Ailo's Journey: Film Review

Ailo's Journey: Film Review

Director: Guillaume Maidatchevsky

This live-action tale of a baby reindeer making its way through the Lapland countryside as he struggles into life is a sure-fire Christmas winner.

Director Maidatchevsky makes great fist of the stunning countryside vistas in this story of life, and layers some hints of climate change, and moments of menace that almost feel like they're ripped from a Disney movie involving Bambi, as the mother and son start their migration.

But the story's more a frolicking rather than rolicking ride through the wilds, and even though the locales soar, there's a feeling that the script has been tailored to fit the action as the camera follows Ailo on his journey.

Lashed with avuncular narration from Donald Sutherland, it never quite hits the highs of an Attenborough led doco, but there's enough distractions to keep the young cooing and cowering throughout.

From a hyperactive white stoat to a wolverine that's got food on its mind, the film's less interested in showing the nastier side of the circle of life (something that many wildlife pieces shy disappointingly away from these days) and more concerned with the cutesy feel. It's of a generation hardly furnished these days, and is more interested in letting the cameras follow the story, and occasionally manufacturing some of the drama needed.

There are certainly wider and deeper points to be made about the effects on migrating herds, and how life is getting tougher for our planet's most under threat animals, but Ailo's Journey is more concerned with planting the seed of thought in minds than spelling it out.

Ailo's Journey is a masterpiece of editing; crisply shot scenes meld with the story, and even though in parts the voiceover feels dreadfully scripted and more interested in a once over when it comes to climate change issues, the film's gleefully uncynical approach, coupled with the magical hitherto unseen world of the Christmas reindeer, may win over more family filled audiences than cynics.

Charlie's Angels: Film Review

Charlie's Angels: Film Review

Cast: Kristen Stewart, Naomi Scott, Elizabeth Banks, Ella Balinska, Patrick Stewart
Director: Elizabeth Banks

"I think women can do anything," Kristen Stewart's bewigged spy says at the start of the 2019 franchise reboot, seducing a potential fly in the web before launching into a curtain-inspired take on asphyxiation.

It's an obvious and overt meta comment to both the audience and critics of the intentions of the new Charlie's Angels, just moments before it launched into a montage of everyday women doing every day things, and simply, as the song says, putting their hands up.

Yet, it's also symptomatic of why the new popcorn blockbuster doesn't quite fly as it could, regardless of whether you're a male or female audience member.

Granted, for all the independent women out there, the story of a systems engineer (played with wide-eyed innocence by Aladdin's Naomi Scott) who finds herself ensconsced in the spy world when she discovers the technology she's developing is flawed and potentially life-ending is nothing new.

Even peppered with Banks' trademark zing and the light touch as director and writer, the film still flounders with some of its would-be peppier lines failing to hit any target and clanking to the ground.

Meta discussions about whether Ben Affleck truly is Batman raise nary a titter, and reek of a push to bring contemporary themes to the fore, just to give the film an edge, and its writer a "we can do this too" voice.

A continuing "gag" about men underappreciating and underestimating women just seems to grate (there's no bitterness on this male reviewer's point of view) rather than scythe through the ongoing chatter like it should. And most of the men within the movie are treated more as bad guys than anything more three dimensional, adding to a feeling this film, rightly so, is all about the sisters and sisterhood rather than the script.

Within the Angels themselves, Brit newcomer Ballinska stumbles occasionally, floundering with any emotional delivery of basic dialogue but kicking ass when needed. More successful is Aladdin's Scott, who gives the her newbie the innocence she needs and some life to the arc she's been dished out with.

And easily the MVP of the piece is Stewart, even if there's a feeling that she's been held back by a script that doesn't allow her comedy chops to cut loose. Though disappointingly, hints of who she may be are confined to a look in one shot, and give a feel of a withering uncertainty to mark her sexual place in the film. Had the script afforded her a greater chance to lean more into the quips and beefed them up, she would easily have scorched the cinema screen.

But that's symptomatic of where Charlie's Angels goes wrong; it feels underwritten and undercooked.

From the lack of real energy and chemistry between this team of angels to a story that's almost irrelevant to proceedings, the movie flails and fails to find a voice of its own, even if there are touches that make the all-female led reboot worthy of some of your time and money.

Its message of sisterhood bleeds unfortunately too heavily from the screen, watering down its action movie roots, and giving you a sense that there could have been more. While the two Stewarts (Patrick and Kristen) deliver much comedy and ham, it's not enough of a frisson on screen to connect, even if the film's DNA is infused with some touches of feminism and some welcome subversions of what's transpired before.

Some diverting stunt sequences (particularly in a quarry) may distract from the weaker and confused action scenes, but this Charlie's Angels lacks the punch and pace of the reboots a few decades ago. On this outing alone, it seems unlikely these Angels will be taking flight again - despite the good intentions of all those involved.

