Crawl: Movie Review

Crawl: Movie Review

Cast: Kaya Scodelario, Barry Pepper, Crocodiles, a cute yapping dog
Director: Alexandre Aja

Sometimes, a film just simply does what it says on the tin.

Such it is with Crawl, an unabashed 87 minute B-movie creature feature that wastes no time simply setting up its premise, and then getting on with it.

Scodelario is a stoic and steely Haley, a swimming champion (fortuitous in later moments) whose fall from grace has coincided with her parents' splitting up. When a massive hurricane hits Florida, where she lives, she races to find her father (Pepper, grizzled and in a thankless role) as the flood waters begin to rise.

But trapped in their old house, the pair soon finds the biggest problem isn't the rising water - more what lies within in the form of gators, ready to snap...

There's very little to say about Crawl, other than it pits Haley, the former Apex predator in the pool, against the real life watery ways of the Florida marshes and flooded levees.

And it's, simply put, fine in places, stretched in others as it revels in its human vs immutable forces of nature edges.

Mixing Jaws and any other creature features is fine, but forcing the audience to believe their characters can display as much strength as they need to when they've been chomped is a bridge too far, and while the film's flaws don't divert they do distract from what's going on.

Keeping the watery shots to a minimum, and using the most of the space afforded to him, Aja mounts a reasonable case for tension, and delivers a few kills that will satiate some of the gorehounds in the audience. But a lack of a fuller cast makes Crawl's weaker moments stand out more as the walls close in.

It helps that Scodelario is watchable enough and has enough grit and compunction to keep the audience along for the ride, even when the script and the silliness starts to wobble.

It's not exactly a croc of a movie, but Crawl is a solid, if unspectacular, creature film that could have been shorter and as a result more taut. As it is, it's fine enough fare, and a weird counterpiece to Blake Lively's The Shallows.

NZIFF 2019 Q&A - Ant Timpson, Come To Daddy

NZIFF 2019 Q&A - Ant Timpson, Come To Daddy

My film is.... Come To Daddy

The moment I'm most proud of is ....
Ending up with something extremely close to the original vision for the film  

The reason I carried on with this film when it got tough is ....
Because films get finished with you or without you. So it’s usually better to hang in there even when the flames are climbing  higher 

The one moment that will resonate with an audience is....... 
When the alienated cyclops drives the stolen tank straight into the oil tanker and saves the whales! 

The hardest thing I had to cut from this film is........ 
That incredible cyclops sequence  

The thing I want people to take from this film is ......
Their wallets and phones  nothing worse than forgetting those after a good film  

The reason I love the NZIFF is.......
You get to travel to distant lands and galaxies without getting off your bum  

What I want to see at this year's NZIFF is......
Something that affects me that I have to tell everyone I know to go see it  

The one thing I'd say to aspiring filmmakers is..... 
If you’re a just aspiring then you’re not doing it right don’t aspire  PERSPIRE!

The Lion King: Movie Review

The Lion King: Movie Review

Vocal cast: Donald Glover, Beyonce, Billy Eichner, Seth Rogen, James Earl Jones, Chiwetel Eijofor
Director: Jon Favreau

The new version of The Lion King is visually phenomenal.

Imagine the Planet Earth team had been tasked with creating a photorealistic version of the Disney classic and ensuring your nostalgia rush was catered for as well, and you can encapsulate the goosebump moments of the Circle of Life as the sun rises above the plains.

It's an astounding feat that showcases what Favreau began with The Jungle Book and has once again raised the bar in terms of what visuals can offer - especially on the biggest screen available.

And yet the 2019 reimagining of The Lion King does little to tamper with the original's formula, other than dressing up the CGI and presenting the story as is.

Unfortunately as well, the emotion is somewhat lacking once the visual dazzle of the opening starts to fade, and you realise this is a spectacle above all else - whereas the original Lion King had heart, heart-stopping moments and heartbreak in spades.

It's partly due to the impassive nature of the lions' faces, from the cubs through to the leaders via the insidious Scar - the lions themselves can do little to emote, reminding you the cartoon faces of the original were so expressive, so OTT in places and so helpful at searing the whole thing into your heart.

Consequently, iconic lines and story beats feel simply like they're read aloud at a cast reading, and lack the effects the original had. Scar, while looking slumped and emaciated compared to Mufasa, lacks the cartoon villainy that made Jeremy Irons' delivery so delicious. The hyenas fare better, their dead eyes and sneers helping bring the menace and darker edges vividly to life.

And there are odd moments when the creatures don't actually seem to interact with their surroundings too, as if placed on top rather than in environments. Gravel doesn't move under their feet in the Elephants' graveyard, and there's a rather curious relationship with grass.

These sound like minor niggles - and in fairness, they are; but given how superlative Favreau's crafted his FX team to deliver, it's the small things which stand out in Disney's latest revamp of their cartoon catalogue.

Thankfully, Timon and Pumbaa (Eichner and Rogen respectively) add much to proceedings and serve to enliven events after you begin to feel the scales falling away from your digitally-impressed eyes.

