Win Narcos Season 1

Win Narcos Season 1

Narcos

Based on the incredible true story of Pablo Escobar, Narcos is an inside look at the men who would stop at nothing to take down the notorious cocaine trafficker.

This ground-breaking series takes an unfiltered look into the war that would change the drug trade forever.

They were violent, crazy and filthy rich guys used to getting what they want… one way or another.

To enter simply email to this address: darrensworldofentertainment@gmail.com - simply CLICK HERE darrensworldofentertainment@gmail.com and in the subject line put NARCOS 

As It Is In Heaven 2: Film Review

As It Is In Heaven 2: Film Review

Cast: Frida Hallgren
Director: Kay Pollak

10 years ago, a Swedish film found itself in the unique position of resonating with audiences.

In New Zealand alone, the film spent 52 weeks in the box office charts thanks to both its feelgood factor and its word of mouth as the story of a conductor after both a second chance at life and love scored critical acclaim.

A decade on and a sequel to As It Is In Heaven has shown and with it, a collective feeling of what next for the story which felt resolved and unworthy of further exploration.

In that time, a lot has changed and quite possibly, some of the assumed character familiarity has faded. Needless to say Michael Nyqvist's conductor Daniel Dareus is no longer with us, having given up the ghost after his path to redemption was completed in the first film.

But the wild child student Lena from his choir who he slept with is about to give birth as the action picks up nine months later.

Ostracised by some for her relationship and saddled with a past, Lena decides to help drunk priest Stig to get more into his church as well as settling some old scores by showing she can put on a version of Handel's
Messiah for a grand re-opening.

Juggling motherhood as well as a potential new love interest, pressure grows on Lena to measure up to her own expectations and deal with her past. However, with the community and authorities turning against Stig, it looks like Lena may have bitten off more than she can chew.

As It Is In Heaven 2 is simply an off-key muddle when compared to the vastly superior first film.

Whereas the first had subtlety and nuance aplenty as well as warmth of character, this one jettisons all of that for a broad comedy opening, a birth in snow and a muddling priest that feels like Father Ted met with Sweden in a tonal road crash.

Once things settle, they don't get much better with the script preferring to fall into a rut that sees Lena consistently clashing with the priest Stig who then chastises her. It's a stuttering way to carry out the drama and ironically for a film about a community choir, a one note story throughout that drags the 130 minute run time to a halt.

To be fair, Frida Hallgren remains a beguiling presence as the movie plays out and is certainly worthy of stepping into the conductor's role of the film even if she has little to work with. And the script writers clearly haven't thought about how to conclude the film with a jarring character death that's supposed to hit emotionally failing to land - and the death ex machina event prematurely brings events to a close with threads left narratively unfed on the vine (closure of churches, a removal from the priesthood et al). Add to that some jarring religious imagery that borders on the blasphemous for some, and As It Is In Heaven 2 is a scathing cousin of a great film that once set so many hearts and souls alight.

Lightning very rarely strikes twice in the same place and As It Is In Heaven 2 is sadly a reminder of that fact - disappointing, difficult and out of tune, it's probably safe to say you'd be better off re-watching the original and bathing in that glory, rather than submitting yourself to this inferior and unwarranted sequel.

The Killing Joke: DVD Review

The Killing Joke: DVD Review

Rating: M
Released by Roadshow Home Ent

"First off all, before the horror began, there was a time when capes and fighting crimes was really exciting."

So begins the 26th animated DC Universe film, an adaptation of one of the most praised iconic storylines in the series - the origins of the Joker, from a 1988 graphic novel by Alan Moore and Brian Bolland.

However, Batman: The Killing Joke is predominantly the story of Barbara Gordon's Batgirl (narrated brilliantly by Tara Strong) and her relationship with Batman.

The film starts out with more of a background to Batgirl, her abusive relationship with the Bat (he's emotionally cold and distant from her) and her quest to take down a criminal from the Mob who's obsessed with her.

But then, Batman: The Killing Joke segues into the original graphic novel and what you'd expect from the film - lifting panels from the page and transposing the iconic imagery created by 2000AD supremo Brian Bolland.

