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I am a reviewer of films and television at Spryfilm.com and I upload stories to thisissouthtaranaki.com.
  • Film review: “Green Book” (2018)

    Film review: “Green Book” (2018)

    “Green Book” (2018) 

    Drama

    Running Time: 130 minutes

    Written by: Nick Vallelonga, Brian Hayes Currie and Peter Farrelly

    Directed by: Peter Farrelly

    Featuring: Viggo Mortensen, Mahershala Aliand Linda Cardellini

    Dr. Don Shirley:” So if I’m not black enough and if I’m not white enough, then tell me, Tony, what am I?”

    Every year around awards time many films are released to try and sway voters of various organisations to give them their support so as to create the message of a quality movie for people to go and watch in theaters, or in any number of ways, depending on its release strategy. The new film, “Green Book” (2018), featuring Viggo Morten senand Mahershala Ali in lead roles is just one of those films, it sets itself out to be a true story,  a period piece, it is about class, race as well as viewing a segment of society, in the Southern States of America and the racist way in which they would lead their lives, with absolutely no shame. This movie, named after the The Negro Motorist Green Book (at times styled The Negro Motorist Green-Book or titled The Negro Travelers’ Green Book), which was an annual guidebook for African-American roadtrippers, commonly referred to simply as the Green Book. It was originated and published by New York City mailman Victor Hugo Green from 1936 to 1966, during the era of Jim Crow laws, when open and often legally prescribed discrimination against non-whites was widespread. 

    There are two main ways to view this movie, either as a true story about two men from different worlds who together enter another world where they must navigate some extremely serious issues that still exist in society today, if you watch the movie this way that is completely fine but there are some concerns that have to be addressed which I will bring up here but will not go into what is right or wrong, as this is up to the viewer. The other way to view the film is to not take it literally, using the characters that exist as cyphers who represent some broad societal issues that, again, still exist today, but who change in ways you want them to change so as to represent the best of humanity, as well as the possibility that all people are able to change, grow and accept things about themselves as well as each other. It could be seen as a kind of road trip fairy-tale, not unlike “The Wizard of Oz” (1936) which this movie borrows from in the best ways. In simplest terms this is a well made movie that points out that there is more than one thing that defines us as human beings, we are complicated beings who for the most part are ruled by emotions that most of us do not understand, not only that but those emotions can have effects in the real world that lead to us perpetuating falsities as well as treating others less than what they deserve to be treated. This is of course the main the main thrust of the Viggo Mortensen character who really is the heart of “Green Book”.

    “Green Book” has been co-written and directed by Peter Farrelly who up to this point in his career has been linked to his brother Bobby Farrelly, over the past twenty years they have directed some of the biggest as well as crudest comedies that have been seen in cinemas, not only that they have also been incredibly successful. So it is with some surprise that the director of “Dumb and Dumber” (1995) has created one of the more positively critically reviewed dramas of the year, not only that but it is a kind of civil rights movie that has so far collected some very serious awards notice. What Farrelly has been able to do is to harness three very good performances in Viggo Mortensen, Mahershala Ali and Linda Cardellini coupled with a very trope laden story to bring to the screen a so-called true story that does a very good job in reminding us how far we have come, as well as how far there is to go especially in a story that is told from a white point of view. This is for the most part a road movie, so as the trip unfolds so does the narrative which takes the audience to a few very different places, not all of them work, this is a flawed film that is not surprising as Farrelly is not adept at this genre, nothing in his past even hints at him being interested in anything but gross out comedies. 

    New York City bouncer Frank “Tony Lip” Vallelonga is searching for new employment after his nightclub is closed for renovations, eventually landing an interview as a driver for “Doc” Don Shirley, a famed pianist. Their first encounter does not go well, as Tony’s flippant, uncultured behavior clashes with Don’s sophisticated, reserved demeanor. However, Don eventually hires Tony on the strength of others’ word, as he needs someone who can help him stay out of trouble during an eight-week concert tour through the Deep South. They embark with plans to return home on Christmas Eve. Tony is given a copy of the Green Book by Don’s record studio: a guide for black travelers to find safe havens throughout the segregated South.

    The two leads of the film in “Green Book” are the excellent as well as supremely talented Viggo Mortensen and Mahershala Ali who have over the years proved they are both assured as well as excellent actors, in this movie they are no different. When I first watched the trailer I was not sure if Mortensen could be believable in playing a mobbed up New Yorker with all that entails, especially the accent, without coming off as a parody of a real person. What Mortensen does is play the part broad so as to embrace the character of Tony completely thereby bringing the audience in on his performance as well as honouring the real person that he is playing, he is as he has been throughout his career just a wonder to behold reminding audiences why he has been nominated for Oscars twice as well as playing very different people over the course of his career. Ali on the other hand is the foil that Mortensen has to spar with for almost the entire running time of the movie. Ali must be more nuanced as he reveals his character slowly through the narrative, as well as playing someone portrayed as tortured but the audience must never feel sorry for him as he is a strong man navigating the world, like many others he never is really able to reveal who he really is for fear of being persecuted, by almost every segment of society at the time.

    “Green Book” is an enjoyable movie, there is nothing wrong with enjoying it for what it is, a drama about two men who are from different cultures, backgrounds and have very spate family upbringing and support. This is also a deeply flawed movie with a narrative told from one point of view, that is a white one, with little depth to the African American character which for a movie like this is unforgivable. However this does not make it a bad movie, it just does not make it a great one. This is a message movie with obvious plot points related to the southern states of the US as well as the overtly racist attitudes that exited there, which we see both characters come across, for one it is how he always is treated for the other with his own attitudes towards non whites it is a way for him to walk in someone else’s shoes. Now there were ways for this movie to have been executed in a better way, but this would have taken time as well as making the piece itself into something the writers and director did not want to produce, which is their prerogative, but that is not the world that exists at the moment. 

    Even taking that into account there is still much about “Green Book” I would recommend, it is a snapshot of history, it is reflective of our current times, it has a character who is not only a minority, but a minority within a minority. There are three great performances from the leads, they are fully committed, and like many other movies they rely on those to carry audiences through the parts of the movie that are either light on story or at times may make little sense because of flaws in the actual plot. This is a good family story that demands to be talked about, what more could people want from a movie but something that sparks conversation as well as further research into this story. 


  • Television review: “Doctor Who – Resolution” (New Years Special)

    Television review: “Doctor Who – Resolution” (New Years Special)

    “Doctor Who – Resolution” (New Years Special)

    Television/Sci-Fi

    Produced by: Chris Chibnal

    Featuring: Jodie Whittaker, Bradley Walsh, Tosin Cole and Mandip Gill

    Yaz: “What’s a Dalek?” 

    After ten regular season episodes of the brand new ‘Doctor’ we now have something that breaks from tradition in the moving of the regular Christmas episode to New Years Day, with “Resolution” which for me was long overdue. I had been tired very quickly of Christmas themes every year into the special, the first few were fun but quickly ran out of steam so this move for me is a welcome, it also fits well with timing with the casting of Jodie Whittaker, whom I have said I enjoy as the ‘Doctor’, she brings some much needed energy as well as little or no baggage, she is a breath of fresh air for the series. So far the ten episodes have been extremely uneven, as I have said previously there have been no memorable antagonists, they have all been immediately forgettable as well as weak, not thought through and have played no major part of any real solid narrative.

    The new Doctor armed with her new friends by now all know each other very well, which is exactly where they should be at this stage in their relationships. Not only that, but this is the first episode where I felt all the heavy lifting had already been done, so we could now enjoy an episode, a one off, where it was all going to be out the antagonist, which for once was exactly what we received, not only that but this is a classic villain which is definitely the best one of the series so far. In mind it is not a coincidence that the best bad guy so far has been on not of the writers/producers creations, but one that is over fifty years old, this fact is telling in and of itself.

    One of the strengths that Chris Chibnall brings to the show, is the ability to cast characters extremely well which is not only bourne out by the main cast but by all the excellent guest stars we have seen over the first ten episodes.   This episode is no different, casting a comedian in the form of Charlotte Ritchie who here actually plays a serious role with a twist, in fact for half the episode plays a Dalek, then for the rest disappears into the background to be one of the Doctors friends for this instalment, anyway. This is a multilevel part that is played well, my only gripe is that it may have been interesting to take this part the entire way, making it a ‘Puppet Master’ episode that this was obviously based on, thank you Robert A. Heinlein. It is telling that the only original part of the narrative is borrowed from one of the all time classic sci-fi stories from one of the icons in the field. I understand the writers wanting to move the Dalek story forward, but my only question is couldn’t you have created something original, not relying on what is an obvious sci-fi trope.

    Audiences both old and new in this age of peak viewing need a reason to hang around week after week, the only way to do that is to make them return to see what happens next in the plot as well as, hopefully, in an overarching narrative. Now while I am not a fan of heavy serialization in my television I think a page out of the Tennant era is required, that is a light narrative that loosely connects a season together with some revelations made in the final few episodes – this is something that is not happening as of yet for entire season. How do these comments fit into this New Years special? Well as I have stated it is a seperate thing altogether, although it does link nicely into the ongoing narrative of Graham and Ryan, this time not referring to their now dead wife and Gran respectively. We are now introduced to Ryan’s absent Father who wants a relationship with his son, of course he does that as well as helping save the day. Now it is time to put a full stop on the friends stories and made this about the titular character, ‘The Doctor’.

    “Resolution”, for me, was a very good episode, it did not include any moralising or any trips to the past, there was nothing heavy about it in the slightest. This was a fun episode that included one of the top bad guys from the entire history of “Doctor Who” which has been a long time coming, we could have done with this episode half way through the season, it would have broken the ten episodes up nicely. This was not a great episode but is one of the best of the season, it fits above all of Season 11 but below “Rosa”, “Demons of the Punjab” and “The Witchfinders”, these are the best so far.

    My hope remains that in that next the season will be another step up, follow through on some of the early promise as well as making the show relevant, not forgetting that it is a sci-fi show first that operates on the fact that the central character is a Timelord who is not only one step ahead of her friends but also knows instinctively what is going on around her, think back to not only classic Who but also the very best of new Who as well. 

    “Resolution”

    Written: Wayne Yip

    Directed: Jamie Childs

    As the New Year begins, a terrifying evil is stirring from across the centuries of Earth’s history. As the Doctor, Ryan, Graham and Yaz return home, will they be able to overcome the threat to planet Earth?


  • DVD/Blu-ray Review: “The Darkest Minds” (2018)

    DVD/Blu-ray Review: “The Darkest Minds” (2018)

    “The Darkest Minds” (2018)

    Action

    Running Time: 105 minutes

    Written by: Chad Hodge

    Directed by: Jennifer Yuh Nelson

    Featuring: Amandla Stenberg, Harris Dickinson, Mandy Moore, and Gwendoline Christie

    Liam:“We’re going to a place where kids can live together on the outside. The only people who would ever help us are us.”

    This month heralded the release of the latest young adult (YA) adaptation onto DVD and Blu-ray, that being the box offie bomb “The Darkest Minds” (2018). Unfortunately this movie was not a critical success either it was about as routine as they get as far as plot and narrative go, however this movie also had the audacity to not only riff on just about every other YA adaptation that has ever existed, but to also take a big leaf out of the Marvel Comics title ‘X-Men’, in particular the themes from “X-Men: Days of Future Past” (2016) which just goes to illustrate how limiting many of these YA adaptions can be as well as how much audiences have had enough, staying away in droves. There is no doubt that the nadir of YA adaptations is “The Hunger Games” (2011-2014) which was not only a behemoth at the box office but was also embraced (mostly) by critics and helped launch the career of Jennifer Lawrence as well as cementing a career for director Francis Lawrence, the low point although not definitively was the cheap imitation, the “Divergent” (2014-present) which devolved so quickly over its instalments that the studio all but gave up on the final one, with audiences being apathetic about its fate, there is no outcry for the final instalment from anyone. Where “The Darkest Minds” fits is questionable, but it was an abject misfire, so it fits somewhere near the bottom of the heap, which considering its pedigree is not surprising at all. Not only was it uninspired but its plot and narrative were paint by numbers to such an extent that any possible originality was sucked out by the poor acting, formulaic screenplay as well as directing that was more television-like from the early 2000s than something that begged to be seen on the big screen. In fact this may have been better as a television adaption except that “The Gifted” (2017-present) beat it to the punch with more engaging characters, better special effects and a plot that makes sense with fewer red herrings than it should have to keep audiences interested. Its never easy being at the end of anything so this movie comes at the end of a long movement of YA movies that have for the most part been failures, I am not sure what the production company was thinking as to why this would be any different, it may have been the modest budget, but this movie will definitely not make its money back.