The problem is ultimately that the 2019 version of The Lion King, while overstuffed with animals, is never its own beast - there's hardly a moment within that doesn't remind you of the original.

It's not enough to be a fatal flaw for the Lion King, and certainly in terms of spectacle, the film overdelivers in a wonderful way; but is it likely to be as timeless as the original's more basic edges?

That seems distinctly unlikely, and while audiences will adore this version in the way Disney wants, you'd be hard pressed to say it's anything more than nostalgia that helps you feel the love tonight.

NZIFF Q&A 2019 - David Nash - A Seat at the Table

NZIFF Q&A 2019 - David Nash - A Seat at the Table

Our film is.... A Seat at the Table

The moment I'm most proud of is....Finishing it. Although, I think it’ll be pretty special moment for Simon & I sharing it at The Civic with many friends and family that have been along for the journey since day one.

The reason I carried on with this film when it got tough is..... I don’t think I ever got to a point where I wanted to give up.  I produced this film with a talented good friend Simon Mark-Brown, which helps when you have some dark moments, the other person can take the lead and run with it for a while.  The one thing that drove me through the post-production (which was the most torturous) was thinking of all the people who had invested their time and energy in supporting this film, people giving up their busy days to be interviewed, hosting us – I would never be able to tell those people we gave up on this story.  There were plenty of tough times, wine helps!

The one moment that will resonate with an audience is....... For almost a year I tried to get an introduction to Domaine de la Romanée-Conti.  They’re the most famous winemakers on the planet, and as it turns out really hard to get a hold of.  By luck and a bit of gall I acquired their phone number when we were in Burgundy, France about 5min drive away.  Bertrand Remaut our DOP had the agility and speed to film that phone call from the back seat of the car.  It makes the final cut.

The hardest thing I had to cut from this film is........ People who had brilliant things to say.  There were quite a few producers who sadly didn’t make the final cut.  Not because they didn’t come across well on camera, the story just evolved and we simply couldn’t cover every question scripted.  

The thing I want people to take from this film is ...... That they’ve seen the definitive New Zealand wine story.  I think people who know nothing about wine will love this film as it’ll will give them an instant understanding of the world of wine and where NZ fits.  For people who love wine, it’s their favourite producers sharing some amazing stories with a view shown of the industry that we don’t see enough of.

The reason I love the NZIFF is....... It’s an incredible platform where first time filmmakers can share their films alongside some of the most exciting films direct from Cannes.  The team at the NZIFF are an incredible group of film lovers (could be a doco in itself) the compressed hard work, personal sacrifice and genuine love that they provide for filmmakers is the perfect rehab-facility for re-entering the world after making a feature length film.

What I want to see at this year's NZIFF is...... Amazing Grace, I love documentaries – that’s part of the reason why I made one, but more importantly I love that era of music.  Can’t wait.  

The one thing I'd say to aspiring filmmakers is..... Just keep going.  Even if it feels a bit rubbish, even if everyone you respect tells you it’s a bit shit – if you believe in what you are doing… just keep going.  You’ll learn more from finishing (even if you don’t want to show anyone) than from giving up.  And, most importantly, like all creative endeavours filmmaking has a really ‘messy middle’.  The start is fun, then it’s really hard – a bit of a drag and then suddenly you pop out the other end and it’s done, it’s great and you look like you knew what you were doing all along.  Just keep going.

Fighting With My Family: DVD Review

Fighting With My Family: DVD Review

Much like a wrestling match itself, Fighting With My Family is a crowd-pleasing piece of performance, that occasionally flounders on the ropes, but ultimately wins with a KO.

Based on the true story of Saraya-Jade Bevis (aka Paige), this sports underdog yarn boasts all the feels and heart of your typical sporting movie.

Pugh and Lowden are sister and brother, Saraya and Zak, whose UK lives have been shaped permanently by wrestling, as they've been brought up by their parents (Frost and Headey, both amiable and amusing, but grounded and real), who are wrestling-obsessed.

When the duo get a chance to try out for the WWE in the US under Vince Vaughn's talent scout , not everything goes to plan...and could potentially open up a chasm between the family.

Fighting With My Family is essentially a Christmas movie, with Dwayne Johnson playing Fairy Godfather.

Its beats are familiar, and its genre tropes are all ticked off as it powers through its running time.

And yet, it's more than watchable fare that has a gooey heart to show, as well as an inspiring story of girl Paige's rise to the top. (Pertinent in these times, obviously).

It helps that Pugh and Lowden make a good on screen brother and sister, with Lowden dealing well with a complex and realistic arc as events transpire; he manages to elevate the cliches into something that's eminently identifiable, and gives his arc of finding your place in the world a fresh feel despite its hoary familiarity.

Equally, Pugh builds on promise demonstrated in the likes of Lady MacBeth to show a tough, but occasionally vulnerable, woman trying to make her way in a man's world.

Merchant's script gives the lion's share of the one-liners to Frost, who delivers them with the usual aplomb, and to crowd-pleasing knockout effect. But the script's also smart enough to occasionally pull the rug from under you, and deft writing helps sell some of the more improbable edges.

