Kailey and Dan are joined by Ben Woodward to talk about George Miller’s Mad Max: Fury Road and the remake of Poltergeist with diversions into A Royal Night Out and Spy plus another announcement from this year’s New Zealand International Film Festival.
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Dan and Kailey are joined by Sarah Watt, Liam Maguren, Tim Wong, David Larsen and Dominic Corry to celebrate the works of Ghibli, the famous Japanese animation studio, and talk about their favourite productions. They also review the Bill Murray vehicle St. Vincent and introduce the word “educashaming” to the world.
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With this year’s festival now a rapidly diminishing memory – and my recovery from that event (plus another magazine published, some “live” podcast recordings, a few Q&A’s, some director interviews and a Big Screen Symposium) almost complete – I return to the commercial cinema and what do I find? Twenty-three new films have been released since my last set of reviews. Twenty-three! I only turned my back for a second. So, bear with me while I try and do some catching up. Some of these films deserve more space than they are going to get here (and some of them don’t) but you can’t have everything, am I right?
Neill Blomkamp’s District 9 was a surprise smash-hit in 2009 and his follow-up, Elysium, is what we call ‘eagerly awaited’. Watching it I was reminded of the great strengths of that first film: a vividly created future society, dysfunctional yet plausible; a great plot setup with a genuine dilemma for the central character. Then I remembered the third act of District 9 – one long fight/chase/fight. And so it proves with Elysium. Wasted potential as – like so many films this year – the film is resolved by who can punch harder rather than who can think better. I have lots of other problems with it but that’s the main one.
Whatever they are paying Robert Downey Jr. to play Iron Man, it is is worth every penny. Iron Man 3, the third instalment in his own branch of the Marvel Universe series that also features Captain America, The Mighty Thor and The Hulk is hurtling towards a billion dollars of box office revenues and might just have broken even on the $200m production costs by the time you read this.
I’m not sure that there is a better technician in commercial cinema than Downey. Even when he is poorly – or not even – directed in films like the last Sherlock Holmes or the last Iron Man, he is never less than watchable, but when he is challenged by a director and the material he is up there with the best ever. The name Cary Grant just popped in to my head and I think the comparison is reasonable.
