Film Stars Don't Die In Liverpool: DVD Review

Film Stars Don't Die In Liverpool: DVD Review

Lauded for Annette Bening's performance as the fading Hollywood star Gloria Grahame, the play-like Film Stars Don't Die in Liverpool benefits more from a career-best performance by Billy Elliott's Jamie Bell as her former lover Peter Turner.

Adapted from Turner's memoir about the relationship, the film follows Turner's reflections on their relationship as he looks after her in her dying days.

When Grahame collapses backstage at a performance of The Glass Menagerie, Turner is called - and despite his initial reticence, he brings Grahame back to his Liverpool home - wonderfully populated by Julie Walter's spot-on mother.

As the end grows nearer for Grahame, Turner is conflicted by the bittersweet recollections - and the audience is regaled with them, taken to dizzying highs before the ebb of the crushing lows swallows all.

Opening with old style film credits, as the celluloid ripples through shutters, the film's very much got the feel of a two-hander play and shifts between scenes are beautifully handled as they blend into each other.

It's a biopic at heart, and while there is an argument to be made that little happens and the characters are kept at their most basic, there's also enough to be said about the arc that Bening imbues Grahame with in her twilight years and the range of emotions that Bell conveys as Turner.

As the film shifts into conventional weepie territory at the end, the tour de forces are slightly dulled by the narrative necessities and conflicts that play out.

But what transpires prior to this, is bested by a quiet intensity of Bell's portrayal as his part in a doomed relationship. It's a turn that gives Bell one of his chances to provide an extremely strong turn - and he doesn't remotely disappoint.

Film Stars Don't Die in Liverpool is never better than when it follows the giddy highs of their relationship, from the backstage betrayals to the jealousies of Hollywood's scene - there's more than enough here to give you a feeling of the time (particularly thanks to the use of actual Grahame footage).

There are whipsmart tart moments in the dialogue which greatly help the melancholy feel of the film and give Bening's 50s screen siren a hint of sadness.

But in the final stretch, the film forsakes actions in favour of words, leading to the feeling of exposition in among the love story that drags the fresher approach of an older relationship down a notch.

Ultimately, Film Stars Don't Die in Liverpool is powered by Bell's performance; it may be his co-star's twilight luvvie turn which is getting the adulation, but Bell's commitment and depth to the role guarantees the film its emotional core throughout. 

NZIFF 2018 Cannes line up confirmed

NZIFF 2018 Cannes line up confirmed

Direct from Cannes: 30 films to premiere at NZIFF 2018

Thirty films direct from the Cannes Film Festival are confirmed to screen at NZIFF 2018. Eleven are from the Competition section of the festival including Palme d’Or winner Shoplifters, Jury Prize winner Capernaum and Best Screenplay winners (tied) 3 Faces and Happy As Lazzaro.

Birds of Passage, the opening night film from the 2018 Directors’ Fortnight will also be opening 

NZIFF in Auckland on Thursday 19 July. Cold War from Polish director Pawel Pawlikowski (Ida), winner of the Best Director prize, will screen as the official closing night film of NZIFF. 

“We have worked hard to bring a diverse selection of Cannes films to New Zealand screens for New Zealand audiences. It’s always a mad scramble for us, as the Cannes screenings are inconveniently close to our programme cut-off. The upside is that New Zealand audiences get to be amongst the first in the world to see the very latest and best in international cinema. Whatever its idiosyncrasies, Cannes still sets a very high bar, and this year’s selection proves it all over again,” says NZIFF director Bill Gosden. 

“It’s no accident that Cannes titles grace some of our top spots, beginning with the stunning Birds of Passage on opening night, including the deeply humane and moving Palme d’Or winner Shoplifters;  and ending with the dazzling Cold War as our official closing night.” says Gosden.

