Frozen film review

Frozen is Disney's latest adaptation of a classic children's story.  The animation is recognisably Disney, as is the obligatory comic sidekick.  It is an action-packed adventure with laughs and lessons and romance and the audience I belonged to never lost attention despite the longish running time (108 minutes).

It's a good children's film, and I did not doubt it would be.  My interest, though, is in whether it is a good musical.  Yes, there are songs too!  One half of the song-writing team is best known for his work on such risque material as Avenue Q and The Book of Mormon, so how do he and his wife fare writing material appropriate for children?  For the most part, the songs are immediately likable and serve to advance the story as well they should.  The film opens with a chorus of voices singing traditional Scandinavian music.  It is beautiful.  Henceforth, however, the music is more Broadway-influenced.  That makes for a slightly awkward transition, but it is no worse than the blend of pop/traditional achieved by The Lion King.  If I have any complaints about the existing music it is that I would have preferred fuller orchestral backing, it often sounds a little thin.  My other complaint is about the non-existent music.  The front of the film is densely packed with strong, dramatic songs.  As the story gets going, though, the songs became sparse and less integrated to the plot.  The musical climax is the arresting Let it Go, which is really just the first turning point to set the action in motion.

So, the film starts off like a musical, then ends up like a film with songs.  It's a good film, with good songs...but to really work as a musical it needs one or two more dramatic songs at key points later in the story.

See it with a child you love.  Have tissues handy.

SIDENOTE: I saw the 3D version.  It adds nothing to the film, just an extra few dollars to your entry ticket.

20 Feet from Stardom

A documentary!  Not my usually favoured medium.  But soul and pop music are among my favoured subject matters.  There is plenty of music to enjoy in 20 Feet.  There are also big characters and surprising stories and very stylish artwork, making the whole an unmissable film and a major contender in the upcoming awards season.

The stories are often an indictment on practices common in the music industry, but are also personal tales of struggle and acceptance.  Some of the film's subjects have suffered great injustice, but they tell their stories with fondness and a cheerful spirit.  It inspires a great deal of hope.

Certainly, if one had less interest in pop music one might enjoy this film a little less.  However, I expect the characters at the heart of the stories would appeal to even the least musical viewer.

See this film for a bundle of touching stories and a masterclass in documentary making.

The Butler film review

The Butler has an all-star cast that includes Oprah Winfrey, Forest Whitaker and Terence Howard, with notable appearances from such Hollywood royalty as Vanessa Redgrave and Robin Williams.  It is something of a Forrest Gump-style film, telling the story of Cecil Gaines from childhood to retirement, using notable moments in Black American history as its backdrop.  It is a mammoth story.  Perhaps it is too big for 132 minutes.

Certainly, it does not feel like a long film.  That is testament to the pace it maintains and the level to which the viewer invests in the central characters.  However, the choice to tell such an all-encompassing story, and to personalise events of great social significance is at the expense of the development of some characters and inter-personal relationships.  This is Gaines' story, but the most interesting parts of the film relate to his relationship with his eldest son.  Father and son represent different approaches to the fight to end racism and - like most fathers and sons - their relationship is complicated.  Sadly, though, there are few memorable moments the two men share.  The strain between them is demonstrated mostly through how it impacts Gloria Gaines (Winfrey) - the wife/mother caught in the middle.  This provides Winfrey with some rich material and she shines in this role.  Understandably, these events also place a strain on the relationship between Gloria and Cecil.  But what of this?  It is tough to know what to make of their turbulent relationship as it seems to have been that way from early on.  Did they marry for love?  Did they learn to love each other only after marriage?  It's not very clear.

There are so many interesting stories within The Butler that I can't help but feel they would have been better served in long-form.  It could have made a riveting television mini-series, but as a film it lacks the depth to truly hook its audience.  Furthermore, the most memorable scenes do not include the central character.  There are times he feels like a bit-part in his own film.

See this film for a heart-rending tale of injustice and the struggle to fight it.  Unfortunately the tale is not quite provided the depth it deserves.

