Little Woods: DVD Review

Little Woods: DVD Review

The "one last job before I retire" trope is as old as the hills themselves, but what director Nia DaCosta and actress Tessa Thompson bring to the hoary cliche is a degree of humanity and empathy in Little Woods.

Thompson is Ollie, a one time opioid dealer to the North Dakota fracking workers. Caught after a border run went wrong and under probation with just 10 days to go, Ollie finds herself facing desperate measures and multiple financial hardships.

But when her struggling adopted sister and solo mother Deb (Lily James) finds she's about to give birth again and needs a place to live, the clock's ticking to get together $3,000 cash to ensure their house isn't foreclosed on.

So, despite wanting a clean break, Ollie is forced back into the one thing she knows well, but doesn't want to do.

As mentioned, the plot isn't exactly original, but what DaCosta and Thompson - and to a large degree, James - bring to the table is a female perspective on middle America, the struggles of those under pressure, and the face of the Opioid crisis.

This is no Breaking Bad though, with Thompson providing subtle contrasts in her Ollie as she debates the morals of the right thing to do. It's very much a story of the times, and told in an unfussy manner, with tension being ratcheted up in a smaller, more intimate setting on the screen.

There's a great deal of empathy radiating from these characters, and while some of the dialogue doesn't feel natural, there's no denying Thompson's natural charm and appeal that she imbues Ollie with.

Refusing to give in, Ollie finds every path possible to explore, and the desperate scrabble to stay afloat has you in her camp from the get go.

The film's ambiguous end is a smart touch too - unsure of who gets a happy end, it's very much a crime tale told under a different lens - and all the better for it. Little Woods may hit a few of the cliche branches as it unspools, but with two extremely solid and plausible leads, it remains watchable from beginning to end. 

Tolkien: DVD Review

Tolkien: DVD Review

The Tolkien biopic is a quietly muted film about comradeship above all else.

It seems apt, given how Tolkien's most famous books are about fellowship, and Karukoski's at pains to repeatedly emphasise this point throughout.

Starting at a young age in J R R Tolkien's life, Hoult takes the mantle of the ultimately famous writer, whose early life is blighted by degrees of poverty and tragedy in equal measure.

When he gets into King Edwards College in Birmingham, he finds his outsider ways alienating him from others at the school, and thrusts him into fights. But gradually taken in under the wing of three fellow students, Tolkien forms a bond and group with fellow artists.

But their world is torn apart by the arrival of the war to end all wars.

Tolkien is a prestige pic, that's slightly hobbled by pacing and a degree of stiffness throughout.
Hoult isn't quite strong enough as the author, but he does convey an earnest turn, and his romance with Lily Collins' Edith Bratt appears to work better on the page than it does on the screen, imbued as it is with a sense of malaise throughout.

More successful is the fellowship that crops up between the college mates. It's here the pre-war bonds and tragedies emerge and flourish. Certainly when Derek Jacobi's linguistics professor shows up later in the piece, the film bursts vibrantly into life, instilling a degree of passion into proceedings that's been occasionally lacking throughout.

However, there are some truly impressive visual touches in the war sequences.

Clearly inspired by what's seen in the shadows and how the mind works, Karukoski brings menace to flames, giving them faces on the fields of war. Tendrils are added to smoke plumes that plague the trenches, delivering a real feeling of both menace and Tolkien's imagination at work.

It's here the film soars, lifted by by small flourishes aimed at providing plenty of insight into how Tolkien's mind has worked. It's just a shame that this relatively traditional biopic doesn't take more opportunities to soar, and grounds its fantastical author in a kind of stifling approach that's ultimately and sadly disengaging. 

The Witcher: Official Trailer arrives

The Witcher: Official Trailer arrives

THE WORST MONSTERS ARE THE ONES WE CREATE

NETFLIX DROPS MAIN TRAILER OF THE HIGHLY ANTICIPATED NEW SERIES, 

THE WITCHER, AT LUCCA COMICS AND GAMES

Launch date for the series confirmed as 20th December on Netflix globally

Based on the best-selling fantasy series of books, THE WITCHER is an epic tale of fate and family.  The story of the intertwined destinies of three individuals in the vast world of The Continent, where humans, elves, witchers, gnomes, and monsters battle to survive and thrive, and where good and evil is not easily identified. 

