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Preview: Festivals Far and Near

By Cinema

Today, at the Virginia Theater in Urbana Ill., a few thou­sand cinephiles and Ebert-olytes are gath­er­ing for the first day of the 15th Ebertfest, formerly known as Roger Ebert’s Overlooked Film Festival. I should be with them – I even bought a pass back in November last year – but a change of job meant no annu­al leave and no money for the flight. Normally, I would just say, “there’ll always be next year” but with Mr. Ebert’s recent passing I don’t know if that will be true.

Instead, we turn our atten­tion to loc­al events and there’s plenty to keep us enter­tained on top of all the new com­mer­cial releases. For a start, the new NZFF Autumn Events ini­ti­at­ive  – repla­cing the much-loved (by me) World Cinema Showcase – gets under way today and the fest­iv­al organ­isa­tion were good enough to slip me a few screen­ers so I could tip you off about some of the less-heralded titles. So, I’m going to pre­sume you are already famil­i­ar with Lawrence of Arabia and will be camp­ing out overnight to see the the only two screen­ings of the – reportedly – mag­ni­fi­cent 4k res­tor­a­tion and instead I’ll take a look at a couple of docos and a couple of oth­er features.

The Deep posterI was a little snarky towards the NZFF on Twitter when they announced that Baltasar Kormákur’s The Deep was going to play. After all, the last film of his that loc­al audi­ences got to see was the woe­ful Contraband star­ring Mark Wahlberg. It turns out that was a Hollywood remake of an already suc­cess­ful Icelandic thrill­er that Mr. Kormákur pro­duced and very likely his director’s fee made The Deep pos­sible. So, snark withdrawn.

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Review: Super 8, Diary of a Wimpy Kid: Rodrick Rules, Soul Surfer, Biutiful, The Tempest and Brighton Rock

By Cinema and Reviews

I’ve been busy over the last few weeks work­ing on New Zealand’s biggest par­ti­cip­at­ory film event, the V 48 Hours which reaches its loc­al cli­max tonight at the Embassy Theatre. It’s a won­der­ful cel­eb­ra­tion of Wellington film tal­ent and there may be door sales so check with the venue.

Super 8 posterOne of the inspir­a­tions for 48 Hours is the true story of a group of Mississippi kids who spent six years of week­ends and hol­i­days in the 1980s remak­ing Raiders of the Lost Ark – shot for shot – on home video. The pro­ject went from notori­ous to legendary in 2003 when the kids (now adults) were invited to meet Lucas and Spielberg and their story was even optioned by Paramount. I can’t see that pic­ture get­ting made now as Spielberg (and J.J. “Star Trek” Abrams) have come up with some­thing that, though par­tially inspired by the boys’ VHS efforts, goes in a dif­fer­ent dir­ec­tion entirely, hon­our­ing not just their homemade Raiders but Spielberg’s own E.T. and Close Encounters .

In a small Ohio town in 1979 a bunch of kids are mak­ing a zom­bie flick so they can enter the loc­al Super 8 film com­pet­i­tion. During an unau­thor­ised night shoot at the rail­way sta­tion they wit­ness a dev­ast­at­ing train crash which unleashes mys­ter­i­ous forces that the Government is des­per­ate to cov­er up. As the freaked-out cit­izenry are evac­u­ated so the Air Force can hunt down the whatever-it-is that’s escaped, our hero­ic kids head back in to the danger zone armed only with curi­os­ity and that child-like sense of right and wrong that Mr. Spielberg used to spe­cial­ise in.

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Review: Another Year, Sarah’s Key, Arthur, Heartbreakers, Mars Needs Moms and Queen of the Sun

By Cinema and Reviews

Another Year posterGenius film­maker Mike Leigh has been on a bit of an up and down streak in recent years. 2002’s All or Nothing was won­der­ful, Vera Drake (2004) I found frus­trat­ingly unwatch­able and, most recently, Happy-Go-Lucky seemed too thin – beneath his sig­ni­fic­ant tal­ents – and yet, des­pite not lik­ing it very much, I find myself think­ing about Happy-Go-Lucky quite often. And that’s Leigh’s skill – he gets under your skin even when you resist.

