The Sense of an Ending: DVD Review

The Sense of an Ending: DVD Review

Based on Julian Barnes' Man Booker prize winning novel, the film version of The Sense of an Ending benefits greatly from the paucity of its lead actor.

Broadbent doles kindly and curmudgeonly in his role as Tony Webster, a retired man who runs a camera repair shop. Webster is a man consumed by the past in more ways than one. He refuses to get a smartphone despite his daughter (Michelle Dockery, Downton Abbey) being about to give birth, he tends to damaged cameras, and his desktop runs an old system.

Further to this one foot in the past ethos, Webster one day receives a letter which sends him down memory lane. Caught up in reflections from yesteryear, Webster begins to re-examine his life and his decisions.

Intercut with scenes from Webster's school days and burgeoning romance and relationship with an enigmatic girl Veronica and his friendship with school newcomer Adrian, the film has a tendency to simply cut to the past as the assignations of the present start to come squarely into focus. But it comes to rely on its bifurcated structure to provide the drive of the film as it continues.

And while Broadbent is the main reason to view this film, thanks in large part to a subtle underplayed turn that always hints at something more, this adaptation is probably more for an older generation after some reflexive viewing.

Parts of the book feel like they could have been trimmed for the screenplay, and a lot of Dockery's scenes and her character genuinely feel redundant to what's actually transpiring.

Equally, a fleeting appearance from Rampling squanders one of the best assets, and while that's not her fault, and is the demand of the narrative, her scenes with Broadbent's Webster pack an emotional power that's hard to deny.

But it's the hard yards to get to the emotional pay-off, with much of the film's mystery desperately masking itself as an enigma. Webster's rhapsodic ruminations are certainly universal in some ways (love, lust, desire) but the ultimate reveal feels more muted than devastating; a sign perhaps that translating this to a larger canvas means the intimacy of the book's context is a little torn asunder.

There are plenty of wry whimsical words which will resonate with the older end of the audience as it ambles toward its conclusion, and Broadbent's somewhat particular demeanour as Webster means he's never anything less than watchable, but perhaps The Sense of an Ending is more a case of a story that is slightly - and unfortunately - lost in translation. 

Mountain: DVD Review

Mountain: DVD Review

A sense of the political pervades Mountain, director Jennifer Peedom's love letter to the peaks that shape so many lives

A swipe against deforestation to feed our need for exhilaration, a rallying cry for the Sherpa placed under pressure, a comment against Everest's queuing congestion that goes against the spirit of exploration and the narcissism of the thrill seekers on the mountains, half in love with themselves and half in love with oblivion.

However, it's the very slightest of touches in this film which feels more at home on a Nat Geo outing despite its truly beautiful cinematography, culled from some 2,000 hours of footage.

Peedom demonstrated her chops with the wondrous Sherpa a few festivals back, giving time to the plight of the Sherpa who put their lives at risk for little reward from the thrill seekers determined to conquer Everest no matter what.

And while this collaboration with the Australian Chamber Orchestra deserves to be seen on the big screen, it's very close to Nature Porn set to a classical music background. Faceless peaks and nameless mountains populate the screen as narrator Willem Dafoe intones what it is that draws people to the mountains, and the challenges they present in a life where we've become closeted from nature.

In the same way that Toa Fraser's The Free Man attempted to dive deeper into the psychology of the mountains at this year's festival, Mountain is similarly at pains to paint a vista of placeless peaks that draw us in, with their allure. Using words from Robert MacFarlane to help create the picture, Peedom's film really does lack a narrative edge to make it an essential experience.

That said, if the thread is underdeveloped throughout, aside from the aforementioned swipes, the cinematography is astounding, and the sense of the spectacular is palpable.

Whether it's a series of slow mo shots of skiers cascading though ice like swarming ants on the way to their nest or stunning day/ night dissolves, the big screen simply laps up the very best of Mountain's visuals, with its vertiginous shots creating a sense of scale and of terrifying emotions to those not seeking the thrill. Equally, the ACO's work is perhaps the great companion to this piece and deserves to be appreciated as loudly as possible as it juxtaposes itself nicely to some of the images on screen.

Ultimately, Mountain is a nice visual essay, but despite the snow-capped vistas and stunning peaks, as well as some archive footage, it's deeply disposable fare - it's the visual equivalent at times of elevator music. Pretty to look at, but easily forgotten. 

