Dan and Kailey are joined by Steve Austin on the line from Auckland to talk about “Straight to Video”, his blog reviewing the increasing number of films that don’t get a theatrical release in New Zealand (including James Gray’s The Immigrant). He sticks around to help the team review Clint Eastwood’s American Sniper which stars Bradley Cooper as an all-American hero traumatised by the Iraq war.
Plus, Kailey interviews Tess and Jamie from the Circa Theatre production of Seed.
Between its heralded US release in September last year and its arrival in a (very) limited number of New Zealand cinemas this weekend, Paul Thomas Anderson’s The Master seems to have been transformed from masterpiece and annointed Best Picture contender to also-ran, disappointing scores of local PTA fans in the process, many of whom were crushed that we weren’t going to see the film in the director’s preferred 70mm format. Turns out it was touch and go whether we were going to see it on the big screen at all.
Anderson’s previous film, There Will Be Blood, was a close-run second to No Country For Old Men in my 2007 pick of the year, and his back catalogue is as rich as anyone else of his generation — Boogie Nights, Magnolia and even Adam Sandler in Punch-Drunk Love. Like Blood, The Master is painted on a big canvas. Joaquin Phoenix plays Freddie Quell, an alcoholic and self-hating WWII veteran, stumbling between misadventures when he stows away on the San Francisco yacht commanded by academic, author and mystic Lancaster Dodd (Philip Seymour Hoffman). Dodd combines rudimentary psychotherapy with hypnosis to persuade gullible followers that their past lives can be used to transform their disappointing present.
Half 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.
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.
At what point in a man’s life does he decide to become a dry cleaner? For Joaquin Phoenix’s character, Leonard Kraditor, in Two Lovers that day is never and yet he still finds himself to be one. He’s a sensitive soul whose mental health issues have resulted in several suicide attempts, a permanent relationship with medication and a need to start again with his loving parents in their small apartment in Brooklyn.
His father introduces him to the daughter of a business associate (Vinessa Shaw) in the hopes that a positive relationship might heal his son and also be a profitable development for the dry cleaning business. At the same time, Leonard meets and falls for the beautiful and mysterious upstairs neighbour, played by Gwyneth Paltrow, whose own relationship with a wealthy married man is doing her no good.
Two Lovers is written and directed by James Gray, the iconoclastic and uncompromising independent filmmaker responsible for the gritty New York dramas Little Odessa and last year’s We Own the Night , which also starred Phoenix. It’s a careful and sensitive picture about how so often love is about wanting to heal and protect someone – Shaw wants to heal Phoenix and he wants to heal Paltrow and none of them realise the extent to which they have to heal themselves first.