    “The Darkest Minds” has been directed by Jennifer Yuh Nelson who is best known for directing the animated sequels “Kung Fu Panda 2” (2011) and “Kung Fu Panda 3” (2016) which were both surprising for being excellent movies in their own right with great stories as well as being very good looking and well directed. However for her live action debut Nelson has been lumbered with an unoriginal as well as lumbering script by a screenwriter who has never written a movie before. The issues are numerable, some of then being characters entering then exiting the narrative for no real credible reason, objectives of groups of characters that are unclear, the reason for varying choices are not explained as are the parameters of the young people’s abilities, not only all of that but social ramifications are left on the side of the road to be replaced by a clumsy love story that not only seems out of place but inappropriate. Looking at a similarly themed movie like “Children of Men” (2006) where there were no children there was a deep dive into what that would do to society at large, here in this movie it is given maybe two lines of explanation about the breakdown of society. This leads to another problem, with a budget of only US$34 million dollars, seemingly much of that spent on shooting outdoors as well as CGI there are few resource left to show a macro look at the world left after apparently man of the planets children have died which is a crime as it offers an audience little scope to feel the impact of what has occurred, everything is blasé, which is a description that should not be used here. 

    So what is this movie about? It revolves around a sudden disease that kills over 98% of the children throughout the United States, leaving the survivors with unusual abilities. As a result, the governments of the world place the survivors in a “rehabilitation camp”, where they attempt to cure the children of their disease, distinguishing them into classes based on their abilities.

    The movie is led by three young actors who are all completely out of their depths, they have all appeared in a few movies and television series but lack the experience to really make an impact in this movie, all three are very one note which given the narrative is not what is required. In fact it might seem harsh to look at the performances of these three as well as all the young cast but we have seen all through the history of cinema the ability of young people to give some excellent performances. The adults in the cast Mandy Moore, Bradley Whitford and Gwendoline Christie all appear quickly and exit for no good reason quickly as well which boggles the mind as Whitford is an excellent character actor and both Christie and Moore have proven they are solid additions to any movie or television show, they should be supporting the younger actors so they are not left stranded and lost in their own work which is exactly what happens. 

    “The Darkest Minds” could have been something special but it relied to heavily on its worn script, its trope laden narrative, poor special effects, archetypal characters, its ripping off of previous super powered movies and the fact that it should have pivoted away from the tired genre it is a part of. After viewing the movie on Blu-ray, I was actually very upset that anyone could make a movie like this that was apathetic to its own genre as well as not showing some real consequences of the main narratives predicament, not only that it used lowest common denominators to express the idea of what the children were going through as well as what the possibilities were for them once they started to grow up. The need for control pf these children was to divide them up by colour which is as simple as things get, it also follows tired tropes from other YA stories, such as using character traits to divide, or peoples trades or any other number of tired reasons to attempt to show how unfairly and one-dimensional people can be treated, when it happened here it was tired and outdated.

    I recommend people to really stay away from this movie it is insulting to viewers, the only time I would tell people to watch would be if you are unable to sleep and can catch on a streaming service you already pay for. 

  • Film review: “Aquaman” (2018) 

    Film review: “Aquaman” (2018) 

    “Aquaman” (2018) 

    Action

    Running Time: 143 minutes

    Written by: David Leslie Johnson-McGoldrick and Will Beall

    Directed by: James Wan

    Featuring: Jason Momoa, Amber Heard, Willem Dafoe, Patrick Wilson, Dolph Lundgren, Yahya Abdul-Mateen II, and Nicole Kidman

    Arthur Curry:“My father was a lighthouse keeper. My mother was a queen. But life has a way of bringing people together. They made me what I am.”

    After the complete failure of the “Justice League” (2017), the last entry in the DCEU franchise, in almost every conceivable way it may have appeared that any goodwill built up by the success that was “Wonder Woman” (2017) may have been burnt off, much like many other franchises that have started strong but ended up little more than a wet blanket. So it was with curiosity, as well as a little trepidation that I dipped my toe back into the DCEU with the release of a movie that promised so much in “Aquaman” (2018) with a massive budget, a huge cast, a known as well as successful director as well as a leading man in Jason Momoa who genuinely embraced the role, but who did not shine as a guest player in the two previous DCEU movies he appeared in. What may have been expected with this relatively unknown character would be to lower the budget as well as create a more modest origin story to try and broaden the audience base to attempt to relaunch the DCEU especially as that is what “Wonder Woman” seemed to do. This is almost the exact opposite of what Warner Brothers have done, seemingly doubling down on the budget, increasing the use of CGI, embracing the idea that a coherent story seems to be out of question to be replaced by action set piece after action set piece with little need to bring some kind of logic into the fray, instead like many of the previous DCEU movies to market the movie at the lowest common denominator. However the difference between “Aquaman” and “Justice League” (2017), not forgetting “Batman v Superman: Dawn of Justice” (2016) is that despite the weight of all these issues it does succeed at being an all around audience pleaser if you leave your brain at the door, treating it like a ride rather than an actual movie. As an audience you should know the level of a movie when the opening scene has a man explaining to a woman how to drink a cup of tea, oh dear.

    What the filmmakers have decided to do is take elements from ‘Aquaman’s’ comic book origins, splicing them together with some of the DCEU movies that have come before, then adding storylines as well as maguffins from a variety of other successful non-related fantasy as well as generic action movies to produce a bloated two and a half hour reimaging of a comic book movie, that audiences will forget as soon as they exit the cinema. Throughout the running time there is a deep thread of “The Lord of the Rings” (2001-2003), “Jurassic Park” (1993), “The Lost World” (1925), “TRON” (1982), “Blade Runner” (1982), “Warlords of the Deep” (1978) not forgetting a huge H.P. Lovecraft aspect that literally rears its head and so many more that in my mind the writers and director just threw anything they could think of into the movie and did not have a strong commitment to leave anything out. Make no mistake these are not knowing nods or homages to other greats of the past but just ripoffs as well as made bland.

    What is surprising is that a director like James Wan, who has had huge success in horror as well as action movies, such as “The Conjuring 1 & 2” (2013-2016), “Furious 7” (2015) and a lot more, could deliver something so big as well so unoriginal which is a missed opportunity to make something that is truly memorable. Not only has Wan changed what the horror movie is with both “Conjuring” movies, but also with “Saw” (2004) a decade earlier. As I said this is not inherently a bad movie, but it lacks any real depth (no pun intended), there are inconsistences throughout, very little is explained and when it is what we see onscreen is generic and nonsensical, like Arthur’s actual origins, what undersea dwellers can breathe on land seems random at best, the third act is such a mess, where are the other heroes in the world, there is little said about the immense loss of life on land as well as under the ocean, do Atlanteans have powers different to each other, there is a hidden ocean in the middle of the planet, please and so much more. Wan’s actual direction is good, although the action is messy especially in the final battle, as is the first fight between Ocean Master and Aquaman, it lacked any real jeopardy as well as there being far too much CGI and master shots, it was just like watching two Mexican jumping beans fighting each other. The storytelling was another aspect that made the narrative feel like we were stuck in molasses, for a movie that is so big and visual there seems to be many characters whose only job was to stand around and explain elements of the story to the audience so we knew what was going on at every step, it seems like that was the only reason for the existence of Mera and Vulko, such a waste of the talents of Willem Dafoe, especially just coming off an Oscar nomination. It seems that if there any problems with the movie the answer to fix it was to throw money at it, which explains why the budget sits at US$200 million as well as not being the way to actually solve real problems. 

    “Aquaman” begins in 1985 Maine, lighthouse keeper Thomas Curry rescues Atlanna, the princess of the underwater nation of Atlantis, during a storm. They eventually fall in love and have a son named Arthur, who is born with the power to communicate with marine lifeforms. Atlanna is forced to abandon her family and return to Atlantis, entrusting to her loyal advisor Nuidis Vulko the mission of training Arthur. Under Vulko’s guidance, Arthur becomes a skilled warrior but is rejected by the Atlanteans for being a half-breed and ultimately leaves Atlantis behind. From here the story really gets bonkers introducing too many villains as well as subplots involving becoming a King getting an all powerful trident as well as balancing wars between brothers, the surface world and the underwater world not forgetting wars between underwater kingdoms and a giant crab, you have to see it to believe it.

    The movie is led by Jason Momoa who does his job well in a part you know he enjoys playing, it’s a role he has been playing for most of his career (not Aquaman, but the archetype) so you would expect him to be good at it by now. Of course he is the party man-child you have come to expect, someone who knows about ancient civilisations while at the same time being a careless thoughtless lout, something that was not present in the comics but has been introduced to show he is really just a ‘bro’ at heart. With big budget movies there is always a deep supporting cast that are all mostly too good for their two dimensional roles, however with the casting of Amber Heard and Patrick Wilson it seems like they have found actors suited to their roles. Willem Dafoe shows up slumming it, with little to do but act as a Gandalf/Obi-Wan character who knows all but seems happy to keep his knowledge mostly to himself. Then there is Nicole Kidman as Atlanna who looks genuinely lost but is a pro and knows how to play up to the camera although really has little to do but show up and spout just enough storyline so we know where Aquaman has to go next. I don’t believe the weakness of the characters is down to the actors but to the script, which is as routine as they get.

    “Aquaman” shares its overuse of CGI with all the other DCEU movies in that almost every environment is a construction, most look fine but at times the technology is obviously stretched to breaking, in particular in the third act where things do start to look a little ropey, not only is speed used to disguise this breakdown but it starts to replicate the issues that were faced in “Man of Steel” (2013) with a huge body count and destruction on such a scale that it has a numbing effect, I lost interest for this entire section, not a good thing in a super hero movie. There are few scenes filmed on location and when they do appear they look so out of place especially with the undersea characters that are so much larger than life that I was taken straight out of the movie, again not a good thing. This is also one of the first DCEU movies where the age reversing special effects have been used for a long period of the movie, in Aquaman’s father played by Temuera Morrison, this effect sometimes looks good but for a long period look extremely false with little expression, plastic looking especially when compared to his appearance later in the movie. 

    I have no doubt that there will be people who will love this movie, it is full of special effects, humour, action and it is after all a super hero movie, so it does tick a lot of boxes for movie goers, especially those that want to feel like they received value for money. The unusual thing is that this is not an inherently bad movie, there are so many more that are worse, some of those exist in the DCEU franchise. On the surface of it “Aquaman” could be considered a good movie, but dig into it and it becomes apparent that it really is a case of the Emperors new clothes, there are inconsistencies throughout as well as tropes that this should be beyond, it is a routine story that offers no real surprises with needless death and violence that is never really commented on. If you want to see how a movie that is part of a franchise, uses a lot of CGI and does have violence but is original, is actually funny, has some heart and looks and sounds great then go and see “Bumblebee” (2018) a far better proposition for all. 

  • New Trailer: “Hellboy” (2019)

    New Trailer: “Hellboy” (2019)

    About “Hellboy” (2019):

    Based on the graphic novels by Mike Mignola, Hellboy, caught between the worlds of the supernatural and human, battles an ancient sorceress bent on revenge.

    HELLBOY is directed by Neil Marshall and stars David Harbour, Ian McShane, Sasha Lane, Milla Jovovick, Daniel Dae Kim and Penelope Mitchell.

    HELLBOY releases in New Zealand cinemas on April 11, 2019

  • Blu-ray/DVD review: “Working Class Boy” (2018)

    Blu-ray/DVD review: “Working Class Boy” (2018)

    “Working Class Boy” (2018)

    Documentary

    Running Time: 104 minutes

    Directed by: Mark Joffe

    Featuring: Jimmy Barnes, Diesel, Ian Moss, Mahalia Barnes and David Campbell

    Jimmy Barnes:“I was born James Dixon Swan. This is the story of how I became Jimmy Barnes.”

    This week marks the release of the Jimmy Barnes documentary “Working Class Boy” (2018) based on his own autobiography as well as a successful stage show which is exactly what this movie feels like, interspersed with musical performances by Jimmy Barnes as well as his talented daughter, Mahalia and son David Campbell.

    This really is a mixed bag at best with a strung together narrative that more or less tells a seemingly truncated story of how the young boy grew up to become who he did. However who that person was is really only hinted at by Barnes and a few others, never really getting to the bottom of either Barnes persona.