While Merchant's directing is fairly formulaic, he does give the wrestling both at the WWE and in the UK heartland a sense of place, scale and nuance that's commendable.

Ultimately, Fighting With My Family is a nicely packaged piece about family as well as hopes and dreams. It's a knockout piece of fun that delivers where it should and is unashamedly happy to be feelgood where it counts. 

Films to watch out for at the 2019 New Zealand International Film Festival

Films to watch out for at the 2019 New Zealand International Film Festival

Every year, the phrase "cinematic smorgasbord" is bandied about, but every year, the choice is close to immaculate.

The 51st annual festival is no exception, bringing as much delight to cinephiles as it does distress by providing yet another scheduling frenzy.

Don't look to the experts to guide you on what's best to see - sometimes, it's a case of throwing a pin in the air, and seeing where in the programme schedule it lands.

These are the best moments of the festival - the unexpected joy of an unplanned screening.

But if you have to take some solace in what others think, these pointers may help.

2040 is the most optimistic film of the festival.

That Sugar Film's Damon Gameau (who'll be in NZ for the festival) decides to turn the spotlight on the planet and its future in a 90 minute piece of positive propaganda that zips by.

Centring around what he believes would work best for his daughter Velvet for the state of the planet, Gameau explores "fact-based dreaming" to see schemes from around the world that could help.

From grid-sharing in Bangladesh to autonomous cars, Gameau may inspire others, but he'll definitely frustrate some who are after some of the more political reasons why these can't be put in place, and why dreaming can only get us so far.

But the guarantee is that you'll leave the cinema galvanised and positive, rather than than terrified at what destruction your coffee cup will wreak.

Terrifying satirist Chris Morris is back with The Day Shall Come, a film that will be seen regardless by fans of his.

Four Lions a few festivals back brought raucous laughter with its clueless bunch of English jihadi, but in among the inept, real pathos lay, delivering a movie that worked on many levels.

Early word is that the absurd is present again in The Day Shall Come, and that the war on terror will never look the same.

Big events are what the NZIFF is known for - and you can't go bigger than Apollo 11 on the mighty Civic screen.

50 years on from the lunar landing, it's fortuitous the festival falls at the same time. However, conspiracy theorists would probably beg to differ....

Equally, Francis Ford Coppola's Apocalypse Now Final Cut should be thunderous too, with the three hour vision of the Vietnam film likely to thrill as much as tantalise.

Low key is also good for the festival - and Hail Satan?'s mix of high level trolling and examination of America's schisms over intolerance for other ideas gives the doco a kind of quirky feel that's hard to shake.

But it does expose the intolerances which have festered greatly within the US, as well as showing an organisation perceived as devilish, but which still has enough community nous to volunteer to clean a stretch of beach for a year. It exposes the paradigms, and does so playfully.

Hale County This Morning, This Evening looks promising too.

A short doco about African Americans in Alabama, the examination of community promises much, and given there was 1300 hours of footage to cull down, 76 minutes seems rich enough pasture to dwell in.

These are just a handful of what's out there - others like In Fabric, High Life, Come To Daddy all command your attention as well.

The New Zealand International Film Festival kicks off in Auckland on July 17. For more, go to nziff.co.nz

Pet Sematary: Blu Ray Review

Pet Sematary: Blu Ray Review

The 2019 remake of Pet Sematary knows what it wants to do.

But unfortunately, in parts, its weaker characters and wider film squanders some of the chance of doing it so.

Clarke and Seimetz play Louis and Rachel Creed, parents who've relocated to the apparently idyllic countryside for an easier life, and to spend time with their young family.

However, when their cat Church is killed by a passing truck, Louis finds an offer of a burial from neighbour Judd (Lithgow, in venerable and stoic form) too irresistible to refuse....and before they know it, their world's changed in ways they could never have imagined.

Pet Sematary may have big themes such as dealing with death and the wider effects of grief, but it squanders most of the well-done earlier edges in favour of traditional jump scares, brooding and foreboding  and creepy edges.

The final result is that parts of the plot creak with the silliness that's clearly been imbued in them by the original pulpy schlocky page turner from Stephen King. And while parts of the movie deviate from the book, the 2019 version is more a portmanteau of jump scares and creepy scenes, rather than a coherently paced story.

That's not to say when they come, the jump scenes don't work, but towards the back half of the film, the scares border on the silly rather than the horrific and sequences which should be terrifying end up more laughable than anything.
Pet Sematary follows the Stephen King writing MO - it has a great set up, but the final portion falls over under either close scrutiny or the weight of what it's been set up for. It's not that the 2019 version isn't unentertaining enough, it's just that paper-thin characters with largely underexplored themes don't create enough of an engaging finale, and wider themes are used solely as a lazy crutch for scares.

Ultimately, the 2019 Pet Sematary is to be lauded for some initial creepiness, and some unnerving moments that catch you off guard. It's just that in the final wash, the schlock overwhelms the B-movie edges and drowns it in a madness that's hard to shake.