sound of its own beat.

From the hostility of Clara (Gyllenhaal) to the seeming mania of Frank himself (Fassbender in a tour de force performance), there's a whole range of emotions at play here. Initially, the seaside is evocative of the mundanity of suburbia with Jon longing for escape - but he soon swaps one mundane existence for another (albeit an offbeat one) as he spends a year recording with Frank.

With a wildly eclectic soundtrack and a Jim Morrison style front man, there is poignancy with punchlines aplenty in Frank - and it's all a little bit out there, thanks to the bizarre premise. But there's also tragedy as the film takes a darker tone towards the end (which may cause some to feel shortchanged) as the bleakness creeps in

It's destined for cult status too - with scenes like Frank describing his mood underneath the mask forming part of the early laughs ("Welcoming smile" is likely to become a catchphrase) but perhaps the simplest statement comes from Don early on when he tells Jon, "You're just going to have to go with this".

It's a wise mantra for anyone going into the early parts of Frank where little is revealed about the whys or who Frank actually is - it's a clever touch by Abrahmson and Fassbender particularly that you care more about the character with the mask on. Gleeson's naive lost soul also makes a good impression as he grows from talentless to inspired, to full on manager of his destiny - but never before has one man's journey seemed so destined for despair.

Humour, tragedy and pathos are littered throughout this eccentric piece which explores creativity- Frank truly surprises in among the dry, deadpan humour- there's an inherent vein of sadness running throughout which imbues everything with a rock'n'roll richness that's hard to pigeonhole in this enigmatic treat.

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Tarzan: Blu Ray Review

Tarzan: Blu Ray Review

Rating: G
Released by Roadshow Home Ent

Another version of Tarzan swings in, this time a computer generated piece which aims to put a new twist on the legend.

Kellan Lutz stars as JJ Greystoke, a kid who finds himself alone after his parents die in a helicopter crash instigated by his dad affecting the balance of nature after taking a chunk out of a meteor (yep, seriously).

Raised in the jungle by a mother gorilla who had her child killed during the chaos caused by JJ's father, Tarzan, the hairless ape, grows. But when the CEO of Greystoke industries heads back to the jungle determined to find the meteor and with it, a new source of energy for the world, Tarzan finds his resolve tested and his loyalties torn.

The computer animated Tarzan is perhaps one of the bizarrest re-tellings of the story I've ever seen.

While Kellan Lutz gives his all to the human ape, the animation takes a while to get used to, thanks to a weird mix of Cloudy With Meatballs stule humans and very well defined other humans. But that's about as far as the definition goes in this piece, which lacks emotion, sees Tarzan using extremely dodgy ways to pick up Jane (stalking, rifling through her belongings) and has a terrible romantic montage soundtracked by Coldplay's Paradise.

With swirling cameras, swelling music, plenty of pointless voiceover and lots of animated scenes showingTarzan flying through the air a la Spider-Man for no other reason than they can, this Tarzan has very little going for it. An additional plot about a meteor from the Jurassic ages feels like the kind of tosh more suited to a Transformers film than a push to protect the wild forests.

Ultimately, this Tarzan lacks definition, bite and a decent origin story that seems to flow - it really does need to be confined to the jungle, rather than inflicted on cinema audiences.

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Show Me Shorts Q&A with festival director, Gina!

Show Me Shorts Q&A with festival director, Gina!

The Show Me Shorts festival is now underway nationwide. I caught up with Festival director Gina Dellabarca to see how it's all looking!

Hi Gina, how have you been?
Hi Darren, I’m swell thanks. Busy year! Lots of exciting wins for short films here in NZ and abroad.

What's the field like this year for Short films?
We had almost 1,000 entries for Show Me Shorts this year. Our largest number yet. The result is outstanding short films. Our judges this year (Robyn Malcolm, David Larsen, Sophie Henderson and Joe Lonie) were blown away, especially by the NZ films.