Henry Cavill (Mission Impossible - Fallout, Man of Steel) leads the cast of The Witcher saga, playing the role of Geralt of Rivia, alongside other main cast members,  Anya Chalotra (The ABC Murders, Wanderlust) as Yennefer and Freya Allan (The War of the Worlds, Into The Badlands) as Ciri.  Other previously announced cast include Jodhi May (Game of Thrones, Genius) as Calanthe, Björn Hlynur Haraldsson (Fortitude) as Eist, Adam Levy (Knightfall, Snatch) as Mousesack, MyAnna Buring (Ripper Street, Kill List) as Tissaia), Mimi Ndiweni (Black Earth Rising) as Fringilla, Therica Wilson-Read (Profile) as Sabrina, and Emma Appleton (The End of The F**king World) as Renfri, Eamon Farren (The ABC Murders, Twin Peaks) as Cahir, Joey Batey (Knightfall, Strike) as Jaskier, Lars Mikkelsen (House of Cards, Sherlock) as Stregobor, Royce Pierreson (Wanderlust, Judy) as Istredd, Maciej Musiał (1983) as Sir Lazlo, Wilson Radjou-Pujalte (Jamillah & Aladdin, Dickensian) as Dara, and Anna Shaffer (Harry Potter) as Triss.

Medievil: PS4 Review

Medievil: PS4 Review

Developed by Other Ocean Emeryville
Released by Sony Interactive
Platform: PS4

Medievil is the latest remaster to shuffle out of the PlayStation grave.

The early nineties hack and slash platformer was a beloved staple of the first generation consoles.

But in truth time has not been kind to the world of Sir Daniel Fortesque, the eyeball missing, arm-detaching skeleton.

The remaster takes you back to Gallomere to try and salvage sir dans reputation which fell at the first hurdle. Once again a sorcerer Zarok (the late lamented and deeply missed Paul Darrow) is back wreaking havoc in the city and it’s up to you to beat the baddies and save the day.

While the cut scenes register a kind of cartoony Nightmare before Christmas vibe, Medievil is not really interested in doing much to break the mould in a remaster that feels like a quick Halloween cash grab rather than a built up from the ground do over a la Ratchet and Clank.

Sure it looks fine, and plays for the lower competency end of the gaming spectrum, but the terrible camera that afflicted the original has been ported over to the latest version.

It’s jarring at best and bone crunchingly annoying at worst, as it spins around giving you little chance to recentre when necessary.

Levels are fairly rote and short too: hack your way through imps and the undead, get a door opening rune and then move on.

It’s not rocket science and while it’s playable enough, for the more seasoned gamer, it’s too basic and not exactly essential.

We may be coming to the end of the PS4’s life but we may also be approaching the end of the remaster necessity as well - unless they add something new or are so beloved we can’t do without them, (Ape Escape, I'm looking at you).

Sony would be wise to take each offer on merit - and to leave some dead and buried like they should and deserve to be.

Terror Fi festival Q&A - James Partridge

Terror Fi festival Q&A - James Partridge

The Terror-Fi festival is now live in Wellington and coming to Auckland and Christchurch.
Director of the festival James Partridge took some time out of being scared silly to talk about this year's festival and his hopes for the future ones.

You've expanded out the festival this year - did you figure it was time the rest of the country got a good scare as well?
After last year, I had a lot of people ask if I could bring it to Auckland and Christchurch. How could I say No? I always planned to expand the fest but didn’t realise it would be so soon. And that’s thanks to people loving the films and supporting the fest.
I think people want to good scare… and a laugh and come edge of your seat excitement. Terror-Fi has something for everyone – horror, thriller, sci-fi, comedy, action…

What's the state of horror films like at the moment?
I think it’s great. There are some really innovative, smart horror films coming out – it’s not just all jump scares and CGI. THE LODGE in Terror-Fi is a great example, following on from the likes of GET OUT, HEREDITARY etc

Some great premieres lined up in this year's festival, what are you keen for?