Kill Your Darlings film review

This film is the ultimate tease.  The events I would expect to take centre-stage, instead serve as the climax, culminating from a series of nods in that direction.  This sense of foreplay is also reflected in the visual style.  There is a definite homo-eroticism in the long, languid shots of our central characters - but it is not till much later on that we are shown anything explicit.

We are told Allen Ginsberg's story, and his role in the events that unfold.  Ginsberg, though, is often on the sidelines of the major developments.  It is not an obvious choice, then, to tell the story from his point of view.  It is a wise choice, though.  He is a very relatable character and undergoes a palpable change from sheltered, literary talent to independent, audacious poet.  Ginsberg finds his voice, and that is a satisfying story.  So, for the story to also include a mysterious and dramatic criminal case becomes icing on the cake.

It is a smart film, and I took the bait it casually litters along the way.  I can see this style could be too understated to reach a wide audience.  

See this film for some fine performances and a new take on what suspense can be.

Thanks for Sharing film review

Thanks for Sharing is a study of addiction and what living with it can look like.  That is a big topic.  And it shows several types of addiction, and several ways of dealing with it.  Thankfully though, despite its earnestness, it remains a film about interesting characters with unique stories, so I enjoyed it.  

Thanks for Sharing is also a romantic comedy.  Or maybe there is not enough comedy to call it that.  But there is enough romance.

Thanks for Sharing is a drama about the intersecting lives of New Yorkers.  Life isn't easy in the big city, but as they pool together they find there is hope.

Thanks for Sharing is so many things it is difficult to categorise, but one thing that is clear is that it boasts a magnificent cast.  Mark Ruffalo and Tim Robbins turn in terrific performances as long-time sex addicts with no shortage of baggage.  Gwyneth Paltrow, Joely Richardson, Alecia Moore, Patrick Fugit and Josh Gad round out the core cast, each of whom has a moment in the spotlight.  Perhaps Thanks for Sharing is an ensemble drama...?

Ultimately, I enjoyed the film for its strong performances and thought-provoking themes.  It certainly could have benefited, though,  from a more assured script and a more assured tone.

See this film and be surprised.  There is food for thought and light entertainment, and though they may be clumsily matched I was won over by the charms of the cast.  I was reminded of 28 Days.  If you liked that, you'll like this.

The Last 5 Years theatre review

The Last 5 Years is one of the most popular musicals amongst fans of the genre to emerge this century.  It tells the sweet and sad story of a couple who come together at the start of their careers, whose relationship falls apart as their respective careers take very different turns.  The gimmick with this show is that Cathy's story is told in reverse chronological order, while Jamie's is told from start to finish.  Their scenes alternate, and the only time the two appear together in the same time zone is at the midpoint, when he proposes marriage.  With such a bold device to accommodate, the staging of the action is an interesting challenge.  Auckland Music Theatre's new production misses the mark where staging is concerned, failing to serve skilled singers Heather Wilcock and Andrew Allen.

This show is a two-hander.  That is what it is.  That is how it is written and a large part of what makes it interesting theatrically.  Director Andrew Potvin would disagree with me.  His vision includes a chorus of six nubile young women.  Their first appearance was surprising and somewhat cryptic, but I was open to the possibility that they might add to the experience.  Having more to watch could mean more to like.  But in this case it doesn't.  The chorus are choreographed in a way that they often illustrate lyrics on a very literal level.  And it made me cringe.  One would expect that supporting actors would provide ears for the singers to bend.  Well, no, our leads still sing to themselves or to an imagined partner.  So...

Presuming one can ignore the pointless chorus, there are some great beautiful moments to enjoy.  The highlights for me, though, are vocal ones.  Wilcock's voice is pure and strident and sounds somehow effortless and powerful.  For the most part, she sings the songs very straight.  It is hard to fault, but I feel that the part lends itself to greater personalisation.  Allen's voice is less evenly matched to the demands of these songs, however he proves his musicality with some stylish licks and unique runs.  Certainly, both singers prove themselves worthy of their place on stage.

When it comes to acting, though, the characterisation of both parts is slight.  Most songs were given a rather basic emotional wash, rather than the dynamic mile-a-minute thought processes that would best serve the writing.  Both actors, though, are rather young.  It could well be that they will understand Cathy and Jamie far better five years from now.

