I love it when a film raises the stakes. Done with wit, it can drag you back in to a film you might have been drifting away from. Done with smarts, like Susanne Bier’s Danish drama In a Better World, it can drag you to the edge of your seat. About two-thirds in to the film […]
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There have only been asked two questions that anybody has been asking me this week: “Have you seen Avatar?” and “Is it any good?” Thanks to the helpful people at Readings I can say “Yes” to the first one and thanks to James Cameron I can say “Whoah” to the second. Like many Wellingtonians, I have […]
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‘Tis the season to reboot tired franchises and this week we get an explosive new look at James Cameron’s beloved Terminator. Set only nine years in the future (when open-air battlefield heart transplants will be de rigeur during la guerre), the Judgement Day of T2 has destroyed most of the West Coast of the USA …
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Andy Serkis talks to Empire Magazine about the Tintin 3D tests: “We had this incredible week. Cameron was there, Peter Jackson was there (who’s directing one of the three Tintin films), and Steven Spielberg was there (who’s directing another). All in the same room!” Spielberg was in Wellington?! [via Black Magic]
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This week’s Capital Times film review: The Heartbreak Kid (Bobby Farrelly & Peter Farrelly); Nina’s Journey (Lena Einhorn); The Secret Life of Words (Isabel Coixet); The Dead Girl (Karen Moncrieff); Bella (Alejandro Gomez Monteverde); Beowulf (Robert Zemeckis)
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Dan Slevin is a New Zealand-based writer, broadcaster and consultant. He has reviewed cinema for the Capital Times weekly newspaper since September 2006, seeing and reviewing every film commercially released in Wellington in that time (except, for some reason, Flicka or Beverly Hills Chihuahua).
Dan is a regular contributor to Radio New Zealand National’s Nine to Noon programme and produces and co-hosts the weekly movie podcast, Cinematica.
In addition to being the finest swordsman in all France, he is also the meanest hombre west of the Pecos. He tweets here.
Why Funerals & Snakes? In Jean-Luc Godard’s Contempt (Le Mépris; 1963), Fritz Lang said of CinemaScope: “It’s only good for funerals and snakes.”