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Review: The Company You Keep, Rebelle (War Witch), Haute Cuisine, Antiviral and Jurassic Park 3D

By Cinema and Reviews

_DSC1577.NEF It’s easy to laugh at ageing movie stars. Crumbs, when they make films like The Expendables they actively encourage us to make jokes about creaking joints and dicky hips. But let us pause for a moment and salute the longevity of one of the greatest movie stars there ever was, someone who was headlining box office smash hits when Arnold was still just pumping iron and Bruce was still at High School.

The Company You Keep posterRobert Redford — the “Sundance Kid” — is 76 years old and in his new film, The Company You Keep, he does quite a bit of running around even though you can see he has the slightly uncertain gait of someone whose balance isn’t what it was. He rations out that million dollar smile pretty carefully too, as this is another of his serious politically-aware dramas — couched in the form of a thriller.

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Review: Rust and Bone, A Lady in Paris and Jack the Giant Slayer

By Cinema and Reviews

Rust and Bone posterIt’s no disgrace to come second at Cannes to Michael Haneke’s Amour, especially so when your film is Rust and Bone. Writer-director Jacques Audiard has a track record of unsettling and confronting dramas, starting (for New Zealand audiences) with Read My Lips in 2001 and — most recently — prison drama A Prophet in 2009. Rust and Bone is equally rugged but with some beauty to balance the violence and despair.

Acadamy Award-winner Marion Cotillard is the big name on the marquee but the film really belongs to Matthias Schoenaerts who lays down a portrait of wounded masculinity as riveting as any of De Niro’s classic performances. He’s Alain, a drifter and waster who lands in picturesque Antibes with his young son. He’s useful in a scrap but useless as a parent and some of the most difficult scenes in the film are of him failing to look after the boy.

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Cinematica 3/20: Love Story

By Audio and Cinema
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This week Michael Haneke’s Oscar-winning Amour, Cirque du Soleil take us Worlds Away and teenage witches replace teenage vampires in the affections of teenage audiences — Beautiful Creatures. We also find out about film diary website letterboxd.com.

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2012 Wellington Cinema Year in Review

By Cinema

This Must Be the Place posterAs usual, the vagaries of holiday deadlines mean that, just as you are arriving back at work to gleefully greet the New Year, here I am to tell you all about 2012. The best way to use this page is to clip it out, fold it up and put it in your pocket ready for your next visit to the video shop — that way you won’t go wrong with your renting. Trust me — I’m a professional.

But this year I have a problem. Usually I manage to restrict my annual picks to films that were commercially released to cinemas. I’ve always felt that it wasn’t fair to mention films that only screened in festivals — it’s frustrating to be told about films that aren’t easy to see and it makes it difficult for you to join in and share the love. This year, though, if I take out the festival-only films the greatness is hard to spot among the only “good”.

As usual, I have eschewed a top ten in favour of my patented categories: Keepers, Watch Again, Mentioned in Dispatches and Shun At All Costs. In 2012, only two of my nine Keepers (films I wish to have close to me forever) made it into commercial cinemas and one of them isn’t even really a film.

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