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empire cinema

Review: The Sessions, Arbitrage, Bait 3D and (regrettably) Alex Cross

By Cinema and Reviews

Ben Lewin’s The Sessions is a very rare beast – an American film that por­trays human sexu­al­ity with hon­esty, sens­it­iv­ity and no hint of pruri­ence. (Actually, writer-director Lewin is a Polish emigré who grew up in Australia and – after a brief career as a bar­ris­ter – went to England in 1971 to make tele­vi­sion, so maybe it isn’t all that American.)

Poet Mark O’Brien was crippled with polio as a child and forced to spend more than 20 hours a day in an iron lung, prac­tising his craft with a pen­cil held between his teeth, rely­ing on care­givers for – almost – every import­ant bod­ily func­tion. Although he spent his life hori­zont­al he wasn’t para­lysed and he could still feel everything that was done to his body – a fact that a pretty nurse giv­ing him his daily wash could prob­ably testi­fy to… As a red-blooded American male in his 30s, his head could get turned by a shapely fig­ure even though his inex­per­i­ence and dis­ab­il­ity meant he was totally lack­ing in romantic confidence.

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Review: Winter’s Bone, Red, Made in Dagenham, Paranormal Activity 2, Resident Evil- Afterlife and I’m Still Here

By Cinema and Reviews

Winter's Bone posterHalf way through Winter’s Bone I found myself think­ing, “So, this is what the Western has become?” The best Westerns are about find­ing or sus­tain­ing a mor­al path though a law­less fron­ti­er and the fron­ti­er in Winter’s Bone is the hid­den world of the rur­al poor and the path is a strange and ter­ri­fy­ing one.

In the rough and remote Ozark Mountains, teen­age Ree Dolly (Jennifer Lawrence) is single-handedly bring­ing up her two young sib­lings while caring for her emo­tion­ally dam­aged moth­er. One cold morn­ing the Sheriff turns up with the news that her fath­er, Jessup, used their house as his bail bond and unless Ree can find him and per­suade him to turn up for Court, the fam­ily will lose everything.

Jessup is (or maybe was) what we would call a ‘P’ deal­er – the only eco­nomy in the area show­ing any kind of growth. But the com­pany he was keep­ing were the mean­est of the mean and to find her fath­er Ree must ven­ture into dan­ger­ous territory.

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2009 Wellington Cinema Year in Review

By Cinema

Welcome to the 2010 “cut out and keep” guide to video rent­ing (or down­load­ing or how­ever you con­sume your home enter­tain­ment these days). I sug­gest you clip this art­icle, fold it up, stick it in your wal­let or purse and refer to it whenev­er you are at the video shop, look­ing for some­thing to while away the long winter even­ings of 2010.

First up, the ones to buy – the Keepers. These are the films that (if you share my psy­cho­logy and some of my patho­lo­gies) you will cher­ish until you are old and the tech­no­logy to play them no longer exists. Best film of the year remains Danny Boyle’s Slumdog Millionaire. Mashing togeth­er sev­er­al archetyp­al stor­ies with a vivid visu­al style and a per­cuss­ive energy, Slumdog may not rep­res­ent India as it actu­ally is but instead suc­cess­fully evoked what India feels like, which is argu­ably more import­ant. After Slumdog everything I saw seemed, you know, old-fashioned and noth­ing has been any­where nearly as thrill­ing since. There are films you respect, films you admire and films you love. Slumdog is a film you adore. “Who wants to be a … miy­on­aire?” indeed.

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Review: Michael Jackson’s This is It, My Year Without Sex, The Limits of Control and Black Ice

By Cinema, paramount and Reviews

Thi is It posterFull dis­clos­ure: I wrote a play about Michael Jackson once (“Dirty Doris”, BATS 1995) so I’ll con­fess to always being inter­ested in the real char­ac­ter behind the tabloid and music video façade so the arrival of This is It (what some have described as a cheap cash-in flick) is of more than passing interest to me.

And of all the pos­sible adject­ives avail­able to describe the film “cheap” would seem to be the least appro­pri­ate. This behind-the-scenes doc­u­ment­ary, made up of foot­age inten­ded for “Making of” extras on an even­tu­al DVD plus han­dic­am foot­age for Jackson’s own per­son­al archive, shows a ded­ic­ated bunch of ser­i­ously tal­en­ted people pre­par­ing a huge stage show for an audi­ence of demand­ing fans. However, no one involved is more demand­ing than the star of the show MJ himself.

In the film we see Jackson and his crack team rehears­ing the massive series of 50 London shows that were sup­posedly to mark his retire­ment from live per­form­ance. Pushing 50, with a body battered from years of ill­ness and tour­ing, suf­fer­ing from anxiety-induced insom­nia, Jackson knew that audi­ences only wanted the moon­walk­ing King of Pop per­sona, an act that he wouldn’t be able to main­tain much longer. So, he wanted to go out with a bang, with some­thing mem­or­able, and he was evid­ently very ser­i­ous about put­ting on a truly amaz­ing show.

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Review: The Taking of Pelham 1 2 3, I Love You, Beth Cooper and four more ...

By Cinema and Reviews

The Taking of Pelham 1 2 3 posterOne of the Film Society high­lights in recent years was the spe­cial screen­ing (on lus­trous 35mm) of the 70s clas­sic thrill­er The Taking of Pelham One Two Three about the hijack­ing of a New York sub­way train. It was a won­der­ful exper­i­ence for many dif­fer­ent reas­ons – a cyn­ic­al love let­ter to a decrep­it, bank­rupt and graffiti-covered city; an ordin­ary guy hero that audi­ences these days would nev­er be allowed to accept (played by grizzled old Walter Matthau) and Robert Shaw (from Jaws and The Sting) chew­ing the scenery as the vil­lain hold­ing a city to ransom.

Thus my heart sank when the remake was announced, par­tic­u­larly the choice of styl­ist (over sub­stance) Tony Scott as dir­ect­or. His recent films like Domino and Déjà Vu have been full of music video fan­ci­ness, giv­ing his act­ors no room to breathe – he’s the Scott you get when you can’t have his broth­er Ridley.

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Review: Up, The Soloist, The Young Victoria, Paris 36, Casablanca, The Camera on the Shore and the Vanguard 30th Anniversary

By Cinema and Reviews

The Young Victoria posterThe theme for the week seems to be romance and some of the finest love stor­ies of recent (or in fact any) year have just made their way to our screens. Firstly, The Young Victoria where Emily Blunt (Sunshine Cleaning, The Devil Wears Prada) deservedly takes centre stage for the first time as the eponym­ous roy­al. Even review­ers are entitled to a little pre­ju­dice, and I wasn’t expect­ing much from this going in, but I left the cinema full of admir­a­tion for an intel­li­gent script, perfectly-pitched dir­ec­tion and con­sist­ently able per­form­ances from expec­ted and unex­pec­ted quarters.

Blunt’s Victoria is a head­strong teen­ager, frus­trated by the com­pet­ing polit­ic­al interests that push and pull her. Only Prince Albert of Saxe-Coburg and Gotha (whose suit was instig­ated by yet more euro-intrigue) seems to see the real Victoria and offers the new Queen sup­port and inde­pend­ence. The rela­tion­ship between Blunt’s Victoria and Rupert Friend’s ini­tially nervous but ulti­mately self-assured Albert is charm­ing, nat­ur­al and mov­ing and the back­ground of polit­ic­al intrigue and mach­in­a­tions provide neces­sary (but not over­whelm­ing) con­text. The Young Victoria is a film that, and I hope this makes sense, is per­fectly balanced.

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