Black Panther: Film Review

Black Panther: Film Review 

Cast: Chadwick Boseman, Michael B Jordan, Lupita Nyong'o, Danai Gurira
Director: Ryan Coogler

To say that Marvel Studios' Black Panther arrives at a somewhat crucial time in cinema history is akin to saying "2 plus 2 equals 4."

For those not au fait with the Black Lives Matter movement, the under-representation of people of colour in cinema ongoing fight and the fallout from the #OscarsSoWhite debacle, as well as a Marvel Cinematic Universe that has been largely fronted by white dudes during the last decade - a contrast which has been starkly shown up by DC Universe's Wonder Woman and subsequent accolades, the time really is now for a change.

And yet to simply acclaim Black Panther for breaking this mould and its part for diversity is also to do it an injustice - after all, a large portion of these movements are about offering fairness and treating subjects equally.

So, in terms of the superhero movie, and moving away from the important fact that young black people deserve to see heroes of their own on screen, Black Panther more than matches the best of the Marvel Cinematic Universe - even if it does repeat some of the tenets of what has gone before.

Focussing on Chadwick Boseman's stoic Prince T'Challa, who's forced to take the kingdomship of his own Wakanda after the death of his father, what follows in Black Panther is a largely self-contained story that eschews away from the wider ramifications of the Marvel Cinematic Universe and its ongoing mythology and revels in the political machinations of a new leader taking the reins of power.

Wakanda is a hidden kingdom deep in Africa's world, one which has grown its own technology thanks to the plentiful source of mysterious element vibranium (right up there with James Cameron's unobtanium from Avatar in terms of element-naming) and has shied away from sharing it with the rest of the world.

But when T'Challa comes to power, a decades-old struggle is reborn - and coupled with T'Challa's desire to catch a war criminal and arms dealer from the outside world (played with hammy glee and Afrikaans accent by Andy Serkis), the Black Panther/ T'Challa learns the responsibility of power is a heavier burden than expected.

Mixing tradition, comments over colonialism, cultural identity, Bond movies, tinges of Thor and Iron Man, some tightly shot and executed choreography, a villain with a genuine emotional edge rather than his one-dimensional predecessors, and touches of humour, Black Panther is perhaps a more nuanced Marvel movie than we've seen for a while. And an admirable self-contained effort at that.

There are some moments when it falters though - a reliance on debate to further the plot may cause some restlessness in the younger elements attracted to the MCU for the whipcrack Avengers style banter; and a conclusion that relies on a white guy to save a part of the day is a little troubling in some ways.

And there's a distinct feeling at times that it follows a formula set down for the Marvel franchise alone - even if its some of its action sequences bristle with cultural colour and tribal tradition, there is still a car chase which feels like an extended advert rather than a narrative necessity.

Plus placing a central cast member in peril is severely undercut by the fact they've been viewed in the Avengers Infinity War trailer - Marvel marketing really must do better.

And yet, despite the familiarity of what transpires, and the richness of culture, as well as the depth of the acting talent, there's still a feeling of indifference in Black Panther's appearance.

It may well be Marvel fatigue rather than what's put on the screen because all of the deeply nuanced and empathetic cast turn in some impressive work - and manage to operate within the hammering home of certain messages over oppression and times to rise up sentiments.

But perhaps, and maybe just whisper this, there should be a little more?

Michael B Jordan has depth, Letitia Wright steals the show as the Q-inspired tech-obsessed sister of T'Challa, Danai Gurira continues to kick as much ass as Michonne does on The Walking Dead and Boseman imbues the Black Panther with the necessary gravitas.

Ultimately, while Black Panther is a fresh origin tale which feels reflective of the times and desires of the cinematic universe and world, it's fairly formulaic Marvel fare.

Setting aside the vital empowerment and diversity messages it eschews and boiling down the presentation of the elements, Black Panther really does nothing new with the franchise - aside from its casting and its strong female representation.

Sagging in parts, and grasping for greatness, its aims and ambitions can't be faulted - and its execution is well-realised by Creed director Coogler, but this Black Panther doesn't unfortunately quite roar when it should - even though it bears its teeth often and plentifully throughout.

Win a copy of Tommy's Honour

Win a copy of Tommy's Honour

TOMMY'S HONOUR - January 31
Starring Jack Lowden, Peter Mullan and Sam Neill
In every generation, a torch passes from father to son. 