It's a big year for the festival too with Academy Award accreditation and a Chinese delegation on the way over…
We’re proud to be hosting Yu Han for the international premiere of his film 家 (Home). It offers a unique peek inside the life of one small Chinese small apartment across ten years. Visually striking and hugely memorable.
Our Academy Awards-accreditation puts us in the same category as big international film festivals like Melbourne, Cannes, Sundance and Venice – in terms of being able to provide a pathway to the Oscars. It’s a big deal for our local filmmakers.

There are some big names in the short films this year too? 

Festival director, Gina Dellabarca

Short films are not just for amateurs, as we often see established directors (e.g. Wes Anderson) experimenting with short film. This year’s most high profile actors include Amanda Seyfried (Les Misérables, Mamma Mia!) in the romantic thriller Dog Food, and Oscar-nominated British actress Sally Hawkins (Happy Go Lucky, Blue Jasmine) and Jim Broadbent (Harry Potter, Moulin Rouge) who co-star in the high-stakes drama The Phone Call.
There are lots of Kiwi stars too! Loren Taylor (Eagle vs. Shark) features in two short films: Leo Woodhead’s award winning Cold Snap, and the post-apocalyptic world of The Light Harvester alongside Craig Hall (A Place to Call Home, The Hobbit). Greg Johnson and John Leigh (both ex-Shortland Street) wake up hungover in Antarctica wondering how they got there in the bromantic comedy Snowmen, and Charlie Bleakley (Scarfies) and Cohen Holloway (Boy, Good for Nothing) prove their friendship in the hilarious road trip comedy Coconut.

Over 1000 entries from 50 countries as well - did you see any trend in the films? 
There is increasing diversity of stories, which is great for audiences because there is healthy demand for a wider variety of films, with new and unique characters.

Which country was the most prolific for entries?
We have an established reputation in Australia so we always get lots from there, and their entries were really strong this year. America probably sent in the most. But closely followed by France and Germany, thanks to my visit to film festivals there earlier this year to promote Show Me Shorts and build market connections.

Does it always surprise you how this genre continues to be explored?
Shorts films are a medium for exploration of ideas and characters. My favourite thing is when filmmakers transport us to an entirely new world we couldn’t possibly have dreamed up ourselves.

How tough do you think your judges have had it this year?
They loved it! It’s a big job, but also a total privilege to watch all these wonderful shorts.

The festival's going nationwide again, did you ever envisage this kind of roll out when you first started?
Not at first. Year one was just a three-day event in one location. But as we have grown, so have my ambitions for Show Me Shorts. World domination is totally on our agenda some day.

Have preparations already started for next year?
Always. When you’re working with limited resources in terms of money and almost entirely volunteer staff, it’s important to look ahead and think about how we can be sustainable into the future.
Our programming team is also continually plotting how we can attract the best short films for the next season.

Just finally, which shorts do you think people need to make sure they see and why? 
If you need a laugh, see Snowmen and Coconut in the Bromance section. If you need to be reminded of the unique and wonderful qualities of the human condition, The Last 40 Miles and The Phone Call in the Listen Up section are in order. If you have kids, Vigia (Lookout) in the My Generation section for families and children is a must-see - it’s an animated story explaining why bees are so important.
But don’t stop at those ones. There are only six different sessions. It would be a very easy and enjoyable thing to get along and see all of them.

For more info, visit Showmeshorts.co.nz to get details of the festival showings!

Under The Skin: Blu Ray Review

Under The Skin: Blu Ray Review

Rating: M
Released by Roadshow Home Ent

Under The Skin collects the award for most wilfully bizarre exhibit so far this year on the small screen.

ScarJo, complete with black wig, fur coat and red lippy to the max, cruises the streets of Scotland in a white van trying to find unattached male specimens to lure them to her house, with the promise of sexual conquest.

But when they head there, the would be suitors get more than an eyeful...

