Dawn Raid: Film Review

Director: Oscar Kightley

Dawn Raid is the exuberant bust of energy that cinema in 2021 needs.

Director Oscar Kightley delves deep into a bountiful archive to bring to life the story of Dawn Raid Entertainment, the music empire that was born on the streets of South Auckland.

Helmed by a friendship forged on the streets and in a local college of Brotha D and Andy Murnane, Kightley's doco tells the story of the rise and eventual fall of the empire, but also fashions a time capsule of how the local music scene was changed forever by the foresight of the duo.

Starting off selling T-shirts at the local market after US rap invaded these shores, D and Murnane realised local voices weren't being heard and decided to change that - giving rise to the likes of Aardhna, Deceptikonz, Adeaze, Savage and Mareko.

What emerges from this well-fashioned piece that uses archive footage to deftly weave a story is something about New Zealand's desire to seize on an idea and take it as far as they could.  There will be few who won't leave Dawn Raid feeling their ideas of entrepreneurship and creativity can't grow because of these two's dreams and business acumen.

There are plenty of vignettes thrown in here, and both Andy and D make such good bedfellows that there's one heck of a story here to be told, and a pair of narrators to do it.

But frustratingly, Kightley occasionally appears to be a little too much in the story's thrall, teasing out moments of conflict within the story and hinting at problems rather than expanding them and getting all the viewpoints. (Though given media coverage of the area and perceptions usually mean South Auckland is handed a bad name, it's perhaps understandable to see why).

A throwaway line from Murnane early on talks about how he should have kept family out of business, but Kightley doesn't follow that up; equally the inevitable tax issues faced by Dawn Raid and their artists feeling lied to is glossed over. 

There's a little too much of a one-sided narrative being told here, and no matter how entertaining that is, it's behoven of the documentary maker to explore all sides.

Dawn Raid may be an oral history and one of New Zealand pluck and enterprise, but there are holes which should have been plugged - the fact Aaradhna was the only female artist in their repertoire is never questioned is just one, but there feels like there could have been a deeper documentary to have been had with just a little more digging.

That said, what Kightley's committed to the screen is an enjoyable 90 minute ride - the highs of realising the dream easily outweigh the lows of the failure and the seismic changes of fortune. Maybe it's deliberately life-affirming and was never intended to be otherwise; at its core, Dawn Raid is a story of heart and told with heart. 

And for that, it can't be faulted.

Greenland: Blu Ray Review

Wisely eschewing the whole big budget bloat-fest of the usual disaster movies, Ric Roman Waugh's Greenland is a decidedly more low-key affair with flashes of CGI brutality.

Butler is John Garrity, who's estranged from his wife Allison (Firefly's Baccarin) following an argument too many. As Garrity tries to get back in his family's good books, the world faces the arrival of a comet called Clarke that is on a collision course with Earth.

As fragments begin to reign down, scientists, who initially believed the arrival would only be minor, discover the comet will actually cause an extinction level event, destroying civilisation as we know it.

Racing against time, the Garrity family try to outrun the end of the world...

Greenland is the kind of disaster film that's rarely seen in these days of B-grade blockbuster spectacle, where the FX outshine the human cast and the story.

While it may be a little overlong in its 2 hour run time, and while the script does occasionally overplay the whole end-of-the-world element in a promise of hype that's never quite met amid some final third padding, the film's strength is its focus on the human side.

Never shying away from the Garritys and their domestic problems, as well as the idea of overcoming personal adversity in the face of disaster, Greenland uses its sense of growing dread to focus on the parental problems and the issue of dealing with others misbehaving as societal unrest grows.

Butler and Baccarin make a plausible pair, and the script doesn't demand too much out of them as it plays out. But they make the disaster relatable, and a script that delivers moments of emotion such as when others are left behind, pleading for their lives, certainly does leave a lasting impression and emotional toll on the audience.

Waugh, who directed Butler in Angel Has Fallen, delivers the chaos in an orchestrated and calm fashion, which works in Greenland's favour - as the sense of dread grows as time starts to run out.

Sure, there are a few set pieces and explosions, the majority of which would have been seen in the trailer, but this is not really where Greenland is directing its energy - instead, Greenland is a rare beast of a disaster movie that uses the global crisis to deliver a personal story that has Miracle Mile edges and a highly watchable central core of characters that you end up caring about, despite the broad character strokes and the familiarity of the story.