    The best aspects of this documentary are the return to Barnes’ Scottish roots, his arrival in Adelaide and all that entailed as well as the music itself which is carried out only adequately. Taking all this into account it seems like we only lightly touch on his life which has been covered in a rather shallow haphazard way by director Mark Joffe. Documentaries work best, in particular documentaries about famous people, in this case a singer when we learn new important aspects of their lives, which we do, when it is carried out in an original way, as well as being shown to an audience in an in depth way, I felt like there was too much being thrown onscreen at once, never really going in depth on any one part, this was a huge missed opportunity. 

    After viewing “Working Class Boy” I had to ask myself the question, did I enjoy what I just watched, did I care about it and where does Barnes fit into how I feel about music as well as his place in my listening habits. I have seen Barnes live in the not to distant past when he supported Bruce Springsteen on his last tour to New Zealand, and did not really enjoy his set, partly because of the type of venue but also it seemed like he had aged and his voice was not great. After watching this movie though I realised how good his voice still is, not only that but I would probably pay to see him by himself in a smaller venue. The other issue is that Jimmy Barnes in my mind is not the most eloquent of speakers so this was a hurdle in the movie as well; he seems to have to force openness in front of the camera, more so than his wife or others in his life. The other aspect is that Barnes, or for that matter his band ‘Cold Chisel’ were not only never that important to me but in the scheme of Australian music have not in my mind aged that well, are not as relevant as other acts from that time period, were always working class, never really appealing to a larger audience which helps explain their eventual break up as well as Barnes own declining career at the end of the 1990s. 

    Producing a documentary about one person can be difficult especially when that person has control over what is covered, as well as what is put onscreen. If one wondered how much control the director, Mark Joffe had over the movie, then you need only look at one of the extra features on the DVD/Blu-ray, a Q & A session at the movies premiere. Simply put without the cooperation of Jimmy Barnes this movie would not exist, so as a director you really need to get what you can, then see if a narrative can be put together that makes sense. In this case it is obvious that Barnes would open up to a point, but then go no further, so while we get tantalising glimpses into elements of his early life there remains a large amount of unanswered questions as well as holes that are never completely filled. Likewise the almost complete absence of Barnes’ musical career seems unforgiveable as does the explanation to any real extent of his stage persona, the issues he had in his band as well as in his solo career not to mention any real mention of his lack of song writing in his biggest hits. 

    I did enjoy this documentary but I really cannot help but think there is a larger story here, maybe not miniseries with a narrative but a definite six episodes that could have commenced at birth and moved right through to Barnes publishing his biography. There is so much story and some of the best documentaries about musical artists are on television, the two that immediately come to mind is the absolutely great Peter Bogdanovich directed “Runnin’ Down A Dream” (2007) which lasts four hours and the Martin Scorsese directed “No Direction Home: Bob Dylan” (2005) which lasts six hours. This documentary does not last much longer than an hour and a half which for an artist that looms so large in Australia’s music history is a crime no doubt about it. 

    Not that I want to compare appples to oranges but picking a narrative strand would have been a bit clearer as well, either have the entire piece as a performance of Barnes in front of an audience performing his one man show, with musical interludes. If not that then a proper following Barnes with more footage from him growing up, a lot more interviews with many more people from his life, especially his family as well as the musical performances. 

    I can recommend this documentary but mainly due to the music which is very good as well as the bright spot behind this mixed up movie.

    Working Class Boy is a 2018 Australian documentary film about the life of Jimmy Barnes, based on the 2016 memoir of the same name. The film looks on one of Australia’s most legendary and iconic artists; his traumatic childhood, fuelled with domestic violence, poverty and alcoholism and his evolution from James Dixon Swan to Jimmy Barnes.

    Special Features:

    – Never before seen footage (6 videos)
    – International Melbourne Film Festival Q&A with Jimmy Barnes and Mark Joffe
    – Directors commentary by Mark Joffe with story producer Francine Finnanne

    Soundtrack:

    Around the World

    The Lion Sleeps Tonight (featuring Mahalia Barnes) 

    Texas Girl at the Funeral of Her Father (featuring Australian Chamber Orchestra)

    Dark End of the Street

    A Fool in Love (featuring Mahalia Barnes) 

    The Upper Room

    When the War Is Over

    Still Got a Long Way to Go (featuring Diesel) 


  • Streaming review: “Black Bird” (2018)

    Streaming review: “Black Bird” (2018)

    “Bird Box ” (2018) 

    Sci-Fi/Horror

    Running Time: 124 minutes

    Written by: Eric Heisserer

    Directed by: Susanne Bier

    Featuring: Sandra Bullock, Trevante Rhodes, Jacki Weaver, Rosa Salazar, Danielle Macdonald, Lil Rel Howery, Tom Hollander, BD Wong, Sarah Paulson and John Malkovich

    Gary:“Open your eyes, it’s so beautiful.”

    This week Netflix has released the horror movie adaptation of the genre novel “Bird Box” (2018) onto its service, which on its surface may seem like a riff on the massively successful “A Quiet Place” (2018) which like this new genre movie is based around one basic element that human’s rely on, that earlier movie was sound, this new movie is sight. Both movies are centred around the family unit, as well as asking what family means and where that group comes from, whether by blood or by circumstance. Ultimately though this is the only place where the two movies intersect, as how the narratives as well as the goals of each movie play out are extremely different which makes each of these genre pieces their own definite thing, with very separate identities. However because of their post-apocalyptic alien invasion story they are both generally similar and so the landscapes that are shown onscreen seem eerily familiar which is detrimental to both because they have been released within months of each other. The good news is that there is enough room for both movies to exist comfortably as the differences that exist are wide enough that viewers should have a good time with both, I know I did. Not only that the size of the movies is different offering very different scopes for us to live in and investigate – if anything there are more questions answered in “Bird Box” than the other.

    The past ten years has been a bonanza for genre movies, especially horror, not only does there seem to be more being produced than ever before, especially with the advent of cheap film making equipment, more quality filmmakers entering the genre as well as more production companies realising there is money to be made, especially with the increase in online streaming services, whihch is where “Bird Box” fits into very comfortably.

    The movie revolves around Malorie Shannon who receives news that a mass rate of hysteria and suicide is spreading across the country, but something more sinister proves to be in progress. After her older sister, Jessica, succumbs to the “Problem”, Malorie learns from a group of survivors that the Problem is an evil other-worldly entity that possesses the ability to become a victim’s worst fears and drives them to the point of insanity, eventually forcing them to commit suicide. When she loses contact with the group, Malorie must make it her mission to guide her young children through a forest and down a river in order to make it to a windowless safe haven. Because the Problem can only take a form if its seen, the journey must be done blindfolded.

    “Bird Box” has been adapted from a novel published in 2014, directed by Susanne Bier, produced by Bier and star Sandra Bullock, very successfully I would say. Bier’s films often play out against a wide-reaching global backdrop, their focus is intimate, carefully exploring the explosive emotions and complexities of familial bonds. This unique combination is part of the formula that has made her Denmark’s leading female filmmaker. The actual plot of the movie is goal based with a kind of road movie, albeit it on a river, as the main narrative, but with a flashback story told separately so as to indicate how the Sandra Bullock character has ended up where she has, although this does reduce the tension of the thread told in the past as we know at some point all the people she has grown close to are going to probably die. This is a movie filmed with a lot of close-ups but they never seem to get tiring or boring which is a credit to Bier whose last movie was a major let down in “Serena” (2014), here she directs like we have come to expect, tension building with payoffs throughout to hook the audience at different times . This is a horror/thriller that replicates the directors amazing success with the series “The Night Manger”(2016), that to built tension with some incredible talent involved.

    There is no doubt that the star here is Sandra Bullock who in case you missed it can act alongside any actor working today, here she is less glamorous than she has been in years, it suits her, she is playing a woman who has to become a protector almost as the movie begins. She plays a character with varying degrees of emotion who has to be believable as her reactions to the events around her are what we are watching, especially as we never see the aliens that have invaded the Earth and the other characters personal little worlds which is devastating, of course. Like many Netflix projects there is never any holding back on the quality of talent in front of the camera, “Bird Box” is no exception. The standout supporting actor for me is Trevante Rhodes who is fast becoming one of my favourites, in this he lends the movie some grounded drama as well as heart which he does as believably as anyone I have seen before, I cannot wait to watch his career take shape. Other highlights in the cast are the always great Jacki Weaver, Tom Hollander, BD Wong, Sarah Paulson and John Malkovich who all play very different characters and carry much of the drama and thrills whilst in the movie, leaving the two main leads to give depth to the story as well as the predicament they all find themselves in. 

    There is no doubt that this movie is very different to “A Quiet Place”, it has a more complex narrative as well as possibly more complicated characters that while not as personal as other genre movies does have a through line as well as a conclusion that means we stay with basically one character and see her journey from someone who is not capable to someone in charge of her ultimate destiny, as well as a carer, something she is desperately frightened of at the beginning of her story. The other element is the scope of the story that has some very different locations, it could have been a locked box movie which part of it very much is, but there is an entire other side which is a juxtaposition between that and the outdoor locations which are used. Both aspects are important as it shows there really is nowhere to hide, danger lurks everywhere and its very real even if you are physically unable to see it, if you do you are in trouble.

    I enjoyed this movie far more than I thought I would, that is down to the acting talent on display, which is huge, and the story zips along at a good pace, even with a two hour running time, which seems de rigour fro a horror movie these days. If you want to watch A-list talent being hunted by unseen aliens as well as a family drama unfolding this is for you, there are far more unoriginal and tired movies on Netflix, in fact this could have gone theatrical very easily. 

    “Bird Box” is streaming on Netflix from the 21st December 2018.

  • 4K Blu-ray review: “The Predator” (2018)

    4K Blu-ray review: “The Predator” (2018)

    “The Predator” (2018)

    Action/Sci-Fi

    stars-2-5

    Running Time: 108 minutes

    Written & directed by: Shane Black

    Featuring: Boyd Holbrook, Trevante Rhodes, Jacob Tremblay, Keegan-Michael Key, Olivia Munn, Thomas Jane, Alfie Allen, and Sterling K. Brown

    Casey Bracket: “I think they’re attempting hybridization. They’re upgrading on every planet they visit.”

    Critical Commentary:

    Was anyone really in need of another ‘Predator’ movie especially after the lacklustre hybrid genre pieces of “Alien vs. Predator” (2004) and “Aliens vs. Predator: Requiem” (2007) as well as its own last sequel “Predators” (2010) which were all extremely underwhelming leaving the franchise in a very precarious position seemingly inert with little interest from anyone, as well as no ideas on how to move the story (if indeed there was one) forward in any way. Then along comes Shane Black fresh off his box office success on “Iron Man 3” (2013) as well as a seemingly rejuvenated career on top of the critical success of the underrated “Kiss Kiss Bang Bang” (2005) as well as “The Nice Guys” (2016) he wrote a script with the idea of directing, naturally peoples interest was piqued, as was mine as I am a big fan. It appeared that with Black’s success not only as a writer of action but within genre movies as well, including his knowledge of the ‘Predator’ franchise as an actor in the original, this might be the installment that audiences had not only been waiting on but that it might rival the original in terms of not only action but in the wry comedy that is present thought-out. There was some hope early on with some great casting as well as a plot that was forward looking, the budget was not huge but was enough that it lent itself towards a quality production from people who were used to such budgets, but unfortunately that it is where hope ended.

    As with many genre movies especially from a major studio there were indicators that the movie Black had written as well as directed was not going to be the movie that ended up on the screen. There were reshoots galore as well as altering the entire third act of the movie, the cutting out of entire characters as well as the changing of the plot to make it more palatable for the studio which brings us to the movie itself which has not turned out as well as Black would have wanted. Not only that but it appears to not even be the best ‘Predator’ sequel to be produced which for me is a major letdown. This is a movie that makes little sense as well as not holding together very well in terms of the genre, the complete wasting of actors talents to give nonsensical performances in a narrative that does not link to a logical plot leaving audiences wondering what went wrong as well as what have they just watched. There are some bright points within the movie which really revolve around actors Olivia Munn and Yvonne Strahovski who seem to be in a different movie to everyone else which could be related to the uneven editing as well as the jigsaw that has been put together from the pieces that were left after filming had been completed which all leads to a bad movie.