The Cannes Films are:

In Competition

3 Faces

“Charming Iranian cinema at its purest… Once more defying a filmmaking ban, Iranian director Jafar Panahi sounds the depths of traditional values in a road movie with actress Behnaz Jafari.” — Deborah Young, Hollywood Reporter

https://www.nziff.co.nz/2018/film/3-faces/

Ash is the Purest White

The transfixing Zhao Tao plays a tough, resilient woman in love with a small-time hoodlum in Jia Zhang-ke’s epic gangland romance, set against China’s relentless modernisation in the 21st century.

https://www.nziff.co.nz/2018/film/ash-is-purest-white/

Burning

A love triangle and mystery based on a Murakami Haruki short story, Korean great Lee Chang-dong’s (Secret Sunshine, Poetry) latest was the best-reviewed film at Cannes, an unforgettable now-or-never must-see on the giant Civic screen.

https://www.nziff.co.nz/2018/film/burning/

Capharnaüm

A runaway boy sues his parents for bringing him into the world in this sprawling tale of against-the-odds resilience. “Nadine Labaki’s journey through the slums of Lebanon thrills with compassion and heart.” — Anna Smith, Time Out

https://www.nziff.co.nz/2018/film/capharnaum/

Cold War

Winner of the Cannes Best Director award, Paweł Pawlikowski (Ida) has crafted a brilliant, kaleidoscopic vision of 1950s Europe, bursting with music, dance and the turbulent love of two musicians caught between East and West.

https://www.nziff.co.nz/2018/film/cold-war/

Dogman

Matteo Garrone (Gomorrah) returns to the scene of the crime with this jaw-dropping, based-on-fact tale of a timid dog lover driven to terrifying extremes when he hitches his star to a human beast he cannot control.

https://www.nziff.co.nz/2018/film/dogman/

Happy as Lazzaro

Direct from Cannes where it shared the Best Screenplay award for its amazingly inventive script, Alice Rohrwacher’s seductive rural fable applies fairy-tale logic to explore the troubled soul of Italy.

https://www.nziff.co.nz/2018/film/happy-as-lazzaro/

Leto

An exhilarating exploration of freedom under restraint from a director under house arrest, this resonant, exuberant picture of musicianship and band life is based on the lives of two stars of pre-perestroika Leningrad rock.

https://www.nziff.co.nz/2018/film/leto/

Shoplifters

This year’s surprise Cannes Palme d’Or winner is one of Japanese director Kore-eda Hirokazu’s finest films, about a loving, unconventional family making ends meet on the margins of Tokyo.

https://www.nziff.co.nz/2018/film/shoplifters/

The Image Book

The latest essay film from Jean-Luc Godard, still going strong, is a dense yet intellectually dexterous vision board on cinema, image-making and the state of the world.

https://www.nziff.co.nz/2018/film/the-image-book/

The Wild Pear Tree, Nuri Bilge Ceylan

Turkish master Nuri Bilge Ceylan’s latest follows a would-be writer’s reluctant return to his small-town fold, spinning an extensive series of encounters into a typically rich, wry, melancholic mood-piece.

https://www.nziff.co.nz/2018/film/the-wild-pear-tree/

2018 Critics’ Week: opening film

Wildlife

In Paul Dano’s ace directing debut, Carey Mulligan and Jake Gyllenhaal capture the cracks that occur in a marriage when a young wife kicks against the constraints of 1950s domesticity.

https://www.nziff.co.nz/2018/film/wildlife/

2018 Critics’ Week: Competition

Diamantino

A universally adored, very loving but somewhat clueless Portuguese soccer star is co-opted for nefarious political ends in this outrageously bonkers satire of vacuous media and surging nationalism in Europe.

https://www.nziff.co.nz/2018/film/diamantino/

Woman at War

Iceland’s Benedikt Erlingsson (Of Horses and Men) winningly mixes absurdist comedy and tense thriller, with Halldóra Geirharðsdóttir as a fearless eco-warrior, juggling environmental action and foster motherhood.

https://www.nziff.co.nz/2018/film/woman-at-war/

2018 Director’s Fortnight

Birds of Passage (opening night)

The ancient traditions of Columbia’s indigenous Wayuu are shaped by an ambitious matriarch to stake a place for her clan in the burgeoning drug economy of the 1970s. This spectacularly original film opens NZIFF18.

https://www.nziff.co.nz/2018/film/birds-of-passage/

Climax

Direct from Cannes, the latest sensation from French cinema’s premier provocateur Gaspar Noé (Enter the Void) is his best yet, an exhilarating 1990s techno dance musical that spins out into collective freak-out.

https://www.nziff.co.nz/2018/film/climax/

Leave No Trace (previously announced)

New Zealand actress Thomasin Harcourt McKenzie is mesmerising as 13-year-old Tom living off the grid with her war vet father (Ben Foster) in this haunting new film from the director of Winter’s Bone.