Dark Waters: Neon NZ Film Review

Todd Haynes' safe and formulaic legal chiller Dark Waters is a solidly told tale, albeit one that never quite finds a way to rise into the upper echelons of drama, despite the presence of Mark Ruffalo.

Ruffalo is Robert Bilott, a newly-minted partner of a US legal firm that defends industrial companies.

When a farmer (Camp, in one of the more lively and complex roles of the film) shows up on his doorstep wanting to fight those who he believes have poisoned his land and his cows, Bilott finds himself torn between duty and a light familial connection to what's going on.

But as Bilott begins to investigate the malfeasance of local industrial giant Dupont (with Alias' Victor Gerber as their figurehead), he discovers the case has much more horrific wider consequences.

Dark Water is a solidly told film, anchored by the mutedly dogged performance of Ruffalo and supported by the growing outrage of Camp.

Yet, in telling it in a non-showy way, and scattering it across the timeline (A narrative necessity given how long Bilott's case has been going against Dupont), the film occasionally stutters to raise some real drama. It prefers a more quiet outrage that boils under as the reality of Dupont's shenanigans are gradually exposed.

There are moments that chill, and revelations that abhor, but Haynes' delivery of them is more restrained than perhaps it could be, as the effects on communities and even the world comes to light.

There are also times when the exposition floods some of the legal proceedings and montages of lawyering - and certainly Hathaway feels wasted after early promises threaten to expose the sexism within the boys' club industry.

Yet for all its dialled down touches, Dark Water does present a compelling story - albeit one that is good, rather than great.

Win a double pass to see Music at the cinema

To celebrate the release of Music, in cinemas January 28, thanks to StudioCanal New Zealand, you can win a double pass.

About MUSIC

Zu (Kate Hudson) is a free spirit estranged from her family who suddenly finds herself the sole guardian of her half-sister, Music (Maddie Ziegler), a teenager on the autism spectrum whose whole world order has been beautifully crafted by her late grandmother.

With a history of addiction issues that have challenged her self-worth and reliability, Zu can barely take care of herself and she struggles with the new responsibilities her sister brings. 

But Music has the watchful loving eye of her local community, and Zu soon learns that life’s obstacles can be made easier with a little help from their neighbour Ebo (Leslie Odom Jr.). 

The musical drama explores the tenuous bonds that hold us together, and imagines a world where those bonds can be strengthened in times of great challenge: love, trust, and being able to be there for each other is everything.

Music, a film by Sia, is in cinemas January 28.

Underwater: Neon NZ Review

Underwater: Neon NZ Film Review

Cast: Kristen Stewart, Vincent Cassel, TJ Miller, Jessica Henwick
Director: William Eubank

You've seen Underwater before.

Whether it's the mix of The Meg's terror, or the barely disguised Alien rip off baby creature, or in the seabase under threat mentality of various episodes of Doctor Who, there's a sense of deja vu from the moment this murkily executed, frustratingly workmanlike film begins.

Stewart is Norah, a close-cropped techie type who's spent so long under the sea working on the drilling operation that she's no longer sure what day it is, or if she's awake or dreaming.

However, her tenuous grip on reality is rudely awoken when large sections of the miles-deep rig begin to fail and she's forced to run for her life. Siding with a handful of other survivors, including the rig's Captain (Cassel, largely wasted), it becomes a desperate run for life as it transpires something outside the walls, potentially shaken out from the company's deep-sea drilling, is hunting them - and won't leave anyone alive.

Underwater's production values are stunning.

While the CGI creatures are a massive let down, the visualisation of the suits, the grimy walls and subterranean corridors is a claustrophobe's nightmare.

Director William Eubank makes great fist of the encroaching walls and the creaks and jolts of the underwater rig falling in around our ears. Using tightly shot close ups, or images from within the helmets, he gives the film a sense of terror, of urgency and of uncertainty which is largely lacking from a lot of the rest of the script.