    There is no doubt that the driving force behind the movie is writer/director Shane Black who is a master at writing action movies which he has been doing successfully since “Lethal Weapon” (1987) as well as numerous others which came to an end with the underrated “The Long Kiss Goodnight” (1996) which was not critically welcomed at the time but has since been re-evaluated in terms of its importance featuring a female lead in Geena Davis as well as its unique premise. Black made his comeback as well as his directing debut with “Kiss Kiss Bang Bang” which while not a huge financial success was one critically, it married a few of Black’s strengths into one film that also helped re-launch the career of Robert Downey Junior who repaid that with “Iron Man 3”. Black is a very good director who understands how to make a movie as well as giving actors time to shine with cracking dialogue that runs off the tongue in a seemingly natural way. He also knows how to construct scenes within narratives that sometimes can seemingly make little sense but come together in the third act, which has always been Black’s strengths in his writing. This is why it is so unusual that the narrative as well as the plot is the weakest of any Black scripted movie which is a real shame as this movie deserved better especially with the premise as well as the bult up anticipation of the movie by audiences.

    The actual plot of “The Predator” begins when a predator ship crash-lands on Earth. Army Ranger sniper Quinn McKenna and his team are attacked by the predator on a hostage retrieval mission. McKenna incapacitates the Predator and has its armor mailed off before government agent Will Traeger captures him. Traeger also takes the Predator to a lab for experimentation and observation, recruiting evolutionary biologist Casey Bracket to study it. The Predator awakes, breaks out of its bonds, kills the lab workers, but spares Bracket before leaving. The movie moves on from here, it attempts to be funny as well as action oriented but it mostly comes off as confusing with jumps that make little sense with a final act that is as confusing as the rest of the movie.

    “The Predator” was obviously something very different when it was written as can be seen by the calibre of the cast that was assembled, a big deep crew of character actors some who have carried their own genre movies, they are all very well known as well as exceptionally talented in knowing how to gauge their performances. The stand out actor in this movie is for my mind Olivia Munn who while not the lead is fantastic playing a full range of actions as well as emotions; she carries the movie making it bearable for the time she is in it. The only problem is that this is an ensemble piece so there are far too many characters getting too much time, which detracts from the overall idea of the movie. The lead of the movie, Boyd Holbrook attempts to do an admiral job but his performance is not only uneven but all over the place, this may not be his fault but could have something to do with the extensive reshoots as well as the tonal changes that were made prior to release which seem to have hampered the entire production. The other actor worth mentioning who again seems to have suffered from a mixed tone is the normally reliable Sterling K. Brown who is all over the place, Black does not seem to know what to do with his character which explains his fate in the movie which to me seems like an afterthought. The entire cast needed to be reduced from the beginning as did the plot, it is overly complicated with a narrative that is as confusing as anything seen in any genre movie. Not only that but none of the actors really shine or get their own arc which is an issue as an audience may find then amusing but will not care about their fate as they are just cyphers.

    With all the time it has taken for this movie to be released as well as actually pushing back the original release date one would hope that the effects would be state of the art but there are many disappointments to be had in this area mostly with the overuse of CGI as well as the ropy nature of it within the movie, such as the predators themselves as well as the dogs that are deployed in two ways, one to terrify, the other to introduce some comedy, neither of which actually works very well at all. One of the many great aspects of the first movie was some excellent physical special effects that added to the mystery of the predators as well as the visceral nature of them when they encountered a human that could fight back, here they just seem like the CGI, on steroids which is a missed opportunity.

    What could have been a sequel that would have refreshed a lost franchise ends up being just a disappointing sci-fi/horror romp that is not particularly engaging or memorable, wasting its many talents behind and in front of the camera which is a disservice to all involved. This is a movie that has been tinkered with by too many people, I cannot help but think of what the original vision was for this as Shane Black is too talented a person not to offer something more genre defying than this action movie in need of a plot. One wonder’s if original star Arnold Schwarzenegger should have been talked into making some kind of appearance as a nod to the original as well as opening up the story for audiences familiar with the franchise – who knows maybe next time, but they had better hurry.

    Technical Commentary:

    Video


    Audio


    Special Features

    • Deleted Scenes
    • A Touch of Black
    • Predator Evolution
    • The Takedown Team
    • Predator Catch-Up
    • Gallery
  • Movie review: “Bumblebee” (2018)

    Movie review: “Bumblebee” (2018)

    “Bumblebee” (2018) 

    Sci-Fi/Action

    Running Time: 113 minutes

    Written by: Christina Hodson

    Directed by: Travis Knight

    Featuring: Hailee Steinfeld, John Cena, Jorge Lendeborg Jr., John Ortiz, Jason Drucker, Pamela Adlon, Dylan O’Brien, Peter Cullen, Angela Bassett and Justin Theroux 

    Optimus Prime: “Bumblebee, our war rages on. You must protect Earth, and its people.”

    This week sees the release of the latest entry into the “Transformers” (2007-present) franchise which has seen some dizzying heights as well as some very real lows, the last installment springs to mind, “Transformers: The Last Knight” (2017), which was the worst performer in terms of box office, the critical reception as well as a personal level for Michael Bay. It may have seemed that Paramount had put a full stop on the franchise with that last entry, for the time being anyway, but now less than two years later we have the first spinoff as well as a mini reboot with one of the more popular and fun characters, “Bumblebee” (2018). Not only that, this is the first time Michael Bay has not been at the helm, it has the smallest budget almost two thirds less than the last outing and it is set in the 1980s which makes this very much a period movie with a female as the lead and the centre of the story that is built around real emotion instead of a war or the possibility of a relationship – my early reaction is that this is not only the second best ‘Transformers’ movie but one of the best studio movies released this year, especially with a  running time less than two hours. Not only that but the lead character is written as not some love sick adolescent but a young woman who has more on her mind than finding a boy, but becoming someone who is lost because of a family situation as well as the loss of her father. 

    I do not think it is any coincidence that “Bumblebee” set in the 1980s has at its heart a homage to one of the biggest movies of all time, definitely the biggest movie of that decade in Steven Spielberg’s “E.T. the Extra-Terrestrial”  (1982), not only that it also borrows from another giant robot movie in the form of “The Iron Giant” (1999), making this movie a spiritual sequel of sorts to both which could have been a disaster, but actually makes “Bumblebee” something very special. Not only that but because it also has a woman in the lead who is definite about her aims in life as well as not bowing down to a mans whim or objectivity this signals it being made in a post #meetoo world, she has agency which stays true throughout the movie right to its fantastic conclusion which closes the door on this particular story.  

    That brings us to the writer and director of this new movie, in Travis Knight and Christina Hodson respectively who are both newish to full length features but at least one has already directed a movie that has become an instant classic and favorite in “Kubo and the Two Strings” (2016) which was nominated for two Academy Awards. There are many elements of Knight’s direction that are to be admired, first and foremost are the CGI effects as well as the design and physics of the transformers themselves, they have never looked so good or easy to follow, which was always a bugbear with the first five movies. The other element is the narrative, which is simple but contains some very serious issues that are all too human as well as revolving around a woman who is dealing with her life even while encountering giant transforming robots. Nothing about Charley is short-changed, her entire arc is dealt with even with her Mother, brother and possible stepfather, and this really is a role that shines right to the end. As I have already mentioned the actual story is very similar to other movies, both classics, what is fantastic is to lay them over the top here to prove that they are timeless stories that are complicated in theme, but still work so well, and here in this new movie they are used expertly with some twists that make “Bumblebee” a very good movie. Finally the last element which is apparent from the opening scenes on Cybertron is the move to a more classic transformer look which is so welcome, the robots all look like they did not only in toy form but also in the animated “Transformers” (1986) movie – a welcome move indeed. This is also gives an extra layer as it feels new, not just some retread from something audiences have seen before, because they haven’t.

    The story itself revolves around the Autobots led by Optimus Prime who are preparing to leave their homeworld Cybertron as they are vastly outnumbered by their enemies, the Decepticons, and on the verge of losing the war. The Decepticons ambush them during the evacuation, and Optimus sends young scout B-127 to Earth to set up a base of operations where the Autobots can regroup. B-127 reaches Earth alone in 1987, crash-landing in California during a military training exercise led by Lieutenant Jack Burns, who mistakes him for a hostile invader. Burns and his men chase B-127 into the forest, where he is then ambushed by a Decepticon, who tears out his vocal processors and damages his memory core when B-127 refuses to give up Optimus. B-127 manages to destroy Blitzwing before collapsing of his wounds. Before entering stasis, B-127 scans and transforms into a nearby 1967 VW.

    “Bumblebee” is led by the expert performance of Hailee Steinfeld who over the years has proven how good an actor she is in a variety of roles and this performance is no different. With what could have been a trope-laden character in a trope laden movie the performance is spot on, with a challenging performance set in a decade before her time, with co-stars both real and unreal who all have varying degrees of expertise, there is no doubt that Steinfeld is the leader of this movie, the proof is onscreen, it is one of the best knowing performances in a blockbuster this year. Filled out  with some excellent performances the two that stand out are Pamela Adlon as Charley’s Mother who is consistent throughout as well as a presence onscreen that matches her co-stars which is something as Adlon is more know on the stand up scene and on television in comedies. Then there is John Cena who is always a physical presence and has over the past few years proven he can be funny alongside proven comedians, here he proves that he can pick projects that others might overlook as well as present a nuanced performance without winking to the audience in a character that viewers might think they know but there is originality there definitely. It is also a treat to see Len Cariou as a key player in that he helps Charley get to her new old car, he plays the curmudgeon expertly but of course has a heart where she requires one to be shown, the right character actor for the right part. 

    This was not a movie I was excited about or looking forward to, but I was surprised by how much I enjoyed it, the story was great as was the narrative, it was all recognisable from previous installments, in particular the first movie, “Transformers” (2007) with the aspect of someone young looking for their identity as well as a new car that gets more than they bargained for – this felt new with twists that have been introduced to keep the ideas fresh, which they are. Of course there are elements of other movies that have been incorporated but I cannot be upset by that as their inclusion makes this movie all the better as well as proving that there is life in this franchise yet. 

    As this is a period movie the music plays a massive part in scene setting with some great period pop as well as alternative music especially with the English band ‘The Smiths’ playing a huge part not only as background music but also as a part of the narrative, which is something few non-musicals do. We also hear Duran Duran, Howard Jones, Rick Astley and many more although sometimes they can be a bit on the nose it is all welcome that it is not music we have heard before. There is also a nod to the John Hughes classic, “The Breakfast Club” (1985) which was nice to see as it has aged very well and fits nicely within this movie, although I wonder how a girl who is unable to afford parts for a car would be able to pay for a VHS in 1987.

    I cannot recommend this movie more, it is the very definition of a drama based sci-fi film that is well cast with some excellent special effects that sets itself apart from the previous instalments by being about something that is human, not hard to follow goal oriented movies that are boring which is the net result of many of the Transformers movies. If you are unsure about seeing this family movie don’t be it is one of the better studio films released this year. 

    “Bumblebee” is out now only in cinemas.

  • DVD review: “Orville – Season One” (2017)

    DVD review: “Orville – Season One” (2017)

    “The Orville – Season One” (2017) 

    Sci-Fi/Action/Comedy

    Episodes: 12 episodes

    Created by: Seth MacFarlane

    Featuring: Seth MacFarlane, Adrianne Palicki, Penny Johnson Jerald, Scott Grimes, Peter Macon, Halston Sage, J. Lee, Mark Jackson

    Ed Mercer:[seeing the Orville] “Is that it? It’s not bad, right?”

    Gordon Malloy:“No, it’s good. You paint some flames on the side, maybe, like, a rainbow unicorn, you got something.”

    Released on DVD this month is the latest series from Seth MacFarlane who has turned his unique brand of humour into not only a television show with the long running “Family Gut” (1999-present) but has also written and directed three movies in “Ted” (2012), “Ted 2” (2016) and “A million ways to die in the West” (2016) which have all met with various degrees of success. MacFarlane who is an atheist, which in various guises does show up in all of his work, was also a co-producer on the rebooted version of Carl Sagan’s “Cosmos” (2015-present), which is entering its second season much like his Trek homage “The Orville” (2017) which was somewhat of a surprising success story for the Fox network. The success is surprising as McFarlane creating a “Trek” like show is not original at all, in fact it has been the target of copies, homages, reboots, reinventions and satire ever since it first aired in the 1960s. There have been far too many to list but some of my favourites are the great “Galaxy Quest” (2001), the recent “Black Mirror – USS Callister” (2017) and of course “Star Trek Discovery” (2017-present), I would definitely add this versions well, mainly because of the humour but also the addition of what makes science fiction such a great genre, that is the asking of questions that reflect our life we live in this very moment. 