And that timeless dynamic is the beating heart of Tommy's Honour - an intimate, powerfully moving tale of the real-life founders of the modern game of golf.



To win a copy, all you have to do is email  your details to this  address: darrensworldofentertainment@gmail.com or CLICK HERE NOW!

Include your name and address and title your email TOMMY!
Competition closes February 23th

This Beautiful Fantastic: DVD Review

This Beautiful Fantastic: DVD Review

Inhabiting a world where quirky abounds, fable This Beautiful Fantastic sets out its stall within its opening moments of voice-over.

Wearied and cynically scathing, Tom Wilkinson's character Alfie Stephenson decries his relationship with Bella Brown by explaining that "she would have perished, where it not for the ducks."

What follows is the kind of romantically saccharine but harmless fare destined to do well with an audience of a certain kind as the story of OCD Bella Brown (Downton Abbey's Lady Sybil Crawley aka Brown Findlay) unfurls.

Reclusive orphan Bella, who works at the local library and is bullied by the boss, finds her world is changed when her neighbour, the curmudgeon Alfie (wonderfully portrayed by Wilkinson) enters her life.

Whereas Alfie keeps a tidy garden, Bella fears the outside and has let hers run riot (the kind of terrifying NIMBYism so prevalent in the suburbs of Britain), much to his chagrin. Things are further exacerbated when Bella's landlord shows up, demanding she clean up or be thrown out. And to make matters worse, Alfie's cook (the ever-reliable Sherlock star Andrew Scott) decides enough is enough and decamps to the neighbour rather than enduring Alfie's bullying.

Negotiating a truce, the pair decide to help each other to their own mutual advantage with the landlord's deadline ticking ever closer.

This Beautiful Fantastic is a fable, wrapped in the trappings of a pantomime.

From the beautiful orphan princess to the ogre whose kind heart lies beneath a snarky veneer, it plays up the eccentricities of the characters to a level that's almost intolerable as it moves from narrative pillar to post.

Brown Findlay's initial OCD is sidelined and relatively forgotten as the story goes on, drowned in those around her's idiosyncracies. But she keeps a grounded approach to the story that revels in whimsy and a kind of English prissiness that is as pervasive as a weed in a suburban London garden.
There's great joy in Wilkinson's delivery of snide bon mots and cast-off comments; the curmudgeon suits him early on, before the inevitable thaw sets in. From complaining about the "horticultural terrorist" to the "unmitigated eco apocalypse" that's likely to befall him, surly suits the earlier oddities that threaten to drown the film's atmosphere.

There's a strong case to be had that Wilkinson's a veritable live action remake of the Victor Meldrew character in this, a Britain so irritated by the unimportant that it consumes him, though wisely writer and director Aboud never really imbues him with an edge of meanness.

And once again Scott makes an argument for why every character piece should have him involved; making the acting look easy and giving the whole thing a warmth and heart that grounds the fantastical elements prove to be a great boon here.

The whole atmosphere of the ever-so slightly charming This Beautiful Fantastic is one of fluff in many ways, as the classic misunderstandings present in the narrative in the expected places and the sitcom vibe ticks off the tropes.

And yet in among the sweetness of this piece as it moves in a ramshackle fashion towards its entirely predictable denouement, it's hard to deny its watchability, given it's bathed in such a warmth that it feels like a cloud, a kind of dreamy wish fulfillment in many ways. 

The Alliance Française French Film Festival Unveils Their 2018 Programme

The Alliance Française French Film Festival Unveils Their 2018 Programme

Celebrating 12 years of bringing the best of French cinema to New Zealand, the Alliance Française French Film Festival has unveiled the full programme for the 2018 Festival.

“After months of preparation and many many film viewings, we are delighted to present you with a film programme that proves le cinéma français remains as innovative and surprising as ever. The films presented show the full range of creativity and originality that make France’s cinema scene one of the most vibrant in the world.

Our dramas, comedies, biopics, period films, melodramas, family films and documentaries will make you travel the world and experience other stories — en français évidemment!

We are excited to raise the curtain on 6 weeks of French film in 14 cinemas throughout New Zealand. Enjoy!” — Festival director Dorothée Basel.