See this show if you are unfamiliar with the material; the material is so strong it nearly stands on its own.  The vocal performances are admirable, but the rest struggles to reach adequacy.

Chicago theatre review

Chicago is perhaps the most popular of Kander and Ebb's impressive catalogue of musicals.  It is currently the third longest-running show in Broadway history and 2002's film adaptation kick-started a slew of film musicals.  It has surpassed cult status to become one of the most familiar and recognisable shows of our time.  So for ATC to programme it as the end of year musical feels safer than safe (by which I mean more boring than boring).  Thankfully, director Michael Hurst had other ideas.

Hurst sets the story in the present day, and shows us how today's generation might grapple with the situations at hand.  This new interpretation of a classic flips many standard features on their head, and brand new musical arrangements present the songs in such a way that it is like hearing them for the first time.  The musical arrangements are mostly very successful, which is testament to the strength each song has to stand on its own.

Where the original Chicago has a script chock-filled with innuendo and laced with cynicism, Hurst's direction eschews subtlety, wearing its tits on it sleeve as it were.  This makes for some awkward moments where the understated script and the outspoken presentation are at odds.  In regard to such occasions, though, I would rather see the script altered to accommodate the style of this production rather than the reverse.

Amanda Billing is the stand-out star as Roxy.  Shane Cortese also delivers a delightfully sleazy Billy Flynn.  Lucy Lawless, though, gave rather a patchy performance.  Her take on Velma started off assured, but as Velma's confidence takes knocks, so too did Lawless' grasp on the character.  She felt like a different person each time she appeared.  And her vocals sounded best in the more standard musical treatments.  

See this show for a bold new take on a strong musical.  This is Chicago for the porn-watching, smart-phone dependent generation.

South Pacific theatre review

The opening scene of South Pacific includes three of its best songs: Cockeyed Optimist, Twin Soliloquies and Some Enchanted Evening.  It sets a high standard.  As the first scene drew to a close I wondered how the remainder of this production would match such perfection.  Yet, throughout Act I, my wonder only increased.  Song upon song is brought to life with style and conviction, and I was reminded how expertly crafted the show is.  And, while it is now very much a period piece, the majority of the script rings true today and feels current.  Could it really be 64 years old?  It is a long way from retirement.

Act II provides a few obstacles - it is rather unevenly paced and many key turning points take place offstage.  Story development stalls for a good 20 minutes or so to make room for a fun, but frivolous, Thanksgiving pageant.  I give thanks to the production team and credit some very clever staging with keeping the audience engaged.  So I cannot fault the direction, lighting, sound, set design or costumes.  What of the performances?

This cast is nigh on perfect.  Mitchell Butel shines as Luther Billis, which is something of a dream role for a character actor.  He appears equally at home with his more tender moments as with those that are purely comic.  Christine Anu, as Bloody Mary, also stands out.  Anu delivers a measured performance, displaying a wide repertoire of vocal tricks and often opting for the understated choice.  This tightly restrained interpretation of a potentially wild character imbues Mary with a high status that makes sense of her presence and her influence.  

But the show belongs to Nellie and Emile.  In these roles Lisa McCune and Teddy Tahu Rhodes are nothing short of exquisite, not to mention perfectly matched.  Rhodes' voice alone could rob a handmaiden of her virtue, while McCune is a true triple threat.  The audience warmed to each of them immediately and their ongoing chemistry proved to be quite the tease, which is essential in selling the final chapter of the play.

See this show to hear two of the purest voices in show business, and to witness an exquisite rendition of one of the most significant theatrical works of the twentieth century.

Midsummer theatre review

During its best moments, Midsummer is riotously funny and tremendous fun.  At other times it drags and the story has a few sticky moments.  I felt that the slower paced moments came not from the writing, but the performers, and could have been overcome with more energetic performances.  Aidee Walker and Dan Musgrove are both adept at holding the stage with a still strong presence, as we often see them in storyteller mode.  But the play comes alive during its more frenetic periods and I would have liked to see the direction make better use of that.  For it is often playful and I loved the extravagant use of simple props such as a bag of money and some pieces of rope.  

