Go behind the scenes of South Park: The Fractured But Whole

Go behind the scenes of South Park: The Fractured But Whole

GO BEHIND THE SCENES OF SOUTH PARK: THE FRACTURED BUT WHOLE

SYDNEY, AUSTRALIA – July 27, 2016 – During the “South Park 20” panel at San Diego Comic-Con, Ubisoft released a new behind-the-scenes video for South Park: The Fractured But Whole. The video gives viewers an inside look at how the teams at South Park Studios and Ubisoft San Francisco are collaborating to create the new title. 

Developed by South Park Digital Studios and Ubisoft San Francisco, The Fractured But Whole has expanded with more places to explore and greater freedom to customize each players’ character. An all-new combat system offers unique opportunities to master space and time while on the battlefield, and a revamped looting and crafting system gives players the freedom to craft their own equipment to aid them in battle.

South Park: The Fractured But Whole will be available on Xbox One, PlayStation 4 and PC on December 6, 2016.

First look at Trainspotting 2

First look at Trainspotting 2

They're back!

Director Danny Boyle, reunites with the original cast: Ewan McGregor, Ewen Bremner, Jonny Lee Miller and Robert Carlyle.  T2:Trainspotting.

The Rehearsal: NZIFF Review

The Rehearsal: NZIFF Review

Eleanor Catton's first book gets the big screen treatment with this Emily Perkins/ Alison McLean cinematic outing, starring national treasure James Rolleston.

Rolleston is Stanley, a naive newcomer to the bright lights of the big city and who's got a desire to end up on the stage. In his innocence, Stanley falls for a 15 year old schoolgirl called Isolde (Ella Edward). But Isolde's sister is part of a national scandal having been seduced by her much older tennis coach.

However, this soon proves to be inspiration for the drama school he attends after they're all chopped up into groups and deconstructed as both actors and at times, human beings. Drawing on his beau's sister's predicament, Stanley finds himself treading a dangerous path. between what's right and what right for his career....

The Rehearsal is a stiffly starch kind of film.

Its coldness is at times, off putting, and there's certainly a lack of engagement with many of the characters around the peripheries. One key moment in the story is supposed to resonate but because it comes so far out of leftfield (and is even remarked on by the brute of the head of the school played by Kerry Fox as coming out of nowhere), you don't feel anything at all - which is somewhat of a fatal move.

While The Rehearsal's swathed in ambiguity, its aloofness at times makes it hard to guess what exactly is going on and why some relationships either flourish or continue.

Consequently, while the audience is made to work for parts of the film's rewards, some may feel the effort is not worth it. Secrets may abound, but in this Lolita in the suburbs story, the opaqueness is almost oppressive.

Fortunately, blessed with a James Rolleston performance that's at both ends of his character's spectrum, there is a slightly commanding presence on screen that makes the Rehearsal worthwhile. Rolleston has the power to know when to dial down the acting and equally when to ramp it back up and makes some of his scenes all the more delicious for it (certainly in one sequence with Kerry Fox's character).

But overall, The Rehearsal is a muddled film of execution and one that may lack the broader appeal despite its oh-so-familiar story. It's not a disaster by any stretch of the imagination, and perhaps its refusal to conform makes it laudable, but by the same token, it makes it less embraceable.

Sunset Song: NZIFF Review

Sunset Song: NZIFF Review

Terence Davies' adaptation of Lewis Grassic Gibbon's 1932 novel about one woman's life in Scotland certainly looks the part.

Essentially a coming of age story, it's the tale of Agyness Deyn's Chris Guthrie, who toils under the yoke of an oppressive father (Peter Mullan) on their homestead. As time rolls on, Chris' life changes under the circumstances and in the distance, the rumblings of the First World War roll ever closer.

Sunset Song was a passion project for Davies (as evidenced by his introduction that he "made it with his heart, and I just ask you to watch it with yours") - and from the very yellow opening title card that fades into the corn of a field, it's fair to say the director's passion springs from the screen.

While focussing repeatedly on Deyn's face gazing wistfully into the distance (perhaps a little too often does he bathe her in light), Davies' careful framing, slow panning and scene building is clearly in evidence. His is a film that oozes class on the screen and that feels like a sublime telling of a tale he clearly holds true.

From the brutality of the father via beatings in the barn to the eventual drums of war being sounded, the film's desire to have its audience luxuriate in its trappings is obvious. And yet, with the narration of proceedings, and Deyn's graceful and committed performance, Sunset Song lacks a certain engagement within the audience. It commands your eyes and Davies' attention to detail pours from the screen.

In lighter moments, Chris' character comes through, and there's a playfulness with the language and it's delivered in a spry fashion. But this is a film that knows what it's doing and does so with relative ease of execution. The shine comes from some of the shots, as the familiar story plays on - Davies' lavishing of events with his directorial eye, coupled with Deyn's performance are the reasons to watch Sunset Song. It's a wistful piece that is perfect Saturday afternoon viewing of yesteryear, but at times, totally emotionless.

Perfect Strangers: NZIFF Review

Perfect Strangers: NZIFF Review

It’s no surprise that a drama’s finally hit on this concept.