Portrait of a Lady on Fire: Film Review

Portrait of a Lady on Fire: Film Review

Cast: Noemie Merlant, Adele Haenel
Director: Celine Sciamma

A male-free zone, the luxurious Portrait of a Lady on Fire from Girlhood's Celine Sciamma is in no hurry to get where it's going.

It's the 1700s, and Merlant is Marianne, a painter brought in for a commission of Adele Haenel's fresh-out-of-the-convent Heloise, who's about to be married off to a man she's never met. Heloise has already registered rebellion for this portrait destined for her husband-to-be, refusing to sit for her likeness to be captured.

So Marianne decides to be Heloise's companion by day and to paint her likeness by night.

Portrait of a Lady on Fire is a film that luxuriates in the slow burn, and frames itself on fanning the flames of nascent desire.

Back and forths, stolen glimpses and caught looks add much to the burgeoning relationship between the two, and Sciamma lingers when needed and pulls back when expected.

It helps that Merlant and Haenel take their characters on a journey they need, and prove to be such bedfellows for a story. A side story involving the house maid and a situation proves to be a diversion, detracting from what really matters here.

The camera flirts between capturing Marianne's furtive glances, destined to capture details for her pictures and with Heloise's acknowledgement and potential misinterpretation of these glimpses, never once deciding to vocalise either way which is which. It all boils over to a head for obvious reasons, but the simmering before the bubble over is enjoyable to watch.

It may be a little heavy handed in some of its imagery and narrative at times (a long section on Eurydice overplays the looking/ being caught looking metaphor too much) and it may meander on its two hour journey, but Portrait of a Lady on Fire lends much to the story of desire and intimate voyeurs - even if it does so via stiffly starched formal presentation.

Brand new Sonic The Hedgehog trailer debuts

Brand new Sonic The Hedgehog trailer debuts

There's a brand new trailer and poster for Sonic The Hedgehog.

SONIC THE HEDGEHOG OPENS IN NZ THEATRES

FEBRUARY 13

SYNOPSIS:

Based on the global blockbuster videogame franchise from Sega, SONIC THE HEDGEHOG tells the story of the world’s speediest hedgehog as he embraces his new home on Earth. In this live-action adventure comedy, Sonic and his new best friend Tom (James Marsden) team up to defend the planet from the evil genius Dr. Robotnik (Jim Carrey) and his plans for world domination. The family-friendly film also stars Tika Sumpter and Ben Schwartz as the voice of Sonic.

PARAMOUNT PICTURES Presents

In Association with SEGA SAMMY GROUP

An ORIGINAL FILM / MARZA ANIMATION PLANET / BLUR STUDIO Production

Directed by Jeff Fowler

Written by Pat Casey & Josh Miller

Based on the Sega Video Game

Produced by Neal H. Moritz, p.g.a, Toby Ascher, Toru Nakahara, Takeshi Ito

Executive Producers Hajime Satomi, Haruki Satomi, Masanao Maeda,

Nan Morales, Tim Miller

Starring: James Marsden, Ben Schwartz, Tika Sumpter and Jim Carrey

Follow SONIC THE HEDGEHOG for more updates!

Acorn TV: Some of the best shows to view

Acorn TV: Some of the best shows to view

There's no denying that British dramas have slowly faded off the TV viewing habits.

Once a staple of TVNZ and Prime, many are now consigned to late night slots, or dumped ignominiously in the graveyard slots of summer TV when viewing figures are at their lowest ebb.

Players like Netflix are more about flashier US binge dramas, but there are still simple pleasures to be had from some of the peak British TV.

Acorn TV appears to be wanting to try and plug that gap, launching a relatively new service into the streaming world, and becoming yet another streaming player clamouring for your money and your viewing time.

Here are some of the best shows currently on the streaming platform to view - if you're an Anglophile.

REBUS

Ken Stott as Ian Rankin's gnarled Scottish detective was an 2000s staple of UK TV. Equally John Hannah's take on the detective in the first series was a good start, but there's something about Stott's crime solving Edinburgh set detective that renders him iconic.

BROADCHURCH

In many ways, the star vehicle that launched Olivia Colman into UK and global sweetheart status, Broadchurch's drama works best in its first season, which is on the service. Paired with the crotchety newcomer in town (played with sharpness by Doctor Who's David Tennant), the hunt to find the killer of a little boy in a seaside town is a horrific crime, but a gripping watch. Even if you do know whodunnit.

HUMANS

Initially the synthetics living among us storyline appeared to be a tired trope rolled out once again. But led by Gemma Chan's doe-eyed robot, the series becomes a commentary on class divides and ethics and mores.

VICTORIA 

The show Jenna Coleman left Doctor Who for, the sweeping piece looks at the Young Victoria and probably benefits from some of the younger take on The Crown. Sumptuously shot, and with some typical British drama, Victoria may appear to have a limited lifespan for its younger cast and storylines, but it's a good way to bring a stuffier period of history and a stuffier monarch to life.