I admire Walker's ability to craft an interesting, likable character in Helena, when the script offers nothing to endear us to her, while Musgrove's small-time crook oozes an effortless charm.  These two provide the centre of our love story, but there is a full compliment of crazy supporting characters poking and prodding these two towards each other.  Walker and Musgrove are also responsible for bringing the supporting cast to life, but they do not seem to have as much fun with that as such larger-than-life characters warrant.

Midsummer bills itself as a play with songs, so I have to mention the songs.  There were songs.  They were forgettable, and Walker in particular seemed to be out of her element on guitar.  

Midsummer seems to have been created as a fun, frivolous night out with laughter, music and naughty bits.  Silo's production misses the mark on most of these counts.  It feels more serious than it should.

See this show for the bright moments it contains.  Unfortunately they are fewer than one would hope for.

Prisoners film review

If this film is to be believed, small town America is a frightening place.  The unspecified setting is non-descript, poor, rural and there is no shortage of creepy villagers.  Prisoners examines justice and injustice through the stories of families who lose their young children.  Hugh Jackman is our central figure, who takes justice into his own hands.  This pits him directly against a hard-working police officer who believes following the law is the only way to salvation.  No wait, that's Les Miserables.  No wait, it is Prisoners too!  In this case, though, Jake Gyllenhaal provides the foil to Jackman's loose cannon.  Gyllenhaal's performance is engrossing, helped by his thuggish appearance, which hints at a dark past we are not privy to.  I guess it is easier to make such a stickler for the rules interesting when no singing is involved.

In Prisoners, these two men employ different methods - but ultimately they want the same thing.  For when it comes to the lives of children, don't we all want the same thing?  Every child deserves a warm home and a family who loves them and nourishes their growth.  In Prisoners we see the outcome of children growing up without such positive influences.

The story is very cleverly constructed, and it retains a sense of mystery through to the end.  There are many brutal elements, though, and the tone is generally quite raw.

See this film to enjoy an intriguing, if disturbing, yarn.  

Diana film review

The story told in this boutique biopic is that of the relationship between the most famous woman in the world (in 1995) and a quiet-living heart surgeon.

It is a story with many familiar elements, and a few new ones.  There is a touch of Cinderella and a touch of Notting Hill - but where these stories have a strong structure and are secure in tone, Diana is uneven on both counts.  The film has some rather bold cinematography, but it is a boldness not always matched by the subject matter at hand, so what could have been exciting dramatic choices are more often quite jarring or simply fall flat.  Similarly the dialogue is at times corny, sometimes trite, and seldom natural.

Diana does get some things right, though: Naomi Watts' performance is studied, charismatic and true to the spirit of Diana (I think...I don't remember Diana as well as I probably should); the film demonstrates very well how convoluted and unusual Diana's life had become, while maintaining focus on the simple love story at the its heart.  And there is much examination of hearts: what with her being the queen of people's hearts and him being the in doctor of people's hearts and each of them being a poor caretaker of their own hearts.

I enjoyed the story Diana tells, and appreciate that it does so with a strong point of view.  I would like to think that there is a lot of truth in this version of events.

See this film if you are interested in Lady Di, or to admire her unique way with fashion.  There is much to enjoy in this film, despite some poor craftsmanship putting it together.

Behind the Candelabra film review

The story of Scott Thorson's relationship with Liberace provides rich material for actors and film-makers to play with.  Unfortunately the story is really rather unpleasant, so Behind the Candelabra is a tough film to enjoy.  I loved the kitsch glamour of Liberace's homes and apparel, and I was in awe of Michael Douglas' and Matt Damon's performances.  But the story made me itch more than it made me laugh or cry or think.  There is something very uncomfortable about watching an unhealthy relationship run its course.

Steven Soderbergh is known for his confidence to stray from the safe and formulaic and experiment with new structures for his films.  This film fits that bill with various levels of success.  Soderbergh maintains a consistency despite an unusual structure by keeping the film's focus squarely on Thorson...until he doesn't.  The final act of the film is quite a mess.  I hardly knew where to look anymore.  Similarly the tone of the piece shifts throughout, which I really struggled with.  My favourite scenes were those in which Rob Lowe lifted the tone to that of a light comedy.  My least favourite scenes were those that implied some political axe to grind.  Most of the film, though, was unlike either of these sections.