https://www.nziff.co.nz/2018/film/leave-no-trace/

Mandy

“Panos Cosmatos’ follow-up to Beyond the Black Rainbow is a gloriously lurid mock-80s revenge quest that aims a raging, roaring Nicolas Cage at villains from another dimension.” — Katherine McLaughlin, Sight & Sound

https://www.nziff.co.nz/2018/film/mandy/

Mirai

Direct from Cannes, this charming For All Ages anime from Hosoda Mamoru (Wolf Children, The Boy and the Beast) takes a richly imaginative toddler-eye view of a new arrival in the family.

https://www.nziff.co.nz/2018/film/mirai/

Petra

In this constantly surprising, exquisitely appointed drama, a young painter secures a residency at a large family estate in the Catalan countryside to study under the ageing artist and owner she suspects is her father.

https://www.nziff.co.nz/2018/film/petra/

Samouni Road

A captivating portrayal of the human impact of the Middle East conflict, told with a deft mix of live action and animation, Samouni Road reveals the impact on one extended family of Israel’s brutal 2009 assault on a Gaza village.

https://www.nziff.co.nz/2018/film/samouni-road/

The World is Yours

Isabelle Adjani is the safe-cracking matriarch and Karim Leklou is her son who longs for a Mr Freeze franchise and a quiet life in this Cannes hit, a rollercoaster crime caper from writer-director Romain Gavras.

https://www.nziff.co.nz/2018/film/the-world-is-yours/

Cinema De La Plage

Le Grand Bal

Filmmaker Laetitia Carton draws us into the beating heart of the traditional dance festival that attracts dancers and musicians from across Europe every summer to Gennetines in central France.

https://www.nziff.co.nz/2018/film/le-grand-bal/

Midnight Screening

Arctic

This snowbound endurance thriller, shot spectacularly on location in Iceland, stars Mads Mikkelsen as the sole survivor of an air crash, stranded somewhere in the barren wastlelands of the Arctic.

https://www.nziff.co.nz/2018/film/arctic/

Un Certain Regard

Border

An ingenious and twisted blend of crime drama and supernatural romance, this thrillingly unpredictable Swedish film from the writer of Let the Right One In delivers a fresh spin on Nordic mythology.

https://www.nziff.co.nz/2018/film/border/

Donbass

Ukrainian documentarian and writer/director Sergei Loznitsa takes a sprawling dark comedy, with a vast ensemble cast, to evoke purposely manufactured social breakdown in the Donbass region of his homeland.

https://www.nziff.co.nz/2018/film/donbass/

El Ángel (NB: not screening in Auckland)

Co-produced in style by Pedro and Augustin Almodóvar, this provocative true crime drama explores the short violent career of Argentina’s most infamous and longest-serving convicted killer, a baby-faced teenager.

https://www.nziff.co.nz/2018/film/el-angel/

Girl

Belgian filmmaker Lukas Dhont won the award for best first feature at Cannes with this empathetic, emotionally rich portrait of a 15-year-old trans girl who aspires to become a ballerina.

https://www.nziff.co.nz/2018/film/girl/

Rafiki

Fresh and brave, Kenyan director Wanuri Kahiu’s tender, exuberant teenage lesbian coming-out tale has been banned in Kenya and celebrated in Cannes.

https://www.nziff.co.nz/2018/film/rafiki/

The Harvesters

Set in the conservative Afrikaner farming country of South Africa’s Free State, this brooding drama pits the teenaged son of a deeply religious family against the adopted brother he believes will usurp him.

https://www.nziff.co.nz/2018/film/the-harvesters/

NZIFF is run by a charitable trust and encourages lively interactions between films, filmmakers and New Zealand audiences in 13 towns and cities around the country. The full NZIFF programme will be available from Tuesday 26 June for Auckland, Friday 29 June for Wellington, Monday 9 July for Christchurch and Monday 19 July for Dunedin. NZIFF starts in Auckland on 19 July, in Wellington from 27 July, in Christchurch from 2 August, and in Dunedin from 9 August in 2018.

Kangaroo: A Love-Hate Story: Film Review

Kangaroo: A Love-Hate Story: Film Review

Director: Kate McIntyre Clere, Michael McIntyre

It's probably easier to title doco film Kangaroo: A Polemic given how the directors are clearly pulling the animal activist angle, aiming to enrage and engage the world over treatment of the kangaroo.

