Kiwi crowd-pleasers don’t come much more crowd-pleasing than Tearepa Kahi’s Mt. Zion, featuring TV talent quester Stan Walker in a star-making performance as a working class kid with a dream. Slogging his unwilling guts out picking potatoes in the market gardens of 1979 Pukekohe, nervously making the first steps in a music career that seems impossible and fantasising about meeting the great Bob Marley, Walker’s Turei is out of step with his hard working father (Temuera Morrison) and the back-breaking work.
When a local promoter announces a competition to be the support act for the reggae legend’s forthcoming concert at Western Springs, Turei tests the boundaries of family and friendship to get a shot at the big time. The bones of the story are familiar, of course, but there’s meat on the bones too – a slice of New Zealand social history with economic changes making life harder for a people who don’t own the land that they work. Production design (by Savage) and authentic-looking 16mm photography all help give Mt. Zion a look of its own and the music – though not normally to my taste – is agreeable enough.
Dollar for dollar (if not lb for lb) Vince Vaughan is the biggest star in Hollywood. For every dollar invested in a Vaughan film he returns fourteen making him a better bet than Cruise, Pitt, Clooney or Roberts. It’s easy to see why he’s so popular – his easy-going everyman quality annoys fewer people than Carrey and choices like Dodgeball and Wedding Crashers are pretty safe. Even last year’s Fred Claus was a rare watchable Christmas film and this year he repeats the dose with Four Holidays (aka Four Christmases).
Vaughan, and co-star Reese Witherspoon, are DINKs (double-income-no-kids) who maintain their cool lifestyle by avoiding their respective families like the plague. When an unexpected airport closure reveals their plans to party in Fiji instead of feeding the third world, they are obliged to make four different visits on Christmas Day, forcing them to confront the weirdos, sadsacks and dingbats that make up their respective families.
I think I’m out of step with most other critics (not unusual and not a bad thing) but I enjoyed myself watching Four Holidays – Vaughan and Witherspoon actually make a believable couple and the supporting cast (including fine actors like Robert Duvall and Kristin Chenoweth along with country stars Dwight Yoakam and Tim McGraw) has plenty of energy.
Ten years ago, before he became the darling of the Hollywood Hedge Fund set, Vaughan’s career nearly stalled when he played Norman Bates in Gus Van Sant’s ill-advised frame-for-frame remake of Psycho. After the seeing the trailer for Quarantine, I was half expecting it to give a similar treatment to the Spanish shocker [REC] (which prompted messy evacuations earlier in the year) but happily it diverges enough to merit its own review.
A tv crew is following an LA fire department for the night when they are sent to an apartment building where mysterious screams are emanating from one of the flats. Soon after they arrive, the authorities shut the building down to prevent the rabies-like infection from spreading, leaving the residents, fire-fighters and the media to their own devices.
Stronger in character development but slightly weaker in shock value, Quarantine will be worth a look if you found you couldn’t read the subtitles in [REC] because you had your hands over your eyes.
High School Musical 3: Senior Year is the first of the legendary Disney franchise to make it to the big screen but the formula hasn’t changed one bit. Well scrubbed High School kids in Albuquerque put on a show which might send one of them to Julliard. The music runs the full gamut of current pop music styles from Britney to the Backstreet Boys (without the spark of either) and the kids display a full range of emotions from A to B. HSM is betrayed by a lack of ambition married to relentless, obsessive, commitment to competence but, at almost two hours, I suspect it will be too long for most tween bladders to hold out.
Depression is a challenging topic for film (the symptoms are un-cinematic and recovery often takes the form of baby steps which are difficult to dramatise) but Swedish drama Suddenly makes a decent fist of it. Nine months after the car he was driving crashed, taking the lives of his wife and youngest son, eye doctor Lasse (Michael Nyqvist) is falling apart. After what looks like a failed suicide attempt, his parents advise him to take his remaining son (sensitive 15 year old Jonas played by Anastasios Soulis) to his holiday house for the Summer to see if he can take one last chance to heal himself and the family.
Lasse throws himself into repairing the beaten up old rowboat while Jonas falls for the (entirely Swedish looking blonde) local black sheep Helena (Moa Gammel). Despite the apparent energy of the title, Suddenly takes its time getting anywhere but rewards perseverance.
Printed in Wellington’s Capital Times on Wednesday 10 December, 2008.
Notes on screening conditions: I’m stoked to report that Suddenly was the first film I’d seen in the Vogue Lounge at the Penthouse since my disappointing experience with Smart People back in August and, despite some print wear, the presentation was perfect. Well done Penthouse.