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she's out of my league

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

By Cinema, 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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Review: Leaving, She’s Out of My League, Date Night, Kick-Ass and Nanny McPhee and the Big Bang

By Cinema, Reviews

I watch a lot of movies in this job and this week I’d like to start with a couple of import­ant tips that will help keep your cinema-going exper­i­ence in top shape. Firstly, ice cream. Avoid tubs of ice cream if pos­sible because you have to look down every scoop to make sure you’re not scoop­ing ice cream into your lap and every time you look down you miss some­thing import­ant on the screen. This is par­tic­u­larly import­ant for sub­titled films.

Secondly, when your loc­al cinema sched­ules an art­house film that hasn’t been pre­vi­ously pro­grammed by the Film Festival, ask your­self why that might be before com­mit­ting to a tick­et. Case in point: Leaving (aka Partir) a mod­ern day updat­ing of the Lady Chatterley story star­ring Kristin Scott Thomas. She plays a well-off mar­ried woman named Suzanne who makes the tra­gic mis­take of fall­ing for the Spanish build­er who is work­ing on her house. In short order she real­ises that her mar­riage (though mater­i­ally suc­cess­ful) is love­less, leaves her snobby sur­geon hus­band (Yvan Attal) and the kids to shack up with her new lov­er (Sergi López) and tries to start a new life without all the bour­geois home comforts.

It seems to me that every French film that makes it to New Zealand is about the same thing: the clash of cul­tures between the well-off, cul­tur­ally soph­ist­ic­ated but some­how not quite real, middle-class and the salt-of-the-earth work­ing people, and the dangers of the two mix­ing. Sometimes those dangers play them­selves out comed­ic­ally (The Valet, Welcome to the Sticks), some­times dra­mat­ic­ally (Conversations with My Gardener) and some­times tra­gic­ally as we have here. And Leaving is tra­gic in more ways than one.

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