    The Orville is set on the titular U.S.S. Orville (ECV-197), a mid-level exploratory space vessel in the Planetary Union, a 25th-century interstellar alliance of Earth and many other planets.

    Episodes:

    Old Wounds:25th-century Union command officer Ed Mercer divorces his wife, Kelly Grayson, after catching her cheating on him. A year later, he accepts a position as captain of the U.S.S. Orville, a mid-level exploratory vessel, and learns to his dismay that his ex-wife has been assigned as his First Officer. 

    Command Performance:The technologically advanced Calivon imprison Mercer and Grayson in a replica of their former home as a zoo exhibit. Alara is left in command of the Orville, as Bortus has laid an egg and must incubate it. Alara is unsure of herself, but gains confidence with the help of Claire’s mentorship. Mercer and Grayson wonder if they could have made their relationship work, but finally conclude that they were never compatible for a long-term romantic relationship, despite their strong camaraderie.

    About a Girl:When Doctor Finn refuses Bortus and Klyden’s request to have their daughter undergo sex reassignment surgery, which is standard practice for Moclans on the very rare occasions when a female is born, the parents petition Mercer to order the procedure. Mercer refuses, as he (and the rest of the crew) object to performing such a procedure on a healthy infant, so Bortus and Klyden arrange to have the procedure performed on a Moclan vessel. Gordon and John change Bortus’ mind by showing him Rudolph the Red-Nosed Reindeer, but Klyden still wants to proceed, revealing that he was born female. 

    If the Stars Should Appear:The Orville encounters an immense, 2000-year-old derelict ship drifting into a star. Mercer, Grayson, Kitan, Finn, and Isaac enter, discovering an artificial biosphereand a civilization of 3 million who worship an entity called Dorahl, and do not know they are on a ship. Grayson is held prisoner by their theocratic dictator Hamelac, who imposes a death penalty on “Reformers” who believe anything exists beyond the known world. While Bortus takes the Orville to save a colony ship from a Krill attack, Grayson’s crewmates rescue her and lead a group of Reformers to the alien ship’s bridge. An ancient recording from Captain Jahavus Dorahl (played by Liam Neeson) reveals that it was a generation ship disabled by an ion storm.

    Pria:The Orville saves Captain Pria Lavesque (played by Charlize Theron) from her imperiled mining ship. The beautiful Pria charms Mercer and others of the crew, eventually sleeping with Mercer, his first romance since Grayson. Grayson is suspicious of Pria, whose supposed employer doesn’t check out, and enlists Kitan to investigate; they find a mysterious device in her quarters, but Mercer reprimands them. Pria saves the Orville from a “dark matter storm,” but later hijacks the ship, using the device. She is a time-traveling 29th-century artifact dealer; history records the storm destroyed the Orville, which she transports to the future via a wormhole for her client, a collector. 

    Krill:After recovering a Krill shuttle intact, Mercer and Malloy are ordered to pose as Krill soldiers in order to board one of their vessels and get a copy of the Ankhana, a sacred religious text. They are forced to change priorities when they learn that the Krill plan to detonate a powerful bomb over a remote Union colony. 

    Majority Rule:An undercover team led by Grayson lands on Sargas 4, an Earth-like planet with a culture similar to that of 21st-century human civilization, to locate two missing anthropologists. There, LaMarr is arrested after a video of him dancing with a beloved statue receives more than a million “down” votes, and must convince the public to pardon him or be subjected to “treatment” for his actions. 

    Into the Fold:While traveling to a recreational planet in a shuttle, Isaac, Finn, and her sons Marcus and Ty fall into a spatial fold, and crash on a planet a thousand light-years away from their original location, devastated by famine and disease, and populated by cannibals. Finn is separated from the other three when the shuttle breaks in half while she is in the back carrying out repairs, and is captured by a survivalist named Drogen. While she works to escape, Isaac, who is unfamiliar with the care of human children, is forced to protect her sons while he tries to fix the shuttle’s communication systems in order to send a distress signal. Ty becomes ill with the planet’s indigenous disease. 

    Cupid’s Dagger:The Orville is dispatched to mediate talks between two alien species, the Navarians and the Bruidians, who have been at a centuries-old stalemate over which race lays proper claim over the planet Lapovius. Also assigned to the matter is Darulio (Rob Lowe), the Retepsian whose affair with Grayson a year prior ended her marriage to Mercer, to scan an ancient artifact from the planet for DNA to reveal which species was the original inhabitant. Unbeknownst to the crew, Darulio secretes a sex pheromone as part of his mating cycle, which affects the crew resulting in trysts between Darulio and Grayson, Darulio and Mercer, and Finn and Yaphit. 

    Firestorm:When Lt. Payne is trapped beneath debris during a plasma storm, Alara’s pyrophobia causes her to hesitate, and after he dies, she blames herself. Mercer declines her resignation and suggests she discover the cause of her pyrophobia. She learns from her parents (Robert Picardo and Molly Hagan) that, as an infant, her mother fell asleep cradling her when a fire broke out in the kitchen. Alara’s cries woke her up just in time to save them both. Soon, the Orville encounters strange phenomena, including a scary clown, a giant spider that eats Malloy, and murderous versions of Finn and Isaac. 

    New Dimensions:With Lt. Newton leaving the Orville, Mercer must find a new Chief Engineer. Although Yaphit is next in line for the position, Cmdr. Grayson discovers that LaMarr has been hiding intellectual gifts, stemming from wanting to be better accepted as a child growing up in his community. Grayson convinces Mercer to assign LaMarr to lead an engineering team assignment, in order to evaluate him as a candidate, but when Mercer learns that Grayson similarly pushed for Admiral Halsey to consider him for the Orville’s captaincy, he becomes wracked with doubt and resentment, despite Grayson’s insistence that he was granted his position on merit and Halsey’s confirmation that Mercer’s performance on the ship has borne this out. Meanwhile, the Orville encounters a thief with a cache of plasma rifles stolen from the Krill, who is killed when he passes into a region of two-dimensional space. 

    Mad Idolatry:Grayson leads a shuttle team that crashes on a suddenly appearing planet with a Bronze Age society. After leaving, the crew discovers that the planet phases in to our universe for a short time every 11 days as 700 years passes on the planet. They discover that their first visit has resulted in a religion that worships Kelly Grayson and has grown into a theocracy resembling Earth’s middle ages. Admiral Ozawa reprimands Mercer for omitting mention of the contamination, and orders no further contact with the planet. Mercer and Grayson defy this order by returning to the planet to inform the society’s religious leader of the truth, but a subordinate assassinates him. 

  • Trailer: “Godzilla: King of the Monsters” (2019)

    Trailer: “Godzilla: King of the Monsters” (2019)

    About “Godzilla: King of the Monsters” (2019):

    The new story follows the heroic efforts of the crypto-zoological agency Monarch as its members face off against a battery of god-sized monsters, including the mighty Godzilla, who collides with Mothra, Rodan, and his ultimate nemesis, the three-headed King Ghidorah. When these ancient super-species—thought to be mere myths—rise again, they all vie for supremacy, leaving humanity’s very existence hanging in the balance.

    GODZILLA II: KING OF THE MONSTERS is directed by Michael Dougherty and stars Vera Farmiga, Ken Watanabe, Sally Hawkins, Kyle Chandler, Millie Bobby Brown, Bradley Whitford, Thomas Middleditch, Charles Dance, O’Shea Jackson Jr., Aisha Hinds and Zhang Ziyi.

    GODZILLA II: KING OF THE MONSTERS releases in New Zealand cinemas on May 30th, 2019.

  • Trailer: “Hotel Mumbai” (2019)

    Trailer: “Hotel Mumbai” (2019)

    Trailer: “Hotel Mumbai” (2019)

    “Hotel Mumbai” is based on the true story of the devastating terrorist attack on the Taj Mahal Palace Hotel in 2008. The terrifying assault brings together the guests and staff of the luxurious hotel including wealthy new parents David and Zahra (Armie Hammer and Nazanin Boniadi), Russian businessman Vasili (Jason Issacs) and newly promoted waiter Arjun (Dev Patel) in a desperate fight for survival. This story celebrates humanity, compassion, courage, resilience and the unwavering desire to survive.

    • MUMBAI (BOMBAY), INDIA – NOVEMBER 29: (ISRAEL OUT) Locals look at a fire as it burns at Taj Mahal Palace & Tower Hotel following an armed siege on November 29, 2008 in Mumbai, India. Indian officials have declared the siege at the Taj hotel over as the remaining militants were killed when commandos stormed the building. The city of Mumbai was rocked by multiple coordinated terrorist attacks that targeted locations popular with foreigners, late on November 26, killing at least 195 people. (Photo by Uriel Sinai/Getty Images)
  • Television review: “Doctor Who – The Battle of Ranskoor Av Kolos” (Episode 10, Season 11)

    Television review: “Doctor Who – The Battle of Ranskoor Av Kolos” (Episode 10, Season 11)

    “Doctor Who – The Battle of Ranskoor Av Kolos” (Episode 10, Season 11)

    Television/Sci-Fi

    Ten Episodes

    Produced by: Chris Chibnall

    Featuring: Jodie Whittaker, Bradley Walsh, Tosin Cole and Mandip Gill

    The Doctor: “Don’t quote my own rules back at me!” 

    This weeks episode “The Battle of Ranskoor Av Kolos” marks the final one of the eleventh season of “Doctor Who” (1963 – present) which has seen, I believe, some very good episodes, not absolutely great ones but some decent ones that have highlighted the new Doctor as well as her friends as they all get to know each other, as well as letting the audience in on these new relationships. This episode is a trip to outer space with a largely convoluted plot that reintroduces an old villain, although only from episode one, not as I had personally hoped one from the classic series.  This, for me is a half hearted attempt at making this season mean something by book ending the bad guy, as well as giving some closure to at least two of the new Doctors companions, my guess as a parting of the ways that once again attempts to give meaning, which it definitely does not. It seems there is too little too late to really make nothing more than a diversion for the show something wasted especially in terms of a wonderful new actress playing the Doctor as well as her companions who are all great, in my opinion. 

    One of the strengths that Chris Chibnall brings to the show, is the ability to cast characters extremely well which is not only bourn out by the main cast but by all the excellent guest stars we have seen over the first nine episodes.   The only really issue is that in most cases the guest stars have little to grab onto, this is no more than the case than this week with the excellent Mark Addy who should steal the entire episode but just drifts from scene to scene with very little scenery to chew on, something he is a master at. This show has been given everything, a great cast, excellent special effects, a friendly time slot and a history like few other franchises before it. Yet week after week it has attempted to distance itself from everything that has gone before so while many of the central plots have been fine, it is the villains or antaganosist that have been ho-hum, and not interesting in the least, this week is a prime example of that – truly a forgettable foe that means nothing in the scheme of things. 

    Audiences both old and new in this age of peak viewing need a reason to hang around week after week, the only way to do that is to make them return to see what happens next in the plot as well as, hopefully, in an overarching narrative. Now while I am not a fan of heavy serialization in my television I think a page out of the Tennant era is required, that is a light narrative that loosely connects a season together with some revelations made in the final few episodes – this is something that is not happening as of yet for entire season. My hope is that next season we see some memorable antagonists that have some weight to them and don’t feel like afterthoughts which is a true crime in sci-fi. What is needed are clear aims as well as some unique and memorable antagonists that are three dimensional beings who we understand as ‘Who’ villains not cutouts that seem like they are made up on the spot. 

    Unfortunately, for me this was not a great episode at all, the reason for its existence as well as bringing back the alien from the first episode was to arbitrarily have a reason to reduce the number of ‘Who’ companions as well as tying the knot on a relationship that I thought had been ‘fixed’ last episode. It also seems to be attempting to bring morals to the show which I thought were inherent as well as being obvious to anyone that has seen the show even once before. This weeks episode then is another monster of the week that really is entirely forgettable, not just the monster or villain but the actual episode itself. 

    This is a finale of what should have been one of the most important seasons in the history of “Doctor Who”, possibly just after the reboot all those years ago. Say what you want about the Davies era, that first season was unmissable with a new Doctor, new effects, a great companion as well some stories that had big payoffs and really went for it, they knew that it could end at any point. Now we have the same circumstances but it really has been mediocre because of the structure of the season as well as the foes that have been put forward. Don’t forget that first season brought back at lease two classic Who villains who were used very wisely – I think that is what is missing here. 