That’s a tough choice. This is the best line-up yet. Aside from the blockbusters like READY OR NOT, COLOR OUT OF SPACE and THE LODGE, there are some real gems in there. DANIEL ISN’T REAL (from the producers of MANDY) is a brilliant film. THE MUTE, FREAKS and EXTRA ORDINARY are awesome too. And if you like your comedies a little kooky, you can’t go past GREENER GRASS.

Which have already been the big hitters with the public?
It’s no surprise the new Nic Cage film, COLOR OUT OF SPACE is selling well. READY OR NOT is also really popular. And we just announced a late addition to the fest, DOCTOR SLEEP – another blockbuster that’s already proving popular.

What's your preferred horror film and why?
Smart and creepy. One of my favourite horrors growing up was CANDYMAN.

Leon and Nightmare Before Christmas are great blasts from the past - what makes them stand up after all this time?
LEON is one of my all time favourite films. It has everything – great tension and action, matched with great character development and performances. NIGHTMARE BEFORE CHRISTMAS is such a unique film – the wonder and magic holds up every time you see it.

Give us a hint about the Secret Screening - you know you want to.
Don’t tell anyone but it’s….

What's the one film you absolutely shouldn't miss this year?
Again, a tough ask. Of the lesser-known ones, I’d have to say DANIEL ISN’T REAL. I saw it at a festival in the US in September. Went in not knowing much about it (or expecting much) but came out desperate to get it for Terror-Fi.

What are your plans for 2020 for the Terror Fi Film Fest?
A bigger line-up and more fan experiences. We have a themed opening night, custom food & drink menus and also a VR experience this year. Really want to expand that out and make the fest an even more awesome experience both on and off the screen.

Get more info about the Terror-Fi Film Fest at their site - http://www.terrorfifest.com/
The festival runs now in Wellington until Nov 3, Nov7-10 in Auckland at the Hollywood and 20-24 Nov in Christchurch

Terminator: Dark Fate: Film Review

Terminator: Dark Fate: Film Review

Cast: Mackenzie Davis, Linda Hamilton, Natalie Reyes, Arnold Schwarzenegger, Gabriel Luna
Director: Tim Miller

Dwelling in the past while simultaneously dismissing everything which happened post 1991's Terminator 2: Judgment Day, Terminator: Dark Fate wastes no time in steeling itself as homage to the films, and twisting and repurposing some of the best bits of Judgment Day.

In this latest, which sees the return of James Cameron, Reyes' Dani is the latest target of robots from the future, this time in the form of Gabriel Luna's Rev-9. Singled out for assassination, Dani finds her humdrum life in the hands of agile new saviour Grace (a strong Davis, easily the best addition to the series in a long time, androgynous, sympathetic and wearing similar gear to Sarah Connor's original white tank top) and Sarah Connor, whose life has been turned back to tragedy in the years after she and John averted Skynet's future.

Forced on the run, and with promise of help coming from a mysterious cabin in the woods, it's a fight for survival for the trio.

Terminator: Dark Fate isn't really content to go its own way.

It proffers up plenty of tantalising ideas, and gets into the action straight away with a factory-based fight and freeway chase with trucks.

If that sounds familiar it is - later on the film chooses to use a chase sequence involving a helicopter and a Terminator pouring its liquid form through its window. It's essentially Terminator 2: Judgment Day writ large for the 2019 audience. Much of it feels familiar, in the same way that any sci-fi robot-chasing-you-to-death film is going to - there's little room for nuance character work in between fits and bursts of popcorn baiting action.

Hamilton hovers between spitting, snarling and chewing the scenery with her damaged Connor; a few quieter moments allow her some depth, hinting at the ongoing effects of being caught in this eternal hunting game and are all the better for it. Schwarzenegger dabbles in some usual humour and nostalgia moments, but is largely there for set-dressing; and Reyes' Dani oscillates wildly between being terrified to becoming her destiny. Luna has little to do other than appear relentless, and be the subject of some occasionally iffy CGI.