I would liken this film to a buffet; the viewer is presented with a range of goods, and can take what he wants.  Most of what is on offer is of the very highest quality, but it is hard not to question why the Black Forest Gateau is presented between the Duck Cassoulet and the Meatloaf.

I am not qualified to say how accurate the depiction is to actual events, but I felt that the film was perhaps hampered by trying to portray things faithfully.  In the end it felt like a string of events rather than a story with a heart and a climax.

See this film to witness some of this year's best performances caught on camera.  Just watch it all and take what you like, but I would be surprised if many of us go back for seconds.

Gravity film review

Gravity lives up to its name.  There is weight to the subject matter, despite the matter of the subjects' weightlessness.  Certainly, the film can be enjoyed as a hero story or disaster movie but there is more to it.  It raises questions about being alone in the universe, and weaves a motif of birth, death, and humanity.  I may be making it sound heavy, but these themes are presented in outer space so actually they float freely.  There isn't even any friction!

Sandra Bullock is less action hero and more everyman (her character has a boy's name and amazing legs, so she represents both genders).  For me, that is what makes this film work on a personal level.  At first I struggled to reconcile how a seemingly frail person might realistically have come to be that overachieving medical doctor who transfers to NASA and six months later is freewheeling through space, but soon enough I just got enveloped by the story, for this is a film that transports its audience.  I felt so close to Bullock's character and so close to the action I noticed myself flinching to avoid debris.  The 3D element is effective in immersing the audience in the story, but so too is the cinematography.  There is a remarkable fluidity to the camerawork that gives the impression of the whole 90 minutes being filmed in one take.  Although not all events unfold in real time, many do and this gives the film a relaxed pace that makes the rushed and dramatic moments truly rather stressful.

I am quite in awe of the symbolism Alfonso Cuaron works into his cinematography.  There are many beautiful images that fit perfectly into the story but could represent far more.  It is touches such as these that make Gravity more than only an action/adventure/disaster movie.

See this film for a rollicking ride through space, or a pensive consideration of life's difficult questions.  You choose.

Live Live Cinema: Dementia 13 review

Is it theatre?  Is it film?  Is it a musical event?  Yes to all these.  The concept is interesting: a film is screened without its soundtrack, while all dialogue, music and sound effects are performed live.  This sounds like just a gimmick; does the film gain anything from such a treatment?  Well, that probably depends largely on the source material.  In this case, Dementia 13 is a disturbing and intriguing horror, but it has not aged well and now feels rather unsophisticated.  Providing new character voices and a fresh, original score invigorates an otherwise stale film by emphasising the melodrama in the piece.  This is a fun way to give new life to an otherwise dated artwork.

This unusual format provides unique challenges for the performers.  I was rather impressed at how accurately the live actors matched the lip movements of the film actors.  Similarly, it was impressive and fascinating to watch the Foley artist provides such a vast array of sound effects. 

With so many things competing for audience attention, the experience was initially overwhelming.  I wanted to watch everything at once.  As the story progressed, however, I found I watched the film footage nearly exclusively.  

The film footage, then, must be good for this concept to be successful.  In this case, the film was adequate and I enjoyed the experience due more to the interesting presentation.  I struggle with horror films, though - it is not a genre that appeals to me.  Certainly, a horror fan would have got a lot more out of it.

Overall, the strongest feature was the tremendous original music performed by a seven piece band.  The music was contemporary and catchy and appropriate to the mood.  It was really quite exceptional.  Unfortunately it was also at times too loud to enjoy.  

See this production for a unique experience, particularly if you enjoy horror films.  I see great potential in this art-form and hope to see more of it.

Blue Jasmine film review

What would Blanche DuBois look like if she were left alone and penniless in 2013?  This is the question I like to imagine served Woody Allen as the inspiration to write Blue Jasmine.  For, certainly, Jasmine French feels a lot like one of Tennessee Williams' grand dames and her situation has unmistakable parallels with that of Blanche's.  Wisely, though, Allen has not rewritten or reimagined A Streetcar Named Desire.  While he may owe the central character to Williams, around her he has crafted a story that is all his own.  It is a story that balances despondency with buoyancy, and Allen stamps the film with his signature brand of humour in a more refined way than ever.  This film belongs to a mature film-maker secure in his medium and confident with his voice.  The story does take a few turns that feel "easy", to give it a pat ending, but I am nevertheless sure this was 100% the film Allen wanted to make.  And, as an Allen fan, that alone makes it worth watching.