    Normally I would say that I am very much enjoying these new episodes quite a bit, it is a big step up from last season, with stand alone episodes being a very good decision to get audiences used to some very big changes, I am looking forward to what is to come. My hope is that next the season will be another step up, follow through on some of the early promise as well as making the show relevant, not forgetting that it is a sci-fi show first that operates on the fact that the central character is a Timelord who is not only one step ahead of her friends but also knows instinctively what is going on around her, think back to not only classic Who but also the very best of new Who as well. 

    “The Battle of Ranskoor Av Kolos”

    Written: Chris Chibnall

    Directed: Jamie Childs

    The Battle of Ranskoor Av Kolos finds the Doctor and co on the planet of Ranskoor Av Kolos amongst the remains of a brutal battlefield, where they must field nine separate distress calls.

    The planet, however, holds far more secrets. Who is the mysterious commander with no memory? What lies beyond the mists? Who or what are the Ux? 

  • Film review: “Ghost Stories” (2017) 

    Film review: “Ghost Stories” (2017) 

    “Ghost Stories” (2017) 

    Drama/Thriller/Horror

    Running Time: 98 minutes

    Written & directed by: Andy Nyman & Jeremy Dyson

    Featuring: Andy Nyman, Martin Freeman, Alex Lawther, Paul Whitehouse

    Mike Priddle:“It’s funny, isn’t it? How it’s always the last key that unlocks everything.”

    The new film “Ghost Stories” (2017) released this week in New Zealand cinemas is the most unusual of genre movies, one that incorporates a variety of narrative tools to dislodge an audience from their own expectations as well as keeping them wrong-footed through a plot that is not only convoluted but draws the viewer in as a willing participant without them even realising it. This movie is based on a long running as well as well toured play written by Andy Nyman and Jeremy Dyson that itself has been staged in a most original way, that keeps its secrets as the actual plot is kept under wraps by audiences as well as critics that have seen the play – here the movie follows a similar course, although the narrative is broadened to take into account what is possible within the very nature of cinema. In my opinion the filmmakers have created a very good adaptation as well as a film that is enticing as well as a very good genre movie that should not only keep audiences guessing but at times possibly make viewers curious as to what they have let themselves in for. There is nothing better in this day and age than a movie not only retaining its secrets for unaware audiences but to actually offer some sort of surprise as everything seem to have been done before.

    The play itself is notable for running only 80 minutes (with no interval) and for its publicised warnings advising against anyone under the age of 15 attending. The marketing of the show outside the theatre is unusual in that there are no production photographs, just stills and video monitors showing the shocked reactions of audience members. An announcement at the end of the play asks the audience to “keep the secrets of Ghost Stories” so that new audiences do not have the experience spoiled with any prior information about the play. 

    “Ghost Stories” has been written as well as directed by the authors of the stage play, Andy Nyman and Jeremy Dyson who have a wealth of experience in writing for different mediums so their expert adaption is evident here as this is a tightly woven script that takes advantage of three different plot threads that are the backbone of the main narrative which, while not offering a completely satisfying conclusion it does fit within the pulp style and genre conventions at play that while this does not defy them it will definitely stick with an audience as well as make them think long and hard about what they have just been a part of. The script is top notch so I will concentrate on the direction of “Ghost Stories” as this is where it differs from the stage play as well as being where there are some definite flourishes which are welcome and surprising, considering this is the first film that Nyman and Dyson have directed. They have both done an outstanding job, although neither are strangers to the genre in other parts of their careers. What is great about this film is its dual position as both a narrative horror movie and an anthology movie that has a common thread throughout but has a conclusion that revolves round the main character to a point that explains the stories that have gone throughout. I love the use of addressing the audience directly while possibly having an unreliable narrator and then switching points of view sometimes within the same scene, which keeps the movie zipping along at a great pace, something others could learn from. 

    “Ghost Stories” revolves around Phillip Goodman who is a lonely and single man; he is also a well-known professor and television presenter whose show is devoted to debunking fraudulent psychics , which he regards as his life’s work in order to stop people’s lives being ruined by superstition. He receives an invitation to visit a famed 1970s paranormal investigstor, Charles Cameron, who inspired him as a boy, but who has been missing for decades and is now living in a caravan, sick and impoverished. The old man asks him to investigate three incidents of supposedly real supernatural ghost sightings. From here the plot thickens, it becomes a story that is complex, made so by the separate threads but ultimately does come together to form an entire story from which there is surprise but little recovery for the main character or the audience. 

    While the marketing as well as the trailers push Martin Freeman as the main star, which on fame and success, he is, the main actor is Andy Nyman as Phillip Goodman who is as fantastic as one would expect. Nyman who also co-wrote and directed “Ghost Stories” plays the part like he was born to it. Nyman plays the part as a man, who is living in the past unable to move forward with his life, he is equally obsessed, repressed, in denial and at a point where nothing has any real meaning in his life. What I enjoyed about Nyman’s performance was that it was realistic as well as bring three dimensional in a world that seems at times frankly, unreal to such a point that he at times must be curious as to what is happening to him, this was a real joy to view, a performance with edge, poignancy and pathos. The rest of the film is rounded out with some great comedic as well as dramatic actors, all really inhabiting their roles especially Paul Whitehouse and Martin Freeman who are excellent in their time onscreen. 

    The beauty of “Ghost Stories” is that it works on a number of levels, it is a genre movie, a family drama, a mystery and even a melodrama that plays out all the while sucking the audience into its own narrative, with a mystery at the centre that is more meta physical than anything else. There are many aspects to really enjoy with the film, the embracing of horror tropes, the old fashioned, at times directing style that offer real jump scares as well as more nuanced aspects that are extremely creepy at times as well as the thread of loss that runs along side all the genre aspects make this a movie very much worth seeking out and enjoying. 

    “Ghost Stories” while being original is still of the horror genre, there is no doubt that the past three to have five years has been a boon for lovers of the horror genre not only in the US, but all over the world, including the UK. In fact not only is this increase in great horror movies a worldwide movement there is also a variety of ways to enjoy them, at the cinemas, online on DVD and Blu-ray, so when does appear at the cinemas there is usually a reason and that is either down to being part of a franchise or of very high quality, in this case it’s the latter. There is nothing better than making the trip to a cinema, sitting down and watching a horror movie with people in the dark, and being taken on a ride, which is the case with “Ghost Stories”, go and see now, you will not be disappointed. 

  • 4K Blu-ray review: “BlacKkKlansman” (2018)

    4K Blu-ray review: “BlacKkKlansman” (2018)

    4K Blu-ray review: “BlacKkKlansman” (2018)

    Drama

    images

    Running Time: 135 minutes

    Written by: Charlie Wachtel & David Rabinowitz and Kevin Willmott & Spike Lee

    Directed by: Spike Lee

    Featuring: John David Washington, Adam Driver, Laura Harrier, and Topher Grace

    Flip Zimmerman: “What kind of stuff do you guys do?”

    Klansman: “Cross burnings, marches, this is fixing to be a big year for us.”

    Critical Commentary:

    There is no doubt at all in my mind that Spike Lee is the greatest living American director working today, he has amassed an oeuvre that is second to none, with him turning his talents to not only fictional movies, but period films, thrillers, comedies as well as documentaries, music videos, sports movies and almost every genre that exists today. Not only that but all of the films he has produced are impeccable, some being the best examples of their given genre. Unlike his contemporaries he has never felt the need to turn to the popular ‘thing’ of the day or try to align himself with popular actors or producers he has done what he wants, when he wants, even if some of his personal dream projects have suffered or fallen by the wayside. Lee’s progression as a filmmaker has always been linked to his own ideas of political and social change, looking at his one of his seminal film’s in “Do the right thing” (1989) in comparison to his new film “BlacKkKlansman” (2018) is witnessing two very different films in tone, direction, narrative as well the comment they make on both a social and political level. This new film takes a true story moulding it into not only a film that fits well into his oeuvre but is also a combination of genres, making it not only a compelling film but something extremely entertaining as well as containing a very serious social message about violence, the state of race relations in the US and a myriad of other themes that are woven throughout the narrative in a seamless effective way like few movies before it.

    To say that Spike Lee has a style is an understatement, he spends as much time on the narrative feel of a film as much as the story itself which is a blessing as his films look like no other that have ever come before. He uses narrations (the spoken kind) as well as including segments from others movies as well as real life, the most well known is video of the Rodney King beating at the start of his masterpiece “Malcolm X” (1992), he does the same thing with “BlacKkKlansman” except the footage used is at the end of the movie for very different reasons which should be clear to anyone that views the film. Uniquely as well as somewhat jarring (although not to me) Lee is not afraid to incorporate others work to make a point or to flesh out the plot or even to just illustrate what he loves, such as the ‘Blaxploitation’ posters in this movie which look vibrant onscreen while making a point about race, gender as well as the movies that were made in the time period this film is set.

    “BlacKkKlansman” has not only been directed and produced by Lee but he also receives a screenplay credit along with Charlie Wachtel, David Rabinowitz and Kevin Willmott who have all crafted a movie that meets different objectives, their own, I would argue expertly. Originally supposed to be a directing vehicle for Jordan Peele, he left, suggesting Lee as an obvious replacement, this I assume would have been when Kevin Willmott and Lee himself punched up the script making it a more comfortable fit for Lee, making changes that spoke to not only him, but also making references to the chaotic present we now find ourselves in. It is not difficult to pick up on the references to the present day in terms of the current racial climate, the election of openly racist politicians, the President himself and many other elements that I found welcome. This is in my mind not enough has been made of the current US President or his openly racist leaning in film since his election. In my own personal views there has not been the reaction within film to the current state of the US in its politics, economy or the radical shift that the society is going through for my taste. Looking back at some of the more uncertain times in history the one thing Hollywood as well as independent films could be relied upon was to point out the problems in society, the last few years this has been noticeably absent, I applaud Lee and his compatriots for this film accomplishing this here.

    “BlacKkKlansman” is set in 1972, Ron Stallworth is hired as the first black detective in the Colorado Springs, Colorado police department. Stallworth is initially assigned to work in the records room, where he faces mistreatment from his coworkers. Stallworth requests to transfer to go undercover, and is assigned to a local rally by national civil rights leader, Kwame Ture, who has taken the name of African leaders.

    After the rally, Stallworth is reassigned to the intelligence division. While reading the paper, he finds an advertisement to join the Ku Klux Klan. Stallworth calls and pretends to be a white man, and speaks with Walter Breachway, the president of the Colorado Springs chapter. Stallworth recruits his Jewish coworker, Flip Zimmerman, to act as him in order to meet the Ku Klux Klan members in person.

    I am not going to reveal too much about the plot or the narrative as it will give far too much away not only about the story but also some of the flourishes Lee brings to this story, safe to say that this should be seen in cinemas on a big screen to be enjoyed, there are plenty of surprises to be had as well as enjoyed as this is a very special film especially released among some of the more brainless blockbusters out inn general release currently.

    The film is built around the performances of the two leading men John David Washington and Adam Driver who are both wonderful in their dual roles of essentially the same character (sort of). Washington gives a fantastic performance of a character that could have devolved any time but walks a fine line between a real character showing that he will be someone to watch in the future, he moves through the story like a pro (I wonder if he got pointers from Dad, Denzel) never once winking at the camera always playing the part straight just as he should. Adam Driver has a long list of great credits already but this must be his best performance to date, it is at once humorous, poignant as well as action oriented with him acting opposite some great talent yet holding his poise throughout. The rest of the cast is made of some great modern character actors as well as some newcomers that are all outstanding it must be said led by Laura Harrier a young but incredibly on message actress who like Washington lights up the screen with a performance both feminie but forceful.

    There are many highlights to this film; one I would like to pick out is Terence Blanchard who has composed some of the greatest scores for Spike Lees movies, one of his more memorable being the one for “Malcolm X”. Here in “BlacKkKlansman” there are echoes of that soundtrack which fit this film down to the ground as there are callbacks in theme to that film as well as dealing with similar themes, segregation, racism, the rising of people to meet injustice as well as so much more. This score is absolutely excellent rising to meet each scene that it is under or at times over. If you want a prime example of how a score should reflect what is going in a film this is it, expertly done but not manipulating an audience just guiding them, reflecting emotion but not supplying it.

