After an unexpected three week break, Kailey and Dan return to talk about the movies Insurgent and Cinderella, Dan’s recent trip to Buenos Aires and the new Pukeko Pictures/ITV co-production reimagining of the legendary TV series Thunderbirds (featuring a Q&A with Sir Richard Taylor, director David Scott and Pukeko CEO Andrew Smith). To see some behind-the-scenes pics from the Thunderbirds Are Go set check out the show notes below.
[iframe style=“border:none” src=“http://html5-player.libsyn.com/embed/episode/id/2643004/height/100/width/280/thumbnail/yes/theme/standard” height=“100” width=“280” scrolling=“no” allowfullscreen webkitallowfullscreen mozallowfullscreen oallowfullscreen msallowfullscreen]
Simon is still on holiday so Kailey and Dan review Bruce Dern’s Cannes-winning performance in Nebraska and Justin Bieber’s Believe then special guest Blair Collie helps fact check Jack Ryan: Shadow Recruit.
Every week on Cinematica — the movie podcast I co-host with Simon Werry and Kailey Carruthers — we sign-off each film with a two-word review. It’s a gag, of course, but no more reductive than “two thumbs up” or “two stars”, and it’s become a bit of a meme with listeners supplying their own — often extremely good — contributions.
And seeing as I missed a column through illness last week, I have a feeling that my two-word reviews might come in handy helping us to catch up. So, for the found-footage High School party-gone-wrong movie Project X for example, my two-word review is “Toxic Waste”. The third sequel in the vampires vs lycans stylised action franchise, Underworld: Awakening gets “Strobe Headache”. And for the notoriously low budget found-footage posession-horror The Devil Inside you’ll have to make do with “Didn’t Watch”.
Which brings us to the good stuff (and there’s plenty of it about at the moment). Brother Number One is a superb and affecting NZ doco about trans-atlantic rower Rob Hamill’s attempts to find out the truth about his brother Kerry’s disappearance at the hands of the Khmer Rouge regime in Cambodia. This is a film to remind you that the great tides of history aren’t tides at all and if you look closely enough you see millions of individual stories — of heartbreak, tragedy and redemption.
There are two mainstream comic book publishing houses, DC and Marvel, and choosing between them as a kid was a bit like choosing between The Beatles and the Stones. They had different styles and sensibilities (and philosophies) and after a little bit of experimentation you could find a fit with one or the other.
DC had Superman and Batman — big, bold and (dare I say it) one-dimensional characters with limited or opaque inner lives. When Stan Lee created Spider-Man, a teenage photographer with powers he neither asked for nor appreciated, he created a soap opera — a soap opera with aspirations to high art. As you might be able to tell, I was a Marvel kid.
Martin Scorsese isn’t just a legendary director, he is also one of the world’s great enthusiasts for cinema — the definitive cineaste if you will. By heading the World Cinema Foundation, he has lent his substantial imprimatur to major works of film restoration and he also uses his influence to endorse significant new European work, helping to get films like 2007’s The Golden Door wider attention and distribution. Thus, “Martin Scorsese presents” Gomorrah, which opened nationwide this week after stints at last year’s film festival and the World Cinema Showcase in March.
Acclaimed around the world as a modern masterpiece, I don’t have much to add to the readily available existing plaudits. Squarely in the Italian neo-realist tradition, Gomorrah is a hand-held look at the current state of mafia affairs in Naples where a brutal working class gang known the Camorra holds sway over the housing estates and the impoverished peasant classes. From protection rackets and drugs to the disposal of toxic waste, there’s not much that they aren’t into, making sure that all the gains are laundered swiftly into legitimate businesses that continue to operate around the world.
If you are on the look out for an intelligent, serious and impressively well-made drama that will stimulate and move you (and of course you are, or you wouldn’t be reading this) then The Reader will fit your bill perfectly. The last of the big Oscar contenders to hit our shores, this is a version of the best-selling novel which put the German struggle to come to terms with the crimes of the Nazis centre stage. The adaptation (by British playwright and screenwriter David Hare) also does this but something else as well — it becomes a meditation on all kinds of guilt and shame as well as the complex interaction between the two.
In 1958, schoolboy Michael Berg falls ill and is helped by a stranger (the extraordinary Kate Winslet). After his recovery, three months later, he returns to thank her and they begin an affair that lasts the final summer of his childhood. Between bouts of lovemaking she demands he read to her, telling her the stories and plays he is studying at school. Several months later she disappears, breaking poor Michael’s heart, only to return to his life eight years later in a Berlin courtroom, on trial for war crimes.