It's the national icon of Australia - from their airlines to their football teams, the roo is symbolic of the nation. But according to the directors, the relationship in reality is different to the idealised one swathed in nostalgia and patriotism.

Starting with nighttime footage of a spotlight shining on a kangaroo, then a series of shots ringing out, it's clear the directors are going for the jugular, not messing around with emotional manipulation and aiming to shock.

Complete with music from a horror film, building to a crescendo before the crack of the shot rings out, it's fairly obvious the tone the directors want to strike with this piece - and while that's understandable, it's not exactly like this doco is as balanced as you'd hope for. Though, in fairness, as they uncover the levels of mistreatment and the combination of food implications and national pride / denial over what's going on, anyone who proved to be pro-the kangaroo culling may find themselves targetted.

However, it's telling that some of the language borders on hyperbole, with a plague proportions line bandied around repeatedly, with no scientific qualification for the claims.

But Kangaroo - A Love/ Hate Story does raise some shocking issues, exposes some divides within our trans-Tasman cuzzies and proffers up more questions than answers.

From consumers saying their pets devour kangaroo meat to claiming that they're not sure about it, it's obvious that a discussion needs to be had over harvesting of kangaroos, the fact the National Heart Foundation's given the meat a health tick and that legislation is as effective as a wet bus ticket.

More interesting, the directors don't hold back from showing what's on offer.

From the opening shots of the hunting to some truly disturbing shots of what is done to the creatures and a land-owner discovering what looks like a massacre, with limbs and fly-ridden heads on the ground, Kangaroo - A Love/ Hate Story does expose the cruelty that's going on unnoticed.

Equally shocking is footage of a land-owner who's purchased land for protecting the roos and who is living in fear after her farming neighbours head out nightly to shoot the animals as they are legally allowed to do so - even if they're not on their own land.

Unlike Trophy, which screened at last year's New Zealand International Film Festival,  Kangaroo - A Love/ Hate Story may not have the balance of a difficult topic mastered, but it does, however, effectively pour fuel onto a fire that clearly needs to be talked about sooner rather than later in a nation that is so clearly unaware of what's going on.

Insidious: The Last Key: Blu Ray Review

Insidious: The Last Key: Blu Ray Review

A final outing for the Insidious series sees the Blumhouse pile it low, return it high creativity hit a bit of a dead end.

Centring on the series' resident psychic Elise (Lin Shaye), the latest sees her called back to her family home to deal with the ghosts who are once again haunting the house. But unsurprisingly, she has her own demons to deal to as well.

Set up with a great prologue that delves deeper into Elise's background and shows that the cruellest of spirits actually dwell in the real world, the film decides to then settle for the usual mix of genre shocks and soundtrack related bumps as it continues its tale.

With a mix of comic relief thanks to two of Elise's sidekicks (one of whom looks like a schlubby Vincent Vega), the film tonally doesn't quite seem to know what exactly it wants to be.

Jumping back and forth between flashbacks to Elise's monstrous father, and then moving into family troubles in the present, complete with low rent atmospherics, Insidious: The Last Key doesn't seem to know what to do with its 74-year-old lead (a welcome change to the usual female in danger fare).

It's a shame, because at its heart, Insidious: The Last Key has a series of haunting moments (albeit mixed with a very bizarre Room-like twist) and the soundscape is certainly menacing enough, when it doesn't rely on the OST to provide all the bumps for the things in the night.

Shaye does various degrees of horrified as she wanders through a basement, but ultimately, Insidious: The Last Key doesn't really do or offer anything interesting with its histrionics and and tropes.

The most insidious thing about all this is how much it simply goes through the motions and wastes what opportunities it actually has to be a game changer. 

Further New Zealand Films Confirmed to Screen at NZIFF 2018

Further New Zealand Films Confirmed to Screen at NZIFF 2018

Three New Zealand documentaries have been added to the New Zealand International Film Festival (NZIFF) line-up for 2018.

Celia, a documentary tribute to Celia Lashlie by former current affairs journalist Amanda Millar, and She Shears, the debut documentary by Jack Nicol about women competing for world titles in the male-dominated industry of sheep shearing, are confirmed to have their world premieres at NZIFF. The New Zealand premiere of Dog’s Best Friend by director Eryn Wilson will screen in Auckland and Wellington.