Vocally, the film's sound with Conroy and Hamill giving their usual all to Batman and Joker respectively. And Strong's particularly, er, strong with her Barbara Gordon - even if creatively the filmmakers appear to turn this Batgirl into someone who is fawning a little over the non-availability of the Batman.

It's an odd choice and along with a controversial sex scene (yep, you heard that right), the Killing Joke appears to have dangerous things to say about the portrayal of Batgirl and women in general. While it's understandable there's plenty of online commentary on Batman's behaviour after his controlling instincts kick in and he ignores after the Bat-booty call, the film's handling of Batgirl in the aftermath is weak.

And given the backstory is supposed to give some drive to Batman's desire to punish Joker for Gordon's paralysis, it's odd to note that the original novel lent more weight to that side of the story by making Joker's inherent cruelty seem more random and therefore nastier because of its cold-blooded nature. As with the novel, there are hints that she suffers a sexual assault as well which seem to be backed up in the film.

Perhaps that's some of Batman: The Killing Joke's strength - it faithfully adapts the novel in a way that enhances the original and embraces some of Bolland's original artwork.

But potentially, a lot of the back half of the film is weaker anyway, with the set-up being the more interesting elements of Batman: The Killing Joke; as with most comic books, denouements tend less to hold water and flounder in the face of such story-telling odds. Flashbacks weave into an origins story for the Joker as per the original, and Hamill engenders his Joker with the definitive touches.

All in all, even with the controversial elements and an ending that is up for discussion after these two yin and yang nemeses share a joke, the over-riding feeling with Batman: The Killing Joke is that it's an animated tale that is more Batgirl's story.

Whether that's a good thing, or whether the joke's on the audience, time will perhaps tell. 

The Magnificent Seven: Film Review

The Magnificent Seven: Film Review

Cast: Denzel Washington, Chris Pratt, Ethan Hawke, Vincent D'Onofrio, Manuel Garcia-Rulfo, Martin Sensmeier, Byung-hun Lee, Peter Sarsgaard
Director: Antoine Fuqua

Rote and without a hint of much of his own style, The Magnificent Seven somehow manages to feel like a weaker carbon copy than a redo of the 1960s classic.

This time around, Denzel Washington leads the pack as Sam Chisholm, a newly sworn warrant officer. Riding into town with nary a comment but with every head turning as a black man heads down their street, Chisholm is asked by widowed Emma Cullen (a largely underused but pleasingly effective Haley Bennett) to avenge her husband's death and free their mining town from the tyrannical grip of Bartholomew Bogue (Sarsgaard).

Gathering up a motley crew of multi-racial misfits (one of the more revisionist edges that Fuqua gifts the reboot), Chisholm and his man saddle up for a fight.

The Magnificent Seven is nothing in comparison to the 1960s John Sturges' western which housed the likes of Yul Brynner, Steve McQueen et al.

Mixing in characters that feel under written and giving them stock-standard scenes where they literally say they are bonding is not a key to emotional success when the final shoot out begins.

Equally, it doesn't help that the bad guy of the piece looks dead behind the eyes and appears indifferent to these meddlesome seven in the final wash; in fact Sarsgaard looks like he's stepped in something again and is wasting his time wiping it off.

Using Sergio Leone style close ups, hints of the original theme and gifting everyone a posturing close quarters pose, the movie feels like Fuqua and True Detective writer Nic Pizzolatto have created a carbon copy of a western but forgot to add the heart and soul of what made The Magnificent Seven work in the first place.

At least 50% of the Seven are fleshed out - though a personal connection to Bogue is hardly necessary - but yet all of them manages to feel like a lazy once over. From wise-cracking Chris Pratt's card-dealer sharpshooter to Ethan Hawke's former Confederate sniper and now traumatised gunslinger to Sensmeier's Indian whose perfect face paint is more charismatic than anything he does, Fuqua's eye is not on character but on execution of action.

And to be fair, even though he uses some of the familiar Equalizer traps and tricks to help the group despatch the baddies, the shoot-out at the end feels like waves of faceless bad guys being despatched by a group who you can barely keep up with. It uses all the tenets of a Western stand-off; from guys falling off roofs to confusion, but it hardly warrants the long build up to the pay-off.

