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Preview: New Zealand International Film Festival 2012

By Cinema, Reviews

It’s extremely quiet in terms of new releases in cinemas at the moment. The major inter­na­tion­al dis­trib­ut­ors are keep­ing well clear of the over­whelm­ing force that will be The Dark Knight Rises and the indies know that all the art­house money is going into film fest­iv­al tickets.

This year – for a change – I’m not book­ing in advance for any­thing. There’s so much good­ness in the pro­gramme – and my faith in serendip­ity needs a bit of a boost – that I’ll just see what hap­pens to be play­ing whenev­er I get a spare moment and then give it a go. With well over 150 indi­vidu­al films and short pro­grammes to choose from I’m sure there’ll always be some­thing on that’s going to chal­lenge and enlight­en me.

Rampart posterIt helps that, thanks to fest­iv­al man­age­ment, I’ve already seen ten of what’s on offer – ten films that might be easy to miss when flick­ing from one end of the 80 page book to the oth­er. In Rampart, Woody Harrelson finally lays to rest the ghosts of Cheers with a lacer­at­ing per­form­ance as an LA cop who’s as tor­men­ted and cor­rup­ted as Harvey Keitel’s legendary Bad Lieutenant. Collaborating once again with writer-director Oren Moverman (the bril­liant and under-seen The Messenger), Harrelson plays a char­ac­ter so awful that 108 minutes later you are amazed to find you actu­ally care about him.

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2011 Wellington Cinema Year in Review

By Cinema

I’ve been watch­ing reac­tions to oth­er people’s “Best of 2011” with interest. It’s fas­cin­at­ing to see online com­ment­ors insist that films they have seen are so much bet­ter than films that they haven’t. Even though I do, in fact, watch everything I’m not going to pre­tend that this list is defin­it­ive – except to say that it gets a lot closer than most…

I also don’t believe in the arbit­rar­i­ness of “Top Tens”. I have my own entirely arbit­rary scale: Keepers, Renters and Respecters.

Secretariat posterKeepers are the films that I loved so much I want to own them – films that make me feel bet­ter just hav­ing them in the house. The first film I adored this year was slushy Disney horse racing story Secretariat. It should have been everything I hate – manip­u­lat­ive, worthy, a faith-based sub­text – and yet I cried like a baby – expert button-pushing from dir­ect­or Randall Wallace. Rise of the Planet of the Apes was my favour­ite block­buster. Superb dir­ec­tion by Rupert Wyatt over­came the flaws (ahem, James Franco, ahem) and it care­fully walked the tightrope of both respect for its pre­de­cessors and kick­ing off some­thing new.

The Tree of Life posterTerrence Malick’s The Tree of Life is my favour­ite film of the year by a long stretch. A second view­ing allowed me to stop think­ing about it and just feel it, mean­ing that I got closer than ever before to the soul of a film artist. Profound in the way that only the greatest works of art are. Tusi Tamasese announced him­self with one of the most mature and con­sidered debuts I’ve ever seen – The Orator placed us deeply inside a cul­ture in a way that was both respect­ful and chal­len­ging of it. That film’s jour­ney hasn’t fin­ished yet.

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