“The staunchest, inspirational and most vocal of prison reform advocates Celia Lashlie left us far too soon in 2015. Thankfully her friend Amanda was there to capture her final interview which forms the heart of the documentary about Lashlie and her legacy. Further inspirational women can be found in She Shears, Jack Nicol’s observational look at the world of competitive sheep shearing, where women compete alongside men to be the best in their profession. Eryn Wilson’s documentary, set at an Australian animal rehabilitation centre, proves you can actually watch a bad dog turn good,” says NZIFF Director Bill Gosden.

About these New Zealand films:

Celia

Director/Producer: Amanda Millar

Amanda Millar’s moving documentary celebrates the enduring legacy of Celia Lashlie, a passionate advocate for social interventions that equipped those long deprived of choice with the tools for responsible decision making.

“Every child is born pure and filled with their own pure brand of magic.” — Celia Lashlie

https://www.nziff.co.nz/2018/film/celia/

Dog’s Best Friend

Director: Eryn Wilson

Producers: Gareth Wallis, Eryn Wilson

A surefire fix for animal lovers and a valuable sketch for skeptics, this warm doco from Kiwi director Eryn Wilson offers us intimate access to an Aussie rehab centre for troubled dogs.

“The only reason I’m on this earth is to be with dogs. This is all I know. This is all I’ve ever known. This is all I want to know.” — Jacob Blake Leezak, Canine Behaviour Expert Dog Psychology Centre founder

https://www.nziff.co.nz/2018/film/dogs-best-friend/

She Shears

Director: Jack Nicol

Producers: Georgina Allison Conder, Ainsley Gardiner

Presented by Miss Conception films, who focus on female-led stories, this fresh dispatch from the heartland introduces two legendary shearers – and three in the making – as they head for black-shirt glory at the Golden Shears.

“I always try to make it not guys vs. gals, just competitors vs. competitors.” — Emily Welch

https://www.nziff.co.nz/2018/film/she-shears/

NZ films at NZIFF are proudly supported by Resene. NZIFF is run by a charitable trust and encourages lively interactions between films, filmmakers and New Zealand audiences in 13 towns and cities around the country. The full NZIFF programme will be available from Tuesday 26 June for Auckland, Friday 29 June for Wellington, Monday 9 July for Christchurch and Monday 19 July for Dunedin. NZIFF starts in Auckland on 19 July, in Wellington from 27 July, in Christchurch from 2 August, and in Dunedin from 9 August in 2018.

Red Sparrow: Blu Ray Review

Red Sparrow: Blu Ray Review

Based on the first of Jason Matthews' trilogy of books, Red Sparrow unfortunately struggles to make a real case for further escapades to be filmed.

Lawrence stars as ballet star Dominika Egrova, whose career is cut short by a tragic accident - though it seems suspicious, the first of Red Sparrow's weaker attempts to set up ongoing mystery and subterfuge.

When her shady uncle (Schoenaerts, surely no coincidence that he looks like Putin with his pushed down hair and pallid complex) approaches her offering a chance of money, she's thrust into the world of espionage, via way of training in Sparrow school.

Headed by Rampling's icy matron, Sparrow school dehumanises its subjects and teaches them to use themselves as weapons in the fight for the motherland and against the invaders.

Soon, Dominika is assigned her first task - to infiltrate Joel Edgerton's CIA Agent Nate Nash's world as part of an international sting.

Extraordinarily stretched out into an over-long 135 minutes, Red Sparrow struggles to engage from the get go.

When viewed through the current prism of social concerns, it's a queasy watch with Lawrence's character feeling manipulated throughout, even though there's talk of her having free will to decide what to do.

It's never the case though, and with men who are varying degrees of creeps pulling the strings and sexually manipulating her, it's an odd feeling to sit through. It helps little that Lawrence delivers a cool, fierce and detached turn, with her aloofness proving as hard to thaw as the Russian snow which peppers some of the shots.

There's a steely feel to Lawrence's performance throughout, and in some ways, it's about a woman learning about control and growing, but it doesn't stop it feel less uncomfortable as time goes on. And while the end twists hint at more, the barbed treatment throughout makes it a difficult watch.