Inconsistencies of the creature's behaviour, a desire to give Stewart's Norah a line worthy of Ripley and some truly average CGI work drags Underwater into the sea murk, which is a shame, as there's a kernel of a good thriller horror lurking here, a ticking time bomb of man versus nature mixed in with an "God what did we do" ethos and paranoia that's worthy of any film.

But by showing the creatures, the film squanders any good will, and despite a more muted, racked by tics Stewart showing she's never a one dimensional actor, there was truly some real potential here to uphold the despair and the fight for survival.

Underwater is serviceable enough - just frustratingly, it feels underwritten and its potential lost at sea.

Queen & Slim: Neon NZ Film Review

Cast: Daniel Kaluuya,  Jodie Turner Smith 
Director: Melina Matsoukas

Queen and Slim desperately wants to be a classic, a "black Bonnie and Clyde" as they even refer to themselves but in truth the rambling drama feels more like a missed opportunity than a gritty timely social commentary.Kaluuya and Smith are strong enough as the two leads and the film early on has a kind of intimacy that a good relationship drama requires as we first meet the pair on a first date.

Soon after that, their date takes a disastrous turn when they're pulled over by a police car....

However, the film's leaps of logic and suspensions of disbelief prove almost fatal after the initial horror of the police assault takes place. 

Shot in an almost verite style the unfolding drama grips as the duo are caught in an all too familiar scenario, and one that would provide a rich source for drama.

Yet once they set out on the run, the detours prove to be more of a distraction and threads of the two being the touch paper for a societal revolution jar more than cohesively gel.

Though the divisions between the community over whether to support or condemn are a worthwhile thread, they’re always secondary to the proceedings with the film's style being the sole raison d’être as it plays out amid moody shots, music-video stylings and intriguing camera angles.

There’s an easy charm and charisma to Kaluuya's character as he negotiates his way through the maelstrom; equally Smith goes from spiky to soft and back again with speed and the emotional whiplash is giddying, but finally satisfying.

Ultimately though Queen & Slim is more about style than great substance; sure, there's some commentary going on under the hood, but this is far from the classic it could be - despite the work of the talented cast, thanks to a messy approach and a need to fine tune the script.

The Invisible Man: Neon NZ Film Review

Upgrade's Leigh Whannell turns his hyper-kinetic hand to another update of The Invisible Man story.

This time around, The Handmaid's Tale's Moss plays Cecilia, who's trapped in an abusive relationship with beau Adrian. Finally making the jump to escape, Cece believes her world is changed, and due to his apparent suicide, she's free.

However, she soon comes to believe that Adrian's not dead and is out to get her.

But can she convince those around her this is actually the case?

Essentially a film about gaslighting, and one woman's fight back against it, Leigh Whannell's The Invisible Man is atmospheric intrigue from the get-go.

Haunting and a grippingly bleak expose of the legacy of abuse, Whannell's script makes the most out of a harried Moss, who gives her all and revels in her misery when there's no one else onscreen. (Or is there?) Her Cecilia has enough seeds of doubt sewn to make you question whether she's right, or what exactly is going on - though admittedly, the title is The Invisible Man and not The Invisible Woman.

But it's the director who's primarily the star of the film.

Employing techniques he used to visual excellence on Upgrade, Whannell brings his  use of syncing the camera to the film's most chilling moments. Whether it's a sequence in a kitchen, or a brutal encounter within a hospital, Whannell channels a kind of kinetic brilliance that marks this revamp of The Invisible Man out when it comes to the action.

Long wide shots of empty unsettling spaces, a la early Paranormal Activity, promote a kind of queasiness as the film practically invites you to scan the screen, searching for the titular character and putting you in the mindset of unease thrust upon Cecelia.

Granted, the film's really about a woman's crusade against endless negativity and systematic and systemic ignorance, but it never loses sight of the fact that at its heart, it's about a primal horror and terror.

It's just that this terror is more psychological and excellently conveyed by Moss' character.

Ultimately, it's so engrossing and unnerving, that it may allow you to skirt over some of the script's hokier edges, occasional predictable moments and odd lapses of logic which occur among some of the more obvious jump scares.

At its heart though, The Invisible Man offers terrifying thrills among its subtle fearscape (its use of sound is superlative as well) - as much of a rollercoaster as a psychological breakdown, against all odds, The Invisible Man remains one to be seen.