Thankfully, Davis as the augmented super soldier, makes a valuable case of a vital new addition to the franchise, meshing both robotic like steeliness to the cause, and moments of humanity as reality sets in. It's no shock she radiates a younger Sarah Connor's determination, and even echoes her wardrobe.

Some of the action set pieces creak from obvious CGI, and Deadpool's Miller is competent enough at rolling them out, even if occasionally they feel perfunctory and all too familiar. (No one needs to ever see a Dunkirk style Terminators rising sequence ever again) That said, some of the live action ones are never less than thrilling, and offer a strong case for the Terminator's continuing popcorn appeal.

But the urgency of the dread fear of an unstoppable hunter on your tail has gone in this latest - and even echoes of contemporary themes such as detainee centres, electronic surveillance and immigrants try to add some urgency, they're not enough to detract from a film that pursues its core objective with dread precision, yet proffers no real reason to keep going back to a universe that seems destined to repeat itself ad infinitum.

Silicon Valley season six review - The boys are back, but not for long

Silicon Valley season six review - The boys are back, but not for long

Silicon Valley season six, now available on Neon, and on SoHo2 on Mondays at 8pm (started on 28 October) and encores Thursdays from 31 October, 11.30pm.

The end is near for the Silicon Valley boys, and to be honest, it has to be said that it was about time.

While initially Mike Judge's take on the underdogs in Silicon Valley's techland offered many laughs and a nice progression over the first few series, the show itself starting to hit a bit of a creative rut.

Each season put the Pied Piper boys in a corner, gave them seemingly insurmountable obstacles and then had them win in the final moments. It started to become formulaic, and while that bar was initially a high one, the repetition was grating.

Especially in light of real life events within the tech world, the ever-asked question about our information and privacy - everything started to render the well-written show somewhat redundant.

So, a final season was announced, and in its opening moments, Thomas Middleditch's Richard Hendricks is in front a congressional hearing talking about never taking people's data and also taking the high moral ground. But it's not without pratfalls.

However, the tone for the final season has been set - it's clearly about what lengths Hendricks is prepared to go to and at what cost the so-called right thing will come.

That's not to say that in the first three previewed episodes of season six, streaming now on Neon, the script's not above dishing out some quietly devastating moments if you've invested in these characters over the years.

A chasm's opening up within the Pied Piper gang, once so outside the establishment that they couldn't even get a look in. Now they straddle the corporate world having gone from the shoddy think tank of TJ Miller's bong-smoking Ehrlich Bachman to the endless floors of a big time building, packed with programmers and coders, all just cogs in the Pied Piper machine.

The biggest shock comes in an early casualty of a deepening split between two of the very best friends, an early sign of a rot kicking in.

Elsewhere in episode two, it's Gilfoyle vs HR, and episode three marks a very serious shift in what's been the status quo of the landscape since season one, and one that may well push Richard deeper into his uncertain position.

It's not that the three episodes of the latest season radically shake things up, more that it shows a relative change in the moral dimensions of the series. Ethical codes are grappled with at both a personal and professional level.

But the fact these are half of the final series' episodes (an abbreviated season will only have seven in total) does show that small seeds planted over the series' entire run appear to be coming to tragic fruition. It may be Mike Judge et al have learned from a rushed Game Of Thrones, but there's no sign of the series speeding along simply to hit a finale and to move pieces to where they should be.

That's not to predict tragedy - sometimes, Silicon Valley's greatest dramatic strengths have come from the fact defeat from victory, and it would be beneficial to see more of that in the final run.

Ultimately, Silicon Valley remains eminently watchable - but dramatically, it seems real life is outpacing the narrative, and even though this year's theme is about the lies we tell ourselves, the final impact of them could be devastating for Jared, Richard, Dinesh and Gilfoyle - and that's a drama that's worth investing in.