Edgerton has a grounded humanity to his role, but he and Lawrence fail to fire up the screen and consequently, parts of Red Sparrow feel robbed of the push and pull and tension that a good, gritty complex spy thriller should impart.

There are moments of good characters which shine through - Rampling's stoic turn in particular stands out, and there's a feeling of nuance and backstory which could easily lead to more.

Ultimately, the anti-climactic end of the Red Sparrow throws a shed-load of plot at frustrated and numbed viewers. While it doesn't pander to basil exposition to engage its audience, and tries for complex, what evolves is more muddled and muddied than anything. 

Jurassic World: Fallen Kingdom: Film Review

Jurassic World: Fallen Kingdom: Film Review

Cast: Chris Pratt, Bryce Dallas-Howard, Rafe Spall, Jeff Goldblum, BD Wong
Director: JA Bayona

"Save the dinosaurs on an island that's about to explode - what could possibly go wrong?"

This line uttered by Chris Pratt's returning dino handler Owen speaks volumes to the simplicity of what the latest Jurassic Park movie should be doing, but which somehow manages to fail due to a script that feels rote and a sense of wonder that's missing in a series of action sequences that don't quite light up the screen.

Four years after Isla Nublar's Jurassic World was shut down, there's a debate going on whether to save the dinos from extinction after the once dormant volcano explodes into life. (One of the greater threads of the film is animal activism, and it's jettisoned early on).

Pulled into the debate by a philanthropist is Dallas Howard's Claire (returning this time less in high heels, more in combat boots). Offered the chance to save the animals as part of a military expedition, she heads to recruit ex Owen (Pratt, in a curiously muted and downbeat turn) to try and ensure that beloved raptor Blue makes it back out alive.

However, it turns out all those involved higher up aren't exactly on the level....

Jurassic World: Fallen Kingdom is a curious beast, and even in the hands of The Orphanage and The Impossible director Bayona, it never quite manages to bridge the gap between sequel to become its own thing and its need to set-up for the threequel.

Clearly, Bayona can handle the CGI action early on on the island, with flying debris and creatures cluttering the screen with relative ease- complete with obligatory T-Rex roaring as something chaotic happens in the background.

But it's the human element that suffers, and with the creatures not feeling as fresh as before, there's a terrible sense of deja vu that hits Fallen Kingdom, crippling what becomes of its second half.

The series has always delighted in the humans, the folly of science gone mad, and the small intimate touches that bonded us to their plight and stopped accusations of their insanity. Think back to the first film and how the kids forced Sam Neill and Laura Dern together into becoming a nuclear family, with the long-suppressed survival instinct thrust to the fore.

This is not what Jurassic World: Fallen Kingdom wants to achieve.

Its flaws in logic, its desire to set the back half into a horror movie and its nostalgic touches (that wing mirror moment, a few echoed sequences from the first film) mean the Fallen Kingdom lacks the tension it needs.

That's not to say there aren't effective scenes, familiar to Bayona's wheelhouse.

A sequence involving a child in a bed, stalked by a creature and its talons is nightmarish, riffing on many a childish fear that monsters are coming for you at night, is tremendously effective. And Bayona makes fantastic fist of shadows and flashes of light, giving what is a rote cliche of the horror genre a fresher and compelling touch.

But it's not enough in a script which sees characters acting deliberately stupidly as the slasher / stalker movie goes on. And it's certainly not enough in a film series whose prime MO is evoke wonder. Dallas Howard's Claire even evokes that by intoning of the wonder and marvel felt the first time you see a dinosaur in the flesh - that was always the Jurassic Park's raison d'etre - a sense of wonder and marvel made real, dazzling and terrifying back in 1993.

That's sorely missing this time around.

Most of that has been jettisoned in this latest, unfortunately, and Fallen Kingdom emerges feeling like a blockbuster that's the sum of its parts and little more. Bayona was on a tricky wicket with this one, unable to repeat the formula and yet weighed with a necessity to bridge, and as a result, clearly the majority of the film feels like set-up in extremis.

However, the desire to jettison the core reason in favour of gene-splicing shenanigans and mad villains backfires on Fallen Kingdom. A third film is underway, and those involved would be wise to either look seriously how to evolve the series.

As Jeff Goldblum's Dr Grant once said: "Life finds a way" - and the writers will need to for the 2021 Jurassic World film, rather than force the franchise into early and welcome cinematic extinction.