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Sep 03 2013
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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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Nov 24 2009
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Review: 2012, The Vintner’s Luck, Away We Go and [REC]2

By Cinema and Reviews

After nearly three and a half years of pro­du­cing this cinem­a­goers’ con­sumer guide, per­haps its time for a state­ment of intent. A mani­festo, if you will. Something to place these mus­ings in per­spect­ive as you skim through them over Morning Tea.

I try and find some­thing good and inter­est­ing in everything I see, and I see pretty much everything. Most films have an audi­ence of some descrip­tion wait­ing for them some­where, and that audi­ence may be you, so I try and out­line what might appeal (along with what might not) so that you can make an informed choice.

Plus, I have some sym­pathy for the little bat­tler and will often try and draw your atten­tion in that dir­ec­tion (Don’t for­get Two Lovers, folks) and I try and watch films not meant for me (kids flicks, etc) with half an eye on how the rest of the audi­ence is reacting.

It is extremely rare, as reg­u­lar read­ers will know, for me to warn you off a film entirely, or indeed (in the case of our first film this week) sug­gest that its cre­at­ors should be harshly pun­ished for its per­pet­ra­tion. The films that are really sand under my fore­skin are those that only exist to pad a resumé and a bank bal­ance, cyn­ic­al attempts to sep­ar­ate us from our money, mar­ket­ing cam­paigns crudely dis­guised as art.

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Dec 05 2007
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Review: Joshua, The Page Turner and Habana Blues

By Cinema and Reviews

Joshua posterSeveral times dur­ing the creepy psy­cho­lo­gic­al, pae­di­at­ric­al, thrill­er Joshua, stressed par­ents Sam Rockwell and Vera Farmiga are told to “just get a nanny”. If only they had, they may have got Scarlett Johansson and Joshua would have become a romantic com­edy with a bit of soft social com­ment­ary. Instead, they plough on par­ent­ing proudly, heed­less of the dam­age being done by troubled elder-son Joshua (Jacob Kogan), until it is too late.

Rockwell and Farmiga are a wealthy Manhattan couple. He invest­ment banks for bully Chester Fields (Michael McKean from Spinal Tap) while she unravels at home. When new baby Lily arrives 9 year old Joshua, a strangely self-possessed preppy child with that inab­il­ity to blink that in Hollywood usu­ally sig­nals sig­ni­fic­ant psy­cho­lo­gic­al dis­order or demon­ic pos­ses­sion, starts sys­tem­at­ic­ally des­troy­ing the fam­ily – includ­ing pets and grand­moth­ers – in order to pre­serve it.

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Jun 12 2007
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Review: The Lives of Others and three more...

By Cinema and Reviews

"The Lives of Others" posterIn the amus­ingly mis-named German Democratic Republic, dur­ing the last years before the Berlin Wall fell and Germany was re-unified, the people were mon­itored for idea­lo­gic­al and polit­ic­al pur­ity by the Stasi, or Secret Police. Astonishingly, there were 90,000 officers in the Stasi and hun­dreds of thou­sands more were paid inform­ants, keep­ing them­selves out of jail or set­tling old scores. A deeply para­noid polit­ic­al élite learnt its philo­sophies and its prac­tice from the Nazis they had over­thrown and an ill-timed joke could see the end of a career or the start of a spell in sol­it­ary confinement.

The awful­ness and absurdity of the situ­ation is bril­liantly painted in Florian Henckel von Donnersmarck’s thrill­er The Lives of Others, the best Foreign Film Oscar-winner in years. Set in the late 1980’s, as even the most loy­al of state ser­vants and pat­ri­ots are los­ing their faith, state-sanctioned play­wright Dreyman, played by Sebastian Koch, is shaken by the sui­cide of his black-listed dir­ect­or, Jerska. He writes an art­icle on sui­cide stat­ist­ics in the GDR to be smuggled out to the West, not real­ising that his flat is being mon­itored 24/7 by the Stasi. Luckily, his main voyeur (Wiesler, a lovely per­form­ance by Ulrich Mühe) is hav­ing com­plex second thoughts of his own.

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