Jonathan Glazer's Under The Skin is a visual symphony, complete with heaven and hell. Wrapping dissonant crescendo sounds, virtually no dialogue and proffering no answers to what's going on proves to be an intoxicating cinematic feast like never witnessed before.

With shades of Holy Motors, combined with Johansson's allure, the piece is a trippy disturbing spectacle that confuses and confounds as much as it seduces the eye.

Johansson's ethereal otherworldly approach is perfectly utilised in this (and yes, there's plenty ofnude Scarlett Johansson to view) - even if it does go off the rails somewhat in its final third.

To reveal why is to spoil it, but those involved really had no choice but to move the film on and it's hard to see what else could have been done as it races to its disturbing conclusion.

Glazer's eye for visuals is astounding - from the opening sequence where a spot moves towards the screen to a final sequence in the Scottish woods that VFX triumph at, there's plenty to help the eyes hallucinate.

But once you scratch Under The Skin (apologies), there's also a rare look at how alienated some feel, a lack of connection and an intimacy that will provoke further discussion.

However, the most nightmarish scene is a simply human one set on a beach that's as completely psychologically traumatising as it is well executed.

Using landscapes, sound and stark visuals to maximise the resonant themes, Glazer has crafted something creepy which is truly unique, completely remarkable and utterly soul quaking. 

22 Jump Street: Blu Ray Review

22 Jump Street: Blu Ray Review

Rating: M
Released by Sony Home Ent

A lot of time is spent in 22 Jump Street referencing the fact that 21 Jump Street was the success that nobody was expecting and that they're expected to do exactly the same thing second time around.

In fact, the meta is never really very far away with the whole opening sequence of 22 Jump Street seeing Jenko and Schmidt (Tatum and Hill reprising their roles) being warned that second time around, even with a bigger budget and better ideas, things are always worse.

It sets the tone for 22 Jump Street, which sees the duo sent to college (as they were told right at the end of 21 Jump Street) to try and bust a craze which is sweeping the campus in the form of new drug, WhyPhy. So, it's up to the two of them to blend in once again and bust the drug dealer, once again.

But for Jenko, college is a revelation - he gets to go having been denied the privilege earlier in life - and makes a connection with the jocks and the frats; whereas Schmidt finds he's alienated and unable to fully integrate, leading to sparks of friction within the bromance....

22 Jump Street is exactly the sequel you'd expect and is in some ways, the sequel you deserve.

It's really a case of the same again, with a few more stunts, the same comedy and very little else - other than endless self-referencing (which to be honest, starts to grate after a prolonged period of exposure). As mentioned above, the opening sequence amuses - right down to Tatum asking if their cops could go into the secret service and protect the White House - but the continual referencing becomes a really unnecessary crutch for the film-makers to fall back on, making parts of this at times overlong comedy appear bloated and lacklustre.

Thankfully, some (but not all) of that ill-will is left behind by the performances of Hill and Tatum. Once again, Tatum mines his dumb as a bag of spanners schtick for about as far as it can go as Jenko; his chemistry with Hill is easy and appealing, giving plenty of legs to their bromance. Equally, Hill pushes his own awkward comedy to its logical OTT end, producing some of the better moments of off the wall silliness as he heads into rejected partner territory.

The final set piece in Spring Break in Mexico feels like a bridge too far, an unnecessary addition to an already unnecessary second time around - but if you're prepared, like Channing Tatum's Jenko, to check your brain at the door, this is summer throwaway entertainment.

22 Jump Street tries to be too clever for its own good by continual self-referential commentary, but if you're willing to overlook that overcooking from the guys who brought you The Lego Movie, there are moments to amuse in among all the silliness.

And it's worth staying on for the credits, as the potential for 18 more sequels (I kid you not) is revealed....

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The Hobbit: Battle of The Five Armies final trailer released

The Hobbit: Battle of The Five Armies final trailer released

The final The Hobbit: The Battle of the Five Armies trailer has dropped.

The Hobbit: The Battle of the Five Armies releases in New Zealand on December 11th.