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World War Z poster

Review: World War Z, After Earth and The Hunt

By Cinema, Reviews

Brad Pitt and Mireille ENos in Paramount's World War Z

Bloodless zom­bies would appear to be that latest trend if April’s Warm Bodies and this week’s World War Z are any­thing to go by. No blood means stu­di­os get a lower cen­sor­ship clas­si­fic­a­tion and – hope­fully – a big­ger audi­ence. But the absence of vis­cera also appears to bring with it a loss of meta­phor­ic power. These zom­bies don’t mean any­thing very much; they cer­tainly don’t have any­thing to say about the world we inhab­it, or the fears we share. They are vehicles for jumps, scares and gotcha moments (or in the case of Warm Bodies, not even that).

World War Z posterIn World War Z, co-producer Brad Pitt plays Gerry Lane, not a Beatles song but a dis­il­lu­sioned former UN troubleshoot­er try­ing to start a quiet life with his young fam­ily in Philadelphia. A rap­idly spread­ing out­break of a mys­tery rabies-like dis­ease turns his – and every­one else’s – life on its head. In a mat­ter of seconds the bite vic­tims become almost unstop­pable pred­at­ors, hunt­ing the healthy in grow­ing packs.

[pullquote]The Hunt felt like a beat-up in more ways than one[/pullquote] Lane and his fam­ily are evac­u­ated to an air­craft car­ri­er where the last remain­ing evid­ence of author­ity attempts to restore order. There he unwill­ingly sub­mits to his old boss (Fana Mokoena) and agrees to help trace the source of the dis­ease and maybe find a cure. With the help of a hand­ful of Navy SEALS and a bright young endo­crino­lo­gist (Elyes Gabel) he travels to South Korea where the first reports of the out­break only to find on his travels that things are far worse than any­one can imagine.

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Cinematica 4/10: Rabid Excitement

By Audio, Cinematica

Cinematica_iTunes_200_cropBrad Pitt is chased all over the plan­et by zom­bies in World War Z, Will Smith’s son Jaden chases all over the plan­et look­ing for a beacon dis­guised as a pizza cut­ter in After Earth, Remembrance and Camille Rewinds are the art­house reviews, and @sakura59 sums up the Sydney Film Festival.

Review: The Karate Kid, Predators, My One and Only & Knight and Day

By Cinema, Reviews

The Karate Kid posterThe first thing to know about The Karate Kid is that there is no kar­ate in it. This remake of the eighties favour­ite sends twelve-year-old hero Jaden Smith to China where they hurt people with kung fu instead. It was ori­gin­ally going to be called The Kung Fu Kid until someone in mar­ket­ing real­ised cer­tain syn­er­gist­ic oppor­tun­it­ies might be missed by the less cred­u­lous tar­get mar­ket. So there we are.

I have mixed feel­ings about this film. I have no great love for the ori­gin­al (des­pite ador­ing my occa­sion­al nick­name “Daniel-san”) so am not much bothered about the updat­ing. Director Harald Zwart man­aged to get my pulse going a bit faster than nor­mal, which doesn’t hap­pen very often these days, and there are some nice scenes that take advant­age of some inter­est­ing Chinese loc­a­tions. But this is basic­ally a pre-teen Rocky with some pretty real­ist­ic smacks and I’m a little uncom­fort­able about that.

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Review: The Day the Earth Stood Still

By Cinema, Reviews

Finally, we have a week with only one new film in it: a chance for me to stretch my legs, extem­por­ise, riff a little, get my hands dirty. Yeah, I’ve been look­ing for­ward to this, to prove I can be a real film crit­ic and write eru­dite and cul­tured prose; place a film in its wider social, polit­ic­al and cul­tur­al con­text; dis­cuss mise-en-scène and die­get­ic register, all the while provid­ing a riv­et­ing (and undeni­ably “cor­rect”) per­spect­ive on the film’s mer­its and qual­it­ies. Cool.

The Day the Earth Stood Still posterUnfortunately, the film that stands alone this week is the Keanu Reeves remake of the 1951 clas­sic The Day the Earth Stood Still and frankly its hardly worth the both­er. The ori­gin­al film was a pulp par­able play­ing on the nuc­le­ar para­noia of “duck and cov­er” America: an ali­en lands in Central Park to tell us that he’s going to des­troy the human race because we don’t deserve to live (we are war­like, bru­tal and selfish creatures you see, and the earth is too pre­cious to be left in our care). But, the stern humanoid ali­en Klaatu softens on con­tact with a human child and real­ises that our capa­city for change makes us worth per­sever­ing with. Naïve but satisfying.

The new ver­sion keeps the guts of the story intact (eco­lo­gic­al doom and home­land secur­ity make up the new para­noia) while over­blow­ing everything else to giant size. Reeves dead­pans his way through as Klaatu (sens­ibly stay­ing well with­in the lim­its of his range) and he’s joined by the mid-market star power of Jennifer Connelly, “Mad Men“ ‘s ‘Don Draper’ him­self (the unfor­tu­nately named Jon Hamm), Kathy Bates and a mis­cast John Cleese. Kid duty is done by Will Smith’s little boy Jaden who made such an impres­sion in last year’s The Pursuit of Happyness.

I had high hopes for this, based on some evoc­at­ive trail­ers, but the real­ity is a dis­ap­point­ment. The plot­ting is messy and incon­clus­ive and the effects look murky and rushed. The whole thing looks like someone lost con­fid­ence half way through shoot­ing, then decided to cut the budget in half and hope for the best.

Printed in Wellington’s Capital Times on Wednesday 17 December, 2008.

Review: The Pursuit of Happyness and more ...

By Cinema, Reviews

Pursuit of Happyness posterThe always watch­able Will Smith returns to our screens this week in a more than decent drama called The Pursuit of Happyness. Smith plays solo dad Chris Gardner who struggles to find a way out of the poverty trap (through an unpaid intern­ship at stock­broker Dean Witter) while bad luck, and life itself, con­spire against him. Happyness is a well-made remind­er that it can be flip­pin’ expens­ive being poor and it suc­cess­fully wrung sev­er­al salty tears from these cal­loused eyes.

Incidentally, Smith’s son Christopher is played by Smith’s real-life son Jaden, prov­ing that the apple really does­n’t fall very far from the tree.

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