Another Year is his latest film and it’s ter­ribly good. It’s Secrets and Lies good, that good, des­pite hav­ing no plot to speak of. Jim Broadbent and Ruth Sheen (Leigh reg­u­lars) play Tom and Gerri, a hap­pily mar­ried couple who seem to be sur­roun­ded by people who simply aren’t as good at cop­ing with life – Lesley Manville’s Mary, a highly strung, alco­hol­ic, work col­league of Sheen’s who turns up to embar­rass her­self in their kit­chen peri­od­ic­ally; Tom’s old uni­ver­sity buddy Ken played by Peter Wight (over­weight, depressed, lonely, also alco­hol­ic); Tom’s tacit­urn wid­ower broth­er Ronnie (David Bradley). They all drift into and out of Tom and Gerri’s wel­com­ing sub­urb­an kit­chen while tea is made and drunk and banal­it­ies are spoken.

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Review: Rio, Hop, Oceans, Sucker Punch and some meditations on the Roxy

By Cinema and Reviews

Wellington’s first Roxy Cinema was either notori­ous or legendary depend­ing on your point of view. Originally the Britannia on Manners Street, it was renamed the Roxy in 1935 and ran as an idio­syn­crat­ic inde­pend­ent until demoli­tion in 1974. Old school pro­jec­tion­ists would tell you that the Roxy was a genu­ine fleapit, run­ning con­tinu­ous ses­sions (no clean­ing) and provid­ing a cent­ral city hideout for people skip­ping work or school.

According to “The Celluloid Circus”, Wayne Brittenden’s won­der­ful his­tory of cinemas in New Zealand, own­er Harry Griffith was once asked by a cash­ier if she should call the tru­ant officer to appre­hend some young miscre­ant. “Let him buy his tick­et first,” snapped Griffith, “then report him.”

Griffith took a showman’s approach to pro­gram­ming, once risk­ing the wrath of 20th Century Fox by schedul­ing an impromptu double fea­ture of Elizabeth Taylor’s Cleopatra and Kenneth Williams in Carry On Cleo. That’s the kind of spir­ited whimsy we tried to encour­age at the Paramount in my day and I do miss it.

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Review: Get Him to the Greek, The Last Station and Amreeka

By Cinema and Reviews

Get Him to the Greek posterForgetting Sarah Marshall was one of the sur­prise pleas­ures of 2008. An Apatow com­edy that was rel­at­ively mod­est about it’s ambi­tions it fea­tured a break-out per­form­ance from English comedi­an Russell Brand, play­ing a ver­sion of his own louche stage persona.

As it so often goes with sur­prise hits, a spinoff was rushed into pro­duc­tion and we now get to see wheth­er Mr Brand’s brand of humour can carry an entire film. Get Him to the Greek sees Brand’s English rock star Aldous Snow on the comeback trail after a failed sev­en year attempt at sobri­ety. Unlikely LA A&R man Jonah Hill (Knocked Up, Funny People) sells his record label boss, Sean “P Diddy” Combs, on a 10th anniversary con­cert fea­tur­ing Snow and his band Infant Sorrow at the Greek Theatre of the title.

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Review: Animal Kingdom, The Sorcerer’s Apprentice, Despicable Me, Grown Ups, Mother and Child and Gordonia

By Cinema and Reviews

Animal Kingdom posterWhen the Film Festival screen­ing of Animal Kingdom fin­ished, my com­pan­ion and I turned to each oth­er and real­ised that neither of us had breathed for the last five minutes. The ten­sion that had been slowly build­ing through­out the film had become almost unbear­able and dir­ect­or David Michôd’s Shakespearean cli­max was no less than the rest of the film deserved.

Seventeen-year-old “J” (extraordin­ary new­comer James Frecheville) goes to live with his Gran and his Uncles when his Mum over­doses. The fam­ily are more than petty crim­in­als but less than gang­land roy­alty – bank rob­bers and thugs rather than black eco­nomy busi­ness­men. Gran (Jacki Weaver) seems like a nice enough sort, though, and the fam­ily pulls togeth­er des­pite the con­stant pres­sure from the loc­al fuzz.

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