And to be fair, the continuing woes over the middle classes in suburbia aren’t exactly original fodder either.

In Perfetti Sconosciuti by Paolo Genovese, there’s an eclipse coming and to celebrate a group of 7 friends are having dinner together. Wisely acknowledging that all phones disrupt any kind of social engagement, one of the hosts suggests everyone places their phone on the table and if they ring or texts / emails come through, it all gets shared with the party.

Goaded under the mantra that nobody has anything to hide, the group agrees – albeit reluctantly in some cases. However, unsurprisingly, secrets abound at this table as this social Russian roulette begins – with domestic dark clouds looming….

Genovese’s drama may be an unoriginal concept, but its execution and delicious premise are nothing short of slick and confident.

The cast of Italian favourites (mostly unknown on these shores) make each of their characters feel eminently likeable in the run up to the dinner party, and each of them has their own foibles waiting to be hoist upon the table. There’s a newly married couple barely to stop touching each other, a permanent bachelor friend who finally has a date, a couple who appears strained – these are all people who have something to lose (why they even agree to this madness is wisely never fully discussed).

As the inevitable twists begin to play out and the truth creeps closer to the surface in many relationships, Genovese’s adroitness with the camera and handling of the revelations is masterful and manipulative in equal measure.

Shocks and deep sudden intakes from the audience are inevitable – and at least one reveal surprises in its casualness, but there’s a lot of discomfort and wriggling around in seats to be elicited from this execution. While it’s to the ensemble’s strength that nobody feels on more morally higher ground than the other, equally none of them feel eminently dislikeable as events progress during the night (though one does feel it’s a little first world problems of the middle class at some points).

Unfortunately in the final run, it risks a reveal too far but it’s a testament to how engaging the cast are and perhaps how close this social experiment may cut to the bone with many that Perfetti  Sconosciuti is such a middle-class crowd-pleasing / what would you do resounding success.

Long Way North: NZIFF Review

Long Way North: NZIFF Review

Animation at the New Zealand International Film Festival is always a joy to behold.
And in director Remi Chaye’s latest, young minds and enquiring eyes get exposed to a female heroine.

It’s the story of teenager Sasha, a young Russian aristocrat, who dreams of the fate of her grandfather, an explorer whose last journey ruined the reputation of the family and who never returned. But Sasha’s never given up on him and restoring the family honour.

It’s with this in mind that she sets out on a journey of exploration that would make even our very own Sir Ed blush.

Stylised and hand-drawn in the vein of Secret of Kells, Long Way North’s narrative shortcomings at its denouement give way to some deeper story telling and ideals within. The film’s about honour in many ways, hope and defying expectations.

There are some narrative contrivances and certainly the end of the film feels slightly rushed and leaves you wondering what’s next. But the animation’s relatively straight too – with the angular faces of the men contrasting with the rounder more welcoming female faces in the mix. It’s a welcome relief to see something that doesn’t rely on CGI to make the point. But it’s rarely better than the opening shot where the young Sasha farewells her grandfather, her blonde tresses marking her out on the dock and signalling here is a heroine who defines convention.

There are plenty of adventurous moments, and a friendship between Sasha and a wolf that many young minds will latch on to – but perhaps more importantly, their exposure to a heroine who’s not content to simply be the trophy at her first coming out ball and who defies the men on the docks to pursue her belief is ultimately more important.

In fashioning these minds, Chaye never loses sight of the execution of the film (perhaps the pacy 81 min run time contributes to some of the slight and lesser feelings experienced) – and while scenes on the icy tundra may leave you shivering as the snow storms blow around the characters, there’s always the warming glow the story will leave the younger generation with.

Truman: NZIFF Review

Truman: NZIFF Review

Bathed in a laconic humanity and blessed with a universal veracity, the friendship bond explored in Truman is touching to say the least.

It's the story of Julian (Ricardo Darin) and Tomas (Javier Camara)- long time best friends and who live in different countries. At the start, Tomas leaves Canada to go see Julian in Spain because of his friend's terminal diagnosis.

With just 4 days, Tomas' arrival stirs some life in stage actor Julian, who's dealing with the diagnosis....

Whereas the desire with films of this ilk is to dwell on the maudlin and drown in the mawkish, Truman's 4 day trip feels more truthful in its execution and consequently more uplifting because of its honesty. There are layered performances from the personable leads here, and both add to the film's sense of dignity and class throughout.

As the catalyst for the reconnection of the two friends simmers, the light that one fires up in the other is easy to understand.

While Julian wonders what will become of his pooch, the titular Truman, and tries to get him adopted, his friend offers the kind of support and the sturdy shoulder to rely on that many of us would hope for in a similar situation.  

But as the tale plays out, the bond is evident and the general underplaying works wonders to engage with the duo. There's a playful dry humour running through but never at the expense of the protagonists or situation as it unfurls.

However, it's the empathy of the film and the natural low key performance of the actors within that proves to be the winning factor in Truman (even if Tomas' actions at the end make him a little reprehensible).

Truman offers a surprisingly successful low key buddy flick that resonates; it's a film that works the understated to great beneficial effect and its touching nature may stay with you long after the lights have gone up.