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Conflict of Interest

Review: Dinner for Schmucks, The Insatiable Moon and Picture Me

By Cinema, Conflict of Interest, Reviews

Dinner for Schmucks posterAfter a week when New Zealand has been forced to con­front its own intol­er­ance and social myopia it seems fit­ting that two films that are essen­tially about under­stand­ing and accept­ing diversity should arrive in cinemas in the same week. They both take drastic­ally dif­fer­ent approaches to the top­ic, too.

In Dinner for Schmucks, ambi­tious hedge fund ana­lyst Paul Rudd has to find a guest to take to a monthly seni­or man­age­ment party in which unusu­al people are secretly held up to ridicule. When his Porsche knocks over mild mannered pub­lic ser­vant and ama­teur taxi­derm­ist Steve Carell he thinks he’s found the right man. But Carell’s char­ac­ter, Barry, latches on to him caus­ing may­hem wherever he goes.

Eventually, after Rudd’s rela­tion­ship and career are wrecked, they both reach a deep­er under­stand­ing of each oth­er and some decent human val­ues: laugh­ing with someone is ok. At someone? Not so much. And if you are any­thing like me, you will laugh.

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Review: Public Enemies, Faintheart, Coraline and Battle in Seattle

By Cinema, Conflict of Interest, Reviews

Public Enemies posterOf all dir­ect­ors cur­rently work­ing in the Hollywood main­stream Michael Mann is argu­ably the greatest styl­ist. No one at the mul­ti­plex has more con­trol of the pure aes­thet­ics of film­mak­ing, from col­our bal­ance and com­pos­i­tion through edit­ing and sound, Mann’s films (from Thief in 1981 to the mis­guided rework­ing of Miami Vice in 2006) have had a European visu­al sens­ib­il­ity while remain­ing heav­ily embed­ded in the seamy world of crime and punishment.

Now Mann has turned back the clock and made a peri­od crime film, set dur­ing the last great depres­sion. Based on the true story of the legendary bank rob­ber John Dillinger, whose gang cut a swathe across the Midwest in 1933 and 1934, Mann’s Public Enemies is a styl­ish and superbly craf­ted tale of a doomed hero pur­sued by a dogged law­man. Dillinger is por­trayed by Johnny Depp with his usu­al swag­ger and his nemes­is is the now sadly ubi­quit­ous Christian Bale.

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Review: Transformers: Revenge of the Fallen, Arranged, Bride Flight and W.

By Cinema, Conflict of Interest, Reviews

Transformers: Revenge of the Fallen posterAfter hits like Bad Boys and The Rock, as well as fail­ures like The Island and Pearl Harbor, we all know that Michael Bay is bet­ter than any dir­ect­or alive at blow­ing things up and in the motion pic­ture busi­ness this not an ignoble pur­suit. What he can’t pull off are oth­er import­ant things like sus­pense, com­edy or drama. There’s no doubt that it takes a spe­cial tal­ent to sit in a room with the effects bods and say “sink that air­craft car­ri­er – I’ll be back after lunch to see how you are get­ting on” but it isn’t really film­mak­ing in it’s purest sense.

Which bring us to his latest, monu­ment­al, effort, Transformers: Revenge of the Fallen, in which a tiny sliv­er of the shiny magic cube from the first film is dis­covered by Shia LaBoeuf while he’s on his way to col­lege. Somehow its magicky good­ness rubs off on him, fills his mind with sym­bols, gives him spe­cial men­tal powers and alerts the remain­ing Decepticons up in space to its exist­ence. Perhaps they could use it to restart their war with the Autobots, erase the human race and steal the power of the sun for themselves?

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Review: The Hangover, Good, Elegy, Boy A, Land of the Lost and Forever Strong

By Cinema, Conflict of Interest, Reviews

The Hangover posterI can just ima­gine the Monday morn­ing when a devel­op­ment exec­ut­ive stumbled across the script of The Hangover. It wouldn’t have taken him long to real­ise that he’d dis­covered mod­ern Hollywood’s holy grail – a per­fectly real­ised men-behaving-badly movie, so well-written and clev­erly struc­tured that he wouldn’t need any big stars or a mar­quee dir­ect­or. By morn­ing tea he would have been gone for the day, safe in the know­ledge that his tar­gets for the year were going be met and (no doubt inspired by the script he’d just bought) he would be drop­ping a big bunch of cred­it card on hook­ers and blow. Probably.

The script is per­fect in its eleg­ant and stream­lined con­struc­tion (screenwriter-porn, no less): Four friends head to Vegas for a bach­el­or party. We leave them at the first Jägermeister shot, only to rejoin them at dawn as they emerge squint­ing into the light. They’ve gained a baby and tiger and lost a tooth – and a buddy. The film is all about put­ting the pieces of the night back togeth­er and it’s clev­er, filthy, loose and charm­ing. The Hangover is indeed the Citizen Kane of all getting-fucked-up-in-Vegas movies – so supremely pre-eminent that (let us hope) we nev­er have to watch anoth­er of its kind ever again. Of course, The Hangover 2 is already in pre-production.

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Review: Angels & Demons, Knowing, Night at the Museum, Lesbian Vampire Killers, A Film With Me In It and I’ve Loved You So Long

By Cinema, Conflict of Interest, Reviews

Angels & Demons posterRon Howard’s Angels & Demons, sequel to the block­buster Da Vinci Code from 2006, is what you might call an equal oppor­tun­ity annoy­ance – hap­pily mis­rep­res­ent­ing theo­logy and science.

Tom Hanks returns as Harvard schol­ar Robert Langdon, this time summoned to Rome by mys­ter­i­ous Vatican secur­ity to invest­ig­ate the kid­nap­ping of four Cardinals on the eve of the elec­tion of a new Pope. A clue (help­fully read­ing “illu­minati”) leads him to believe that a the secret soci­ety of sci­ent­ists and truth-tellers have come to take revenge for their 17th cen­tury pur­ging. The Large Hadron Collider (actu­ally work­ing in this piece of fic­tion) cre­ates a macguffin that could change the shape of Rome as we know it – if not the world.

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Review: Underworld: Rise of the Lycans, The Unknown Woman, The Unborn, The Women and Notorious

By Cinema, Conflict of Interest, Reviews

Underword: Rise of the Lycans posterA friend of mine audi­tioned for Underworld: Rise of the Lycans (pro­duced in Auckland in 2006) and did­n’t get a part. I was pleased to report to him yes­ter­day that he had dodged a (sil­ver) bul­let there as this non­sensic­al pre­quel to the Kate Beckinsale leather-fetishists fantasy series was not going to do any­one’s career any good.

The usu­ally great Bill Nighy plays Viktor, lead­er of a bunch of aris­to­crat­ic (but strangely demo­crat­ic) vam­pires in middle ages middle Europe. They earn their keep by squeez­ing pro­tec­tion money out of the loc­al humans – sup­posedly keep­ing the were­wolves out of their hair – but evol­u­tion is not on their side and the wolves are in the ascendant.

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