    If you believe that Spike Lee just directs films that deal with the black experience then you are missing some great works of art that are broad in their appeal as well as more than just about one thing, like all great movies. Lee has directed some of the most vital, important and relevant movies of the past four decades. While his contemporaries stuck to formulas or what they were good at Lee has honed his art working often with low or under budgeted movies, with hostile studios and audiences, armed with some of the great talent of those same decades, he has taken them under his wing letting them go solo when they wanted to, often shining because of their experience with him. In all honesty this is not Lees best film, that will probably be the timeless “Do the right thing”, but it comes close as it shows the growth of the man dealing with similar subject matter but in very different ways, a more mature understanding way that I loved, it is original as well as serving as a warning to those that think people will be herded like sheep, they will not as is proved everyday when free thinkers gather to show their disdain for their government, not only in the US but worldwide.

    If you are wanting to see what must be at least for now the film of the year then do yourself a favor and go watch it, this will leave you with a sense of how little things have changed, how bigoted the world can be for no other reason than the color of a persons skin, but it will leave you with hope for those that fight as well as fight on others behalf, this is a special film for uncertain times.

    Technical Commentary:

    Video

    Shot on 35mm with some segments in 16mm and finished at a 4K Digital Intermediate, “BlacKkKlansman” is a stunning piece of filmmaking. Presented here at 2.40:1 2160p with Dolby Vision HDR and HDR10, the image offers up a notable uptick in all-around quality over its already impressive 1080p SDR counterpart. Fine details excel here allowing for the image to fully appreciate small facial features and skin blemishes, freckles and let the period-focused costuming to leap off the screen. Set design work is also impressive from the stark wood-paneled walls of the CSPD offices to the grimy bars and hangouts . 

    With Dolby Vision employed, the color, contrast, and black levels aren’t pushed beyond any natural tones but instead maintains subtle improvements. The biggest and most notable improvement is in the area of black levels offering some deep inky pushes without becoming crushed. 

    Audio

    The Atmos mix on “BlacKkKlansman” is an example of how a film can benefit from an object-based audio mix. There is a rich range of active subtleties throughout the mix that keeps it lively, engaging, with near constant surround activity that doesn’t call attention to itself or feel like a gimmick. The mix maintains a lifelike atmosphere throughout with a great sense of space.  

    Special Features

    A Spike Lee Joint (HD 5:09)

    Extended Trailer (HD 4:29)

  • Television review: “Doctor Who – It takes you away” (Episode 9, Season 11)

    Television review: “Doctor Who – It takes you away” (Episode 9, Season 11)

    Television review: “Doctor Who – It takes you away” (Episode 9, Season 11)

    Television/Sci-Fi

    Ten Episodes

    Produced by: Chris Chibnall

    Featuring: Jodie Whittaker, Bradley Walsh, Tosin Cole and Mandip Gill

    Ryan: “Come on Grandad” 

    This weeks episode “It takes you away” marks one the penultimate episode of the eleventh season of “Doctor Who” (1963 – present) which has seen, I believe, some very good episodes, not absolutely great ones but some decent ones that have highlighted the new Doctor as well as her friends as they all get to know each other, as well as letting the audience in on these new relationships. This episode is a trip to the present, this time in Norway where the gang encounter a blind girl who is missing her Father, that is the highlight as it is downhill from there, as this for me is an episode that is as hollow as any other one this season. 

    This is possibly the first time this season that the new cast is has been a naturally cohesive unit with the idea that they are new is pushed to the back of mind, which is a very good thing for all new actors. This is one of the strengths that Chris Chibnall brings to the show, the ability to cast characters extremely well which is not only bourn out by the main cast but by all the excellent guest stars we have seen over the first seven episodes. Unlike last week there was no major guest star, however there was a nice piece of casting with Ellie Wallwork who has playing Hanne, a blind girl, in this case the actress is really blind so it lent to the authenticity of the character. What was slightly annoying was the use of her disability as a means to hold up two parts of the plot which like the story overall seemed like more of a writing exercise than an actual “Doctor Who” story.

    My only real gripe with this new season is that there has been a lack of really memorable antagonist’s, something to really hold on to as well as maybe offering some kind of real foe that lends the show some weight giving audiences a real taste of what a “Doctor Who” villain really is, apart from the classic ones who are noticeably absent so far. Audiences both old and new in this age of peak viewing need a reason to hang around week after week, the only way to do that is to make them return to see what happens next in the plot as well as, hopefully, an overarching narrative. Now while I am not a fan of a heavy serialization in my television I think a page out of the Tennant era is required, that is a light narrative that loosely connects a season together with some revelations made in the final few episodes – this is something that is not happening as of yet, the clock is running down far too quickly for that to occur now. 

    Unfortunately, for me this was not a great episode at all, it seemed like it really didn’t know what it wanted to do right from the beginning, also what is the trend of not seeing inside the TARDIS, seeing it land or having any real time set inside it, this is a major departure from the previous seasons of “Doctor Who”, I am not sure what the reason for this aspect of the show is. The other part of this episode that was part of what made it forgettable was to invent entire swathes of the origins of the Universe just to create some kind of jeopardy for the cast as well as the rest of creation just to give ‘The Doctor’ something to do as well as something to care about, this is just lazy writing as well as lazy directing. 

    This weeks episode then is another monster of the week that really is entirely forgettable, not just the monster or villain but the actual episode itself. Once again the actual antagonists are secondary to the important story, I wish the show runners had the courage to ditch these monsters as we really do not need them. What may have been nice as well as a change of pace may have been to actually embrace the character of Hanne as well as her blindness to bring the narrative around so it could become more logical, original and maybe fun, which this episode definitely was not.

    I watch “Doctor Who” on a 4K television and the step up in effects, especially the CGI is noticeable, this week was a week where we had some very ordinary special effects on all levels, the frog at the end of the episode was one of the worst effects I have ever seen in “Doctor Who”, I include the classic series as well, I am at a loss to know what the producers were thinking of. The second worst effects were the ant zone which looked like a prop from 1980s “Star Trek”, which was something reused in every third or fourth episode. I have to say this was an ill conceived episode from top to bottom.

    Normally I would say that I am very much enjoying these new episodes quite a bit, it is a big step up from last season, with stand alone episodes being a very good decision to get audiences used to some very big changes, I am looking forward to what is to come. However this week was a reminder that when “Doctor Who” goes off the rails nothing can save it, this was a terrible episode, bad plot, boring narrative, not a good use of effects or actors and limp directing. My only hope is that next week the season will be redeemed with the final episode, follow through on some of the early promise as well as making the show relevant, not forgetting that it is a sci-fi show first that operates on the fact that the central character is a Timelord who is not only one step ahead of her friends but also knows instinctively what is going on around her, think back to not only classic Who but also the very best of new Who as well. 

    “Doctor Who – It takes you away”

    Written: Ed Hime

    Directed: Jamie Childs

    On the edge of a Norwegian fjord, in the present day, The Doctor, Ryan, Graham and Yaz discover a boarded-up cottage and a girl named Hanne in need of their help. What has happened here? What monster lurks in the woods around the cottage – and beyond?

  • Blu-ray/DVD review: “Mile 22” (2018) 

    Blu-ray/DVD review: “Mile 22” (2018) 

    “Mile 22” (2018) 

    Action/Thriller

    Running Time: 94 minutes

    Written by: Lea Carpenter

    Directed by: Peter Berg

    Featuring: Mark Wahlberg, John Malkovich, Lauren Cohan, Iko Uwais, and Ronda Rousey

     James Silva: “Are you feeling calm, Alice?”

    Alice Kerr:  “No, not even a little bit. Are you?” 

     James Silva: “Me? I’m totally calm.”

     Alice Kerr: “That’s because you’re mentally unstable.”

    James Silva: “Thank you.”

    Released this week on Blu-ray & DVD is the latest movie from director Peter Berg and star Mark Wahlberg, it seems that they been working together forever, their collaboration began with the excellent “Lone Survivor” (2012), a true story that continued through two more films to this new movie “Mile 22” (2018), the differences between the three movies that preceded it are like night and day, unfortunately that follows through to the end result which is frankly not good at all. This is the first movie that Berg/Wahlberg have worked on together that is not a true story, which I guess was inevitable, as sooner or later there is a need not to be restrained by real life, in this case that decision was a bad one as not only is the plot ridiculous, so to is the narrative and the needless amount of violence that is put on onscreen for what it is a very short-sighted and ill conceived story. The plot as well as the characters that inhabit that plot are all paint by numbers, with so many threads between them all, that I am actually surprised this movie has a running time under two hours, not that I would want it any longer, all of the inhabitants of this movie are thoroughly irredeemable, mean spirited, short sighted as well as of course being frankly unbelieveable.

    This style of movie has been done many times before, there is a main thread that is goal based, in this case getting a prisoner to an airfield, the twist (if it could be called that), is that it is located in an Asian country. The second part, I am not sure if this is the really bad part or just the bad part, is that the two main characters have personal ‘issues’ that just don not stop, apart from making them sympathetic or likeable they both come off as the worst co-workers ever. The Mark Wahlberg character is supposed to be ‘on the spectrum’ but instead of portraying him as any kind of recognisable human being, he comes across as a bad tempered hothead, which is possibly not even the right way to play that type of person. In terms of Lauren Cohan who has issues with her child, as she is divorced, and guess what she has a temper as well, which during some phone calls to her husband one wonders how she is even allowed to talk to her child at all. To be honest the rest of the performances in the movie are not much better although none are as bad as the leads, even relative newcomer Ronda Rousey plays not only a better character but is also way more sympathetic as well as understandable in the area they are operating within.

    I find it completely mind boggling that a woman, Lea Carpenter, wrote this movie, as it does not contain anything I would associate with a female screenwriter, such as sympathy, empathy, humour, well researched material, a basis in reality and so much more. Coupled with that is the director Peter Berg who is, in my mind has been a very good director but can sometimes be extremely masculine when it comes to his movies, here, for me at least the masculinity as been turned up to eleven, not only that though, its coupled with a narrative that really makes very sense especially once the end credits roll. The action is competently directed which is the best thing I am able to say about this movie, as the action is a major part it would be easy for that to cover up all the holes, but somehow it just doesn’t. 

    “Mile 22” is based around an American black operations agent and former U.S. Marine war veteran, James Silva, who leads a strike team code-named Overwatch. In an unidentified Southeast Asian country, police officer Li Noor surrenders himself at the U.S. embassy to negotiate for passage out of the country in exchange for information. Axel, leading a team from the Indonesian State Intelligence Agency, arrives at the embassy and demands that Noor be handed over. Meanwhile, Noor fends off an assassination attempt by Indonesian agents. The plot becomes more convoluted until the Overwatch team need to lead Noor to an isolated airport to get him out of the country through hostile territory.

    “Mile 22” should have been a coming out party for martial artist and actor Iko Uwais who is best known for being the star of the “The Raid” (2011-2014) movies as well as a few other Stateside movies, but this movie was his first big starring role. To be fair within the limitations of the screenplay Iko acquits himself well especially opposite more experienced actors, in fact taking the entire movie into count he is possibly the best part of it, even if his elements of the movie are part of the major problems. mile 

    “Mile 22” should have been a coming out party for martial artist and actor Iko Uwais who is best known for being the star of the “The Raid” (2011-2014) movies as well as a few other Stateside movies, but this movie was his first big starring role. To be fair within the limitations of the screenplay Iko acquits himself well especially opposite more experienced actors, in fact taking the entire movie into count he is possibly the best part of it, even if his elements of the movie are part of the major problems. I have no doubt that in the future Iko will find a worthy movie to display his talents as well as being a part of something very special.

    All in all this is not a good movie, it is like a throwback to the 1980s style of movie making that pushed for male testosterone over anything else, think Stallone’s “Cobra” (1984) but with even less brains as well as less compelling actors to turn one dimensional characters into anything else than what they appear onscreen. This is a missed opportunity to actually show something onscreen that viewers might enjoy. If “Mile 22” had have embraced some kind of world that the “Raid” movies inhabited this could have worked well, instead it takes itself far too seriously as well as convoluting a plot that could have been simple and therefore more enjoyable as a straight action movie instead of something that it is not.

    The political leanings in this movie are all over it, there is a right wing agenda that runs throughout “Mile 22” that frankly makes me question the talents of all those involved. There is a tendency towards violence and gunplay at the first sign of trouble as well as pushing the idea of guns and violence as a solution to any problem that one may have. The very opening of this movie and all the bloodshed that is involved could have been approached from a completely different direction that would have negated the entire plot, one that I would have welcomed especially seeing how this unfolds over the next ninety minutes. 

    Having seen this movie I would never view it again, so it is with a heavy heart I have to say that maybe it would be good for Peter Berg to go and make a different kind of movie with different partners, as I would not recommend this movie to anyone. At best I would say that this is the perfect movie to watch as part of a streaming package but even then it would be a hard sell.