MIDSOMER MURDERS

How this show continues to go is beyond many a comprehension - but its eternal popularity to expose the seedier underbelly of England's smaller hamlets that are clearly riddled with crime is undeniable. Quite why there's never been a nationwide crackdown on the crime-fuelled and crime-filled cosiness is an unfathomable oversight - but it's led to some easy comfort viewing for those who want to spend an hour working out who's been wronged and why.

Acorn TV can be found on acorn.au.tv - a review code was supplied to this blog for purposes of research.

Fast and Furious Presents: Hobbs and Shaw: Blu Ray Review

Fast and Furious Presents: Hobbs and Shaw: Blu Ray Review

Fast and Furious: Hobbs and Shaw is an assault on your cinematic senses.

A highly stylised, intensely choreographed piece of leave-your-brain-at-the-door cinema going, this beat-em-up bloodless bromance is all about hits to the head rather than massaging the brain.

In this latest, Johnson's Hobbs and Statham's Shaw are forced to set differences aside (a little) to track down rogue MI6 agent Hattie (Kirby, keeping up with the boys), who's apparently stolen a bio-weapon that can destroy the world. 

But hot on their heels is cyborg-powered Brixton (Elba)...

Fast & Furious: Hobbs & Shaw is pure blockbuster action, that cares not for sense or sensibility.

Fight sequences have replaced the Fast and Furious’ trademark action sequences and while initially it’s welcome, the non-stop barrage of beat downs becomes tedious.

In between it all, Statham and The Rock’s continual quarreling fills the time, as these frenemies are forced to face up to the franchise’s enforced code of family, shoehorned in as it is.

It’s OTT to the point of ridiculous at times, but it’s the frisson between the duo that just keeps this action movie alive for its bloated run time. It's best not to think things like how Johnson's character can take a full bottle to the face, and emerge without a scratch at all - it's that kind of film, and oddly that kind of thing - like with the CGI - that can take you out of the goings on.

Kudos must also go to Vanessa Kirby who proves she can kick ass with the best of them and who uses her eyes to convey much more depth than either of the leads can. And Elba proves a welcome addition to the series, layering his Brixton with considerable swagger as the bad guy.

All in all though, Fast & Furious: Hobbs & Shaw has little to no stakes, and really doesn't care about any kind of reality in the hyper stylish edges. It's instantly forgettable fare, and probably not one of the franchise's best - setting up a spinoff universe induces eye rolls, but what is truly missing from Fast & Furious: Hobbs & Shaw is the heart that imbues a lot of the original franchise.

Ford v Ferrari: Film Review

Ford v Ferrari: Film Review

Cast: Matt Damon, Christian Bale, Jon Bernthal, Caitriona Balfe
Director: James Mangold

Logan director James Mangold's biographical picture Ford v Ferrari draws deep from the well of great racing sequences, but fares less well off the track.

In fact, were it not for Bale's somewhat quirky character efforts, a lot of Ford v Ferrari would feel like a token underdog sports pic that doesn't quite hit some of the early promise.

For those uninitiated with the times, Ford v Ferrari is the story of US visionary designer Carroll Shelby (Damon, in broad US accent and all American apple pie approach) and his quest to get the flailing Ford motor company to be part of the legendary Le Mans race in the mid 1960s.

Fuelled by constant mockery from Enzo Ferrari, Shelby enlists unconventional UK racing car driver Ken Miles (Bale, possessing a Northern English accent and some "hey-up" mannerisms with ease) to design a new vehicle. However, Miles is not the kind of driver the Ford higher ups want - but he is the one they need to secure victory.

Ford v Ferrari is a technically adept film, but an emotionally rote and hollow one.

Its last hour is where the film excels, shifting into high gear and engaging the ethos of sticking it to Le Mans pushing you right to the edge of your seat. Mangold makes the racing come alive, delivers moments that genuinely thrill and still push you out of your comfort zone even if you know the result, thanks to pacing, humour and Bale.

But the journey to the final strait is a long one, laced with unevenness as the script veers all over the place.

The film initially begins with Jon Bernthal's marketing executive Lee Iacocca, before he disappears into the rear view mirror and becomes nothing more than a speechless supporting player.

The film's subterfuge of politics and marketing shenanigans are front and centre early on, before once again trailing off.

Equally, Outlander's Caitriona Balfe's Mollie Miles, Miles' wife, circles proceedings before settling for a more thankless supporting wife position, way back on the grid.

The film's never more content than when it's dealing with its two leading men, and in fairness, it's never more than dazzling when it's centred on Bale's Miles and his elements of unpredictability.

Hurtling around tracks, mocking the man and proving once again that those on the ground know better than those in the boardroom, Miles is an electrifying character that's brought vividly to life by Bale. Without him, parts of this 150 minute film would flounder in their wake.

Ultimately, Ford v Ferrari is a solid examination of two men's motoring obsession.

It may fail the women of the period massively, but it does present a film of faith, an examination of passion and a penchant for horse power when it needs to. Its ending should be commended (though it may be vilified on NZ soil for some reasons involving McLaren)for its downbeat nature, but its underdog tale gives it a solid placing on the track, but not quite in the pole position it should be.