Much like a Williams play, the weight of this film rests squarely on the shoulders of its leading lady.  And what a leading lady we have in Cate Blanchett.  Blanchett's film roles are always Oscar-worthy, but with Jasmine we see her employ a raft of new tricks and the result is mesmerising.  Her role dominates the landscape, but rounding out the cast we have an array of stellar actors, each one an inspired choice.  Sally Hawkins and Bobby Carnavale both deliver exquisite performances, with Carnavale serving as our most consistent reminder that this is a Woody Allen film.  

Jasmine's story is ultimatley a sad one, but the film never lets such a tone take over.  It focuses, instead, on the unpredictability of life, and to see Jasmine embrace that unpredictability is something of an inspiration.  Regardless of the destination, she takes us on a wonderful journey.  This, and the many colourful characters make the film a joy to watch.

See this film if you like Tennessee Williams and/or Woody Allen and/or Cate Blanchett and/or ambitious quests for happiness.

Wicked theatre review

Ten years ago I was surfing the internet for cast recordings to new Broadway musicals I may wish to add to my cart.  The clever website suggested I buy new release Wicked.  I noted that the music and lyrics were by none other than celebrated composer Stephen Scwartz, and gleefully observed that the story revolved around none other than the Wicked Witch of the West.  As a youngster, I read a lot of books by L.F.Baum so it seemed to be right up my street.  I ordered the CD and never looked back.  That CD has received a lot of airplay over the years, not to mention the hours I have spent on youtube watching new casts cut their teeth on the show's many strong stand-alone songs.  I have seen the stage show in Melbourne and London.  I know all the lyrics and even most of the script.  Safe to say, I'm something of a Wickedpedia.

And now I have seen Auckland's production.  I was so looking forward to it, but was also apprehensive that this experience may not live up to the honour I have bestowed upon it, like a handprint on my heart.  I need not have worried.  That show I saw last night was remarkable!!  The cast were so on top of their game and gave such fresh performances I was taken along on that ride as though for the first time.

The show remains largely untouched since its Broadway debut in 2003, and I felt a few stage effects have aged less gracefully than the rest, but the success of the show has been largely due to its compelling story and endearing characters.  Sure, the music is immediately accessible and the book is very clever, but the heart of this story is the friendship between The Good and The Wicked.  Through Galinda and Elphaba's backstory we see how things are not always as they seem.  Life is not always black and white, sometimes it is green...and what do you do with that?

I just love Wicked.  I always have, but this latest experience of it thrilled me more than I had even hoped.  The highlight this time round was Jemma Rix's faultless performance as Elphaba.  She is so warm and real and quirky and charming and knows when to restrain those powerhouse vocals and when to let them defy gravity.  She rocks my world.  The whole cast deliver strong performances, but I was quite flummoxed by Jay Laga'aia's interpretation of the wizard.  In my mind, he got that character very wrong.  He can sing though.  There was nothing wrong with his vocal performance.

See this show as many times as you want, you'll not regret it.  

Kiss the Fish theatre review

Kiss the Fish is the latest offering from Indian Ink, and the first of their productions to employ a cast of more than one.  Jacob Rajan has made a name for himself, and the company, as a talented solo artist.  His use of masks and puppets is masterful, and his talent for comedy enviable.  Along with David Ward's music, these skills have become the hallmarks of Indian Ink productions.  Audiences have come to appreciate and expect Rajan's style of storytelling of all Indian Ink productions.  This, then, is something of a departure.  Rajan's style is evident in many parts of Kiss the Fish, and he appears as a supporting cast member.  However, in my mind he was the strongest performer and most at home with this style of theatre.  Therefore, it felt somewhat odd to witness him taking a lesser role in this play.