     Unfortunately “Mile 22” is out now on DVD & Blu-ray.

  • Teaser Trailer – Disney’s “The Lion King” (2019)

    Teaser Trailer – Disney’s “The Lion King” (2019)

    Teaser Trailer – Disney’s “The Lion King” (2019)

    LionKing_TeaserTrailer_NZ

    From Disney Live Action, director Jon Favreau’s all-new “The Lion King” journeys to the African savanna where a future king must overcome betrayal and tragedy to assume his rightful place on Pride Rock.

  • Television review: “Doctor Who – The Witchfinders” (Episode 8, Season 11)

    Television review: “Doctor Who – The Witchfinders” (Episode 8, Season 11)

    Television review: “Doctor Who – The Witchfinders” (Episode 8, Season 11)

    Television/Sci-Fi

    images

    Ten Episodes

    Produced by: Chris Chibnall

    Featuring: Jodie Whittaker, Bradley Walsh, Tosin Cole and Mandip Gill

    The Doctor:“I am the Witchfinders…. assistant?” 

    This weeks episode “The Witchfinders” marks one of the final episodes of the eleventh season of “Doctor Who” (1963 – present) which has seen, I believe, some very good episodes, not absolutely great ones but some decent ones that have highlighted the new Doctor as well as her friends as they all get to know each other, as well as letting the audience in on these new relationships. This episode is another historical episode which I believe have been the highlights of this new era, which is something they possibly were not in previous incarnations of ‘The Doctor’, in my opinion this is a very good element of the show especially if you are unaware of the periods in question as they open up the world illustrating how far we have come as a race, yet how far we have to go.

    As should be the case by now the entire cast seems to be gelling together very well with all knowing their characters as well as each others so that interactions with each other as well as guest stars appears seamless. I believe this is one of the strengths that Chris Chibnall brings to the show, the ability to cast characters extremely well which is not only bourn out by the main cast but by all the excellent guest stars we have seen over the first seven episodes. This week the highlight has to be Alan Cumming who is well known in genre circles as King James who is a delight to see in “Doctor Who” – he helps in elevating this episode to one of the best of the season so far.

    My only real gripe with this new season is that there has been a lack of really memorable antagonist’s, something to really hold on to as well as maybe offering some kind of real foe that lends the show some weight giving audiences a real taste of what a “Doctor Who” villain really is, apart from the classic ones who are noticeably absent so far. Audiences both old and new in this age of peak viewing need a reason to hang around week after week, the only way to do that is to make them return to see what happens next in the plot as well as, hopefully, an overarching narrative. Now while I am not a fan of a heavy serialization in my television I think a page out of the Tennant era is required, that is a light  narrative that loosely connects a season together with some revelations made in the final few episodes – this is something that is not happening as of yet, the clock is running down far too quickly for that to occur now. 

    With all that said this week’s episode feels like a history lesson in a good way, we are exposed to King James who was an unusual character in that he really was fascinated with witchcraft as well as the hunting of witches. This episode also highlights the disparity between men and women as well as the importance of control through fear as well as the power of superstition where science does not exist, and how the poor pay the price for the rest of society. Once again a historical episode highlights our present as well as possibly our future in the idea of governments, especially from larger countries, bringing forth ideas with little evidence but somehow convincing the masses that one or a portion of the population is to blame for anything bad happening in the world, whether it be the economy, social events or even the weather. If you have seen this episode or not watch it again if need be and see how Trump’s messages jibe with the head of the village, a landowner who is killing people she says are witches, in contrast to a certain caravan of refugees heading towards the US border as well as peoples reaction to both.

    This weeks episode then is another monster of the week that really is entirely forgettable, which is a missed opportunity especially with the direction that this story went in. Once again the actual antagonists are secondary to the important story, I wish the show runners had the courage to ditch these monsters as we really do not need them. The strength in the best episodes this season are the plots that the humans have created, in this case the power of fear not the actual quasi sci-fi/elements that really do fall on their face after elements that are as serious as any fantasy television show.

    This episode could have gone a variety of ways, the first third is excellent, explaining about the Witchfinder General, King James and many other historical moments as well as of course some great performances. The second third is the weakest with all the second rate villains as well as the horror/sci-fi aspects. The third act with all the action as well as King James showing who he is, and of course The Doctor saving the day is as you would expect. 

    I watch “Doctor Who” on a 4K television and the step up in effects, especially the CGI is noticeable, this week was a week where we had some excellent make up effects especially on the zombies who were lurching around and in the end on the main villain. The strength of this episode as well as few others is the location shooting which gives the show a particular look, that goes along with the new Doctor, this something that other Doctors did not have as they were definitely city-centric either in the present, the past or the future. 

    All in all though I am very much enjoying these new episodes quite a bit, it is a big step up from last season, with stand alone episodes being a very good decision to get audiences used to some very big changes, I am looking forward to what is to come. My only hope is that the writers are able to be a bit more original, follow through on some of the early promise as well as making the show relevant, not forgetting that it is a sci-fi show first that operates on the fact that the central character is a Timelord who is not only one step ahead of her friends but also knows instinctively what is going on around her, think back to not only classic Who but also the very best of new Who as well. 

    “Doctor Who – The Witchfinders”

    Written: Joy Wilkinson

    Directed: Sallie Aprahamian

    Arriving in 17th Century Lancashire, the TARDIS team become embroiled in a witch trial. With the arrival of King James I, the hunt for witches intensifies. However, could something more dangerous be at play? Can the Doctor, Graham, Yaz and Ryan keep the populous of Bilehurst Cragg safe from the forces surrounding the land?


  • 4K Blu-ray review: “The Meg” (2018)

    4K Blu-ray review: “The Meg” (2018)

    “The Meg” (2018)

    Action

    3-stars

    Running Time: 113 minutes

    Written by: Dean Georgaris and Jon Hoeber & Erich Hoeber

    Directed by: Jon Turteltaub

    Featuring: Jason Statham, Li Bingbing, Rainn Wilson, Ruby Rose, Winston Chao, and Cliff Curtis

    Jonas Taylor: “My God. It’s a megalodon.”

    Morris: “He’s kidding, right?”

    Critical Commentary:

    As the Summer movie season winds down one of the more stranger entries into the madness of this blockbuster period is released, that is “The Meg” (2018), a disaster, monster movie of sorts about a roving prehistoric megalodon shark bent on eating eveyone and everything in its path with only a handful of humans brave or stupid enough to get in its way all being led by a charater played by Jason Statham who seems to be the only one who knows what kind of movie he is in. “The Meg” is a movie that has gone through at least two directors, had so much money spent on it that making it back looks like a long shot and a seemingly last minute change to excise any actual gore so that children could go and see it at the movies, which means we have a giant shark eating people with very little blood in the water, which seems nonsensical to say the least. However balancing out the equation is the lead, Jason Statham who is appearing in the biggest film he has led in his career, even though he has been involved in at least five franchises and numerous action as well as comedy movies to many to name, this is his firs time actually carrying a big budget movie. Interestingly, Statham has become an identifiable brand (similar to Dwayne Johnson) for those that know of him, he is a hard man, an action star who always knows how to play up to the camera as well as make people laugh with his one liners while normally punching something at the same time, the very essence of a modern action star who embraces his films for what they are, like them or not. With “The Meg” what we really want to see is him go one on one with a seventy foot shark, hopefully punching it into submission so that he can make the oceans safe once more. The question remains is this a movie worth going to see in cinemas or is it what most people were prepared for, a shipwreck of a movie that offered nothing more than a “Deep Blue Sea” (1999) rip-off with a nod towards “Jaws” (1975)? The answer is not as straightforward as it may appear on paper as this does offer some real thrills but does suffer from some real shortcomings.

    Initially this movie was to be directed by Eli Roth known for his work in the horror genre although why a studio would want him for a movie of this size is baffling so it was no surprise when he left, the studio then turned to journeyman Jon Turteltaub who knows how to marshal talent as well as competently direct action while retaining a semblance of a story. It turns out that the weaknesses in this movie seem to start and end with the script which is a mess, written by at least three people adapted from a novel that should have been fairly straightforward but ends up getting mired down in not only bland dialogue but commits the cardinal sin of taking far to long to actually get to the point, that is the titular star of the movie, the shark and the grandeur of its CGI presence, or at least the promise of it. The writers involved Dean Georgaris and Jon Hoeber & Erich Hoeber, have some real highlights in their respective oeuvre’s, but they also have some stinkers which involve some expensive blockbuster bombs, the most egregious being “Battleship” (2012) which to was bogged down in bland dialogue but also a nonsensical story that made little sense. What saves “The Meg” from being outright bad are the director as well as its star, not forgetting the supporting cast who are all very different making them some of the reasons, besides the shark to enjoy the movie for what it is.

    The movie is primarily about a massive undersea creature that attacks a deep-sea submersible, leaving it disabled and trapping the crew at the bottom of the Pacific Ocean. With time running out, rescue diver Jonas Taylor must save the crew and the ocean itself from an unimaginable threat, a 75-foot-long prehistoric shark known as the Megalodon.

    The movie as already discussed is led by Jason Statham is as you would expect all seething masculinity who is just terrific in this role, his credentials are known well as an action star in the mould of a stockier, fiercer and more serious Van Damme who knows who he is as well as what he is doing. My only real criticism is that he could have been used better with a superior script that called for him to be front and centre for most of the movie, not just a part of the cast, he needs to put his stamp on a movie like this as he is capable of like few stars before him. The remainder of the cast is made up of character actors Li Bingbing, Rainn Wilson, Ruby Rose, Winston Chao, and Cliff Curtis who all do their jobs like the seasoned operators they are, for the ost part they understand their roles and what they are supposed to do, although the reason and motivations for their actions could be seen as murky but again that speaks to the quality of the script as well as the drawn out nature of the movie, which does have an adverse effect on the actors themselves, but hey we are all here to  see the big shark anyway, right?

    Of course this movie is the very definition of a trope laden routine action movie, however where it also falls down is that it is all surface with all the rough edges taken off for so that it becomes the least offensive movie around, there feels like a lack of scope as well as no real stakes as there are really not a lot of shark deaths in terms of the main cast which was a missed opportunity in my mind.

    At the very least this is a fun, splashy, action orientated movie that is inoffensive enough for the entire family, it is not too gory but contains just enough so that the parts that either drag or do not make sense are papered over with the cast as well as the goal oriented plot which reads like many other similar action movies before. This is not a movie that is going to shock or reinvent the genre in which it is based, even though as an audience member I wished for more, either for it to be funnier, or for it to be a bit more adult or just for it to be more original. To be fair with all the giant shark movies that are around, most television movies you would think that the demand for a big budget one would be low, but considering this has been in the works for over ten years the fact that it made it to the big screen defying expectations to become a hit says something about the stickiness of not only the genre but the work the marketing people have done which is saying something to cut through the noise and deliver something that was advertised, a movie about a giant shark who has to face off against Jason Statham.

    While the trailers may be a little misleading if you enjoy PG rated action with a lot of action as well as special effects then this may be the movie for you, it is easy to understand as well as having a linear narrative with plot points seen before so it is easy to follow, I wouldn’t call it dumb fun or a guilty pleasure but I can see the room for possible sequels or at least spinoffs that follow more undersea adventure which as has been proven a big selling point for audiences.

    Technical Commentary:

    Video

    “The Meg” arrives with a 2160p 2.40:1 transfer with Dolby Vision HDR and HDR10. Sourced from a 2K digital intermediate, the 4K UHD offers great detail levels. When characters are in tight confines of subs or small spaces, you can readily appreciate the improvements in small facial features, pigmentation, and clothing textures. Wide shots that offer a lot of CGI visual spectacle are met with average results. While many of the effects do look amazing, some establishing wide shows with CGI look soft and weightless. 

    With Dolby Vision HDR, the image does enjoy a notable boost in colors, contrast, and black levels. The film already enjoyed a robust color pallet with heavy primaries and like the detail levels, there’s now some shades and improved gradience. The differences are noticeable right away with the opening sub rescue sequence where there are plenty of red, blue, and green alarm lights positioned all over.

    Audio

    “The Meg”arrives with  a good Dolby Atmos mix.

    As a big loud spectacle movie, The Meg makes impressive usage of Atmos with near constant channel activity. The only time any of the surround or overhead material slows or feels absent is when the movie pauses for dialogue between the cast.

    Special Features

    Chomp on This: The Making of The Meg (HD 12:09)

    Creating the Beast (HD 10:25)

    New Zealand Film Commission (HD 1:53)