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steve carell Archives - Funerals & Snakes

Only God Forgives poster

Review: Pain & Gain, Only God Forgives, The Wolverine, The Way Way Back, The Conjuring & Byzantium

By Cinema and Reviews

Ryan Gosling in Only God Forgives (2013).

Still Mine posterStill hovering around some local cinemas — and the longest-delayed of all my outstanding reviews — Still Mine is a surprisingly effective Canadian drama about an elderly man (James Cromwell, 73 but playing a fit 89) determined to build a new house for his wife (Geneviéve Bujold) before her memory deserts her completely. Cromwell gives his character a softness which belies the usual ornery old dude clichés, even if his stubborn refusal to submit to the building code is the device on which the story hinges. Contains lots of shots of Cromwell’s heroic profile staring off into the New Brunswick distance.

Ping Pong posterOlder people are, paradoxically, the only growing segment of the film audience in New Zealand so there’s often high quality fare around the tempt them. One of the best is the documentary Ping Pong, about competitors (genuine competitors at that) in the World Over 80s Table Tennis Championship in Inner Mongolia. Like any good documentary it assembles a great cast of characters and like all good sports movies it makes full use of the built-in drama of a knock-out tournament. Not just about the restorative power of exercise, it’s also about friendship and adventure. Inspiring, so help me.

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Review: Hope Springs, Total Recall and How Far Is Heaven

By Cinema and Reviews

Hope Springs posterIn Hope Springs, Meryl Streep proves once again that not only can she play any woman, she can also play everywoman. She’s Kay, an unfulfilled Nebraska housewife, married for 31 years to accountant Tommy Lee Jones and resigned to sleeping in separate bedrooms and cooking him his eggs every morning while he reads the paper. Except, she’s not resigned, she’s become determined. Determined to prove that marriage doesn’t just fizzle out after the kids leave home, that the past doesn’t have to equal the future.

So, she signs them both up for “intensive couples counselling” with friendly therapist Steve Carell, in picturesque seaside Maine. Jones is gruffly resistant, of course, and it’s his deadpan sarcasm that prompts nost of the early comedy (their fumbling attempts to spice up their life provides the rest). As a comedy, Hope Springs is extremely gentle — much more gentle than the trailer would have you believe — but that gentleness suits the delicate subject and the script (by Vanessa Taylor) actually burrows in pretty deeply to a subject that, I’m sure, is pretty close to home for lots of viewers.

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Review: Love Story, The Guard, Crazy Stupid Love, Cedar Rapids, TT3D - Closer to the Edge and Priest 3D

By Cinema and Reviews

Firstly I want to apologise that there is no review of Terrence Malick’s The Tree of Life in this week’s column. I saw it during the Festival and like most audiences was perturbed, baffled, challenged and ultimately awed but I needed a second screening to make sense of it. Arguably less sense rather than more sense was what I would be aiming for.

The film opened commercially this weekend at a couple of locations but neither of them offered the sort of grandeur (i.e. screen size) and quality (i.e. DCP 2k digital transfer of the kind I am starting to love) so I thought I would hold off until it reaches a few more screens. I know — I sound like a pompous ass but that’s as genuine a response to The Tree of Life as I can muster. A more considered response next week.

Love Story posterBut that omission gives me more room for the rest of this week’s releases. Florian Habicht’s Love Story charmed (most) of the Film Festival, including your correspondent. Habicht’s indefatigable curiosity and demonstrable love of people powers this strange romantic comedy made while he was living in Manhattan on an Arts Foundation residency.

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Review: Dinner for Schmucks, The Insatiable Moon and Picture Me

By Cinema, Conflict of Interest and Reviews

Dinner for Schmucks posterAfter a week when New Zealand has been forced to confront its own intolerance and social myopia it seems fitting that two films that are essentially about understanding and accepting diversity should arrive in cinemas in the same week. They both take drastically different approaches to the topic, too.

In Dinner for Schmucks, ambitious hedge fund analyst Paul Rudd has to find a guest to take to a monthly senior management party in which unusual people are secretly held up to ridicule. When his Porsche knocks over mild mannered public servant and amateur taxidermist Steve Carell he thinks he’s found the right man. But Carell’s character, Barry, latches on to him causing mayhem wherever he goes.

Eventually, after Rudd’s relationship and career are wrecked, they both reach a deeper understanding of each other and some decent human values: laughing with someone is ok. At someone? Not so much. And if you are anything like me, you will laugh.

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

By Cinema and 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.

Leaving posterSecondly, 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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