With a line-up of 37 films, the 2018 programme features several award-winning Festival titles including the Academy Award nominated Faces Places (Visages, Villages) by Agnès Varda and JR, Cannes Grand Prix and Queer Palm winner BPM (Beats Per Minute) (120 battements par minute) by Robin Campillo, Cannes Critics’ Week Nespresso Grand Prize winner Makala by Emmanuel Gras, and Cannes Camera d’Or winner Montparnasse Bienvenüe (Jeune Femme) by Léonor Serraille.

As in previous years, the programme includes a strong focus on female directors and creative talent. First features by up and coming filmmakers will play alongside work from established names such as Anne Fontaine (Reinventing Marvin, Marvin ou la belle éducation), Claire Simon (The Graduation, Le Concours) and Lisa Azuelos (Dalida).

Films featuring bold visionaries, auteurs of cinema and iconic songstresses prove the arts are well and truly alive in the programme with biopics such as Redoubtable (Le Redoutable) by Michel Hazanavicius, Barbara by Mathieu Amalric and Rodin by Jacques Doillon taking centre stage.

Exploring French language cinema beyond France, the 2018 Festival will take audiences on an international journey from Africa to Canada and to our closest neighbour New Caledonia. Special events in Auckland, Wellington and Christchurch will celebrate French language worldwide alongside the Alliance Française for the annual Soirée Francophonie evenings, and a range of themed introductions in partnership with art galleries, universities and festivals across the country will add to the viewing experience. To mark the end of the centenary of the First World War, a special selection of films set around La grande guerre also feature in the programme.

The Alliance Française French Film Festival will run from 1 March - 18 April 2018 in 13 cities across New Zealand. For full programme details including screening times, ticket information and dates and venues, visit www.frenchfilmfestival.co.nz

Annabelle: Creation: DVD Review

Annabelle: Creation: DVD Review

Cast: Anthony LaPaglia, Miranda Otto, Stephanie Sigman, Lulu Wilson, Talitha Bateman, That bloody creepy doll
Director: David Sandberg

There's just something inherently creepy about dolls.

Ask Chucky, and now ask Annabelle, the doll given life in the first Conjuring movie and unleashed into a prequel here by the director of the muchly impressive jump-fest Lights Out.

This prequel concentrates on the birth of Annabelle and on that front, it's rather tame.
Opening with Anthony LaPaglia's dollmaker Samuel Mullins sitting among doll body parts in a shed in the 1940s, like a bizarre kindly serial killer cum Gepetto, the doll is made and placed in a box with little to no fuss.

A little while later, during an innocent moment, Mullins and his wife (Miranda Otto) lose their daughter to tragedy and retreat in their isolated home to grieve.
Jumping a few years later, the Mullins open up their home to a busload of orphan girls and their guardian Sister (played by Spectre's Stephanie Sigman), giving them a place to grow up.

One, a polio-riddled kid called Janice (played with equal parts warmth and equal parts terror by Talitha Bateman) is an outsider from the group. In an homage to Rear Window, her life gets worse when she stumbles into a locked room and meets the doll...

Annabelle: Creation gets great truck from its creepy atmospherics, orchestrated to perfection by Sandberg, who delivers long drawn-out shots of freaky looking corridors, swamped in darkness and with ominous touches clearly present.

Smartly, Sandberg realises the ultimate reveal of the demon is a bit of a waste of time, and wisely confines his scares to moments within the house, long-drawn out scenes and lingering camera shots which simply focus on the expressionless eyes of the totally menacing doll.

Great manipulations of the use of sound also helps Annabelle: Creation achieve a spooky and sinister soundscape, even when things get silly around the protagonists. And while the idea of innocent children being repeatedly menaced isn't exactly new territory, Sandberg gets good mileage out of retreading familiar ground and making it appear fresh.

LaPaglia gives great mournful edges as the bereaved Mullins, Otto is slightly wasted; but the star of the film is 11 year old actress Lulu Wilson, who impresses mightily as Janice's lifelong orphan BFF with an assured turn that cements the extremely solid work she did in Ouija: Origin of Evil.

Even when the story becomes cliched and lapses into the trademark horror tropes of people doing intensely dumb things, Annabelle Creation works a suspenseful and smartly executed horror which never loses sight of what it wants to achieve.

Deeping the Creepy Conjuring Cinematic Universe, Annabelle Creation is a thoroughly solid chiller that rarely resorts to cheap tricks to frighten its audience but delivers exactly what they'd want and expect from a film of its ilk.