It's a shame because the start channels the old John Ford westerns with shots of great sweeping countryside, snatches of a great James Horner OST, hints of the old Magnificent 7 theme and the tried and tested cinematic formulae to help set it all up. And when Denzel rides through town, you can cut the tension with a knife. But the set-up also becomes The Magnificent Seven's weakness as the script uses Pratt's outlaw charm as a crutch and D'Onofrio's size and shape as he quotes scripture in a high voice to propel it - and it's not enough.

And the final shot with its almost painted on coda is frankly close to insulting and an execution of a terrible pun on the title which is unwarranted and unwelcome.

Ultimately, the 2016 version of The Magnificent Seven comes up wanting - it strives for epic Western, but falls short. Despite its competent and workmanlike handling on-screen and its intentions, it's less Magnificent, more Meh-nificent.

New Fifty Shades Darker trailer arrives

New Fifty Shades Darker trailer arrives

The brand new trailer for Fifty Shades Darker, starring Jamie Dornan and Dakota Johnson has just dropped.


It comes after the new New Fifty Shades Darker poster released.

The Nice Guys: DVD Review

The Nice Guys: DVD Review

Rating: M
Released by Roadshow Home Ent

A veritable shaggy dog crime story, The Nice Guys sees Iron Man 3 director Shane Blackgiven carte blanche to run riot on a canvas that's decked out in 70s life writ large on the big screen.

Gosling and Crowe star as down on his luck PI Holland March and literal heavy weight street enforcer Jackson Healy respectively, whose paths cross when Healy warns March off a case he's investigating.

But forced to team up by a twist of fate, the duo end up looking into the death of a porn star in 70s Los Angeles and finding their initial line of enquiry leads them deep into the heart of a conspiracy.

There's a goofiness and a Shane Black meta approach that nearly overwhelms The Nice Guys, covering its smarts and dumbness in equal knowing nods and winks that at times, detracts from what's going on on the big screen.

Swathed in gorgeous period detail (from the 70s fashion to billboards forJaws 2 and Airport 77), this is a film that gets great parts of its execution spot on, even if the central story is as thin and its ultimate reveal as obvious as you'd suspect.

Fortunately though, the chemistry between the mismatched duo is impeccable.

Gosling demonstrates a gift for goofier physical comedy and pratfalls that's well utilised - but Black's smart enough to have ensured that the sensitive yet easily scared March is no dumb klutz caught in the middle of it all (even if the power of coincidence propels large swathes of the actual plot along for great stretches of it for no real reason other than to ensure the narrative continues). Equally, March's interactions with his slightly smarter than him daughter (played with a great amount of heart by Rice) are charming and round off March's character nicely.
But if Gosling's jokier edges are as successful, it's due in large part to Crowe's heavier set straight guy.

As Healy, with a substantial bulk around the stomach, Crowe's weariness and hinted-at-back story is used lightly and consequently more effectively, as he moves into the family unit of March and his daughter.

It gives him greater dramatic weight, but also feels perfect for an enforcer lost in a city that's on the edge of change. (And  the allegory of being stuck in a smog ridden LA is not lost on the guy, who's clearly choking for resonance in a changing world and who opines poignantly at one point that "just for a moment, I felt useful").

However, The Nice Guys is a film that's never below peppering its dialogue with laugh-out-loud zingers, physical comedy and typical Black dialogue and banter between the leads to power proceedings.

(Even if Kiss Kiss Bang Bang director Black's treatment of the women in this time period is slightly off-putting and panders to lazy sleazy stereotypes, his encapsulation of the era is spot on and perhaps in channeling that vibe, and under today's watchful eyes, potentially is why its anti-PCness stands out a little more).

Ultimately, The Nice Guys is an impressively retro throwback to the buddy-cop movies of yesteryear and is buoyed by some meta touches and some sizzling comic chemistry. It's just a shame that the film noir central story is merely the garnish on the side of this dish, rather than the dramatic meat to nourish what is a good time at the cinema.

New Fifty Shades Darker poster drops

New Fifty Shades Darker poster drops

The brand new poster for Fifty Shades Darker, starring Jamie Dornan and Dakota Johnson has just dropped.

It comes ahead of the new New Fifty Shades Darker trailer release tomorrow.