Kiss the Fish has a charming, if somewhat rambling, story.  Its characters are simple but recognisable.  There are elements of humour, tragedy, romance and heroism.  There is an effective use of music, and the songs are enjoyable.  The maskwork adds to the characters.  The puppetry is effective, though sadly limited to only one character.  Unfortunately I struggled with the mixed styles the show employs.  Rajan brought a familiar other-worldliness to proceedings and I enjoyed his performance a lot.  The rest of the cast, however, seemed to have less of a grasp on the Indian Ink style.  Their performance style often owed more to British pantomime than to Asian masked theatre.

The story is nice and, though not immediately clear, it eventually ties most of its ends together.  I also laughed a fair amount so that goes pretty far.

Overall, I would say the production's strongest feature is that it has a nice and light feel to it.  There is nothing too challenging to watch, though it is not shallow.  It's just nice.

Watch this play for a gentle and easy night out.

White House Down film review

It's an action film with more guns and explosions than named characters, but it is also a smart film and the violence is balanced with humour, cameraderie, politics and a sweet father-daughter story.  

There are several strands that make up the story, and these are each revealed in a clever way; such that there is suspense and satisfying pay-offs, and the strands come together in a natural way.  I would not fault the story at all.  The strongest feature of this film, though, is that the relationships between characters are real and interesting.  Channing Tatum has some wonderful connections with his scene partners, but the one that makes the film is his bond with Jamie Foxx.  The two tussle for power, and find their common ground and watch each others' backs and it is a beautiful thing.  They are funny too.  It was just a shame they could not find an excuse to rap together while dodging bullets and killing bad guys.  Oh yeah, the death count is pretty high.  That is where I tend to struggle with such action-heavy films.  Why all the death?  Why shoot to kill?  Isn't wounding sometimes enough?  Why even use guns?  But the thing I liked about this film is that the gunfire actually felt justified.  And the issue of non-violent peace negotiation is at the heart of the story.

So, this film just works.  The overall tone is fantastic and cheesy, but accept that and there is a lot to enjoy.

See this film to witness a believable dynamic duo.  Who needs superpowers or fancy gadgets when one can simply Channing all over one's Tatum.

Speaking in Tongues theatre review

Speaking in Tongues is the sort of play that has earned Silo its reputation for presenting bold plays with rich material for its cast.  This production is slick and stylish, and securely acted.  It is what we have come to expect from Silo and I enjoyed it.

It is a play that provides much food for thought, particularly about relationships.  It acknowledges the complexity of marriage and our glimpses into several relationships point to relatable issues, while entertaining.

The cast of four are all adept at natural characterisation, and I was particularly impressed with Oliver Driver, who gives us three very different characters, and makes them all interesting and interestingly vulnerable.  The quality I felt was lacking from all performances was spontaneity.  The play is carefully staged, and much of it requires measured performances from the actors, but there was also room for some less guarded moments.  As it was, there were no surprises.  It would have been the icing on the cake to see some raw emotion.

But that's just my minor quibble.  The play is rather outstanding, and Silo present a polished production with excellent production values.  The Herald Theatre has never looked so much like a real theatre!

See this play and lose yourself in a yarn of intertwined relationships and the fallout that can come from taking risks.  

After Miss Julie theatre review

Something to do with a love triangle...I don't know.  The most forgettable play I have seen in a long time.  It just never got going, and then it stopped.

Production values were pretty standard, and Dena Kennedy's easy presence was a delight to behold, but beyond that there is very little to say.

Don't go near this play.

Stoker film review

Chan-wook Park's first English language feature film proves that his style translates just fine.  The language of his films is very much a visual one, and his ongoing collaboration with cinematographer Chung-hoon Chung is one of the most exciting in the film industry today.

The world he creates for Stoker is one of Gothic beauty, observed in ultra-amplified sound and intensified colour.  This is one of the most beautiful films I've ever seen, so the absorbing characters and their surprising story is an added bonus.  It's a morbid tale, though, so it won't be to everyone's liking.  It seems Park excels best in such twisted mysteries.

Mia Wokawski and Matthew Goode turn in outstanding performances while Nicole Kidman relies on her usual bag of tricks. 

See this film for a visual feast.  I found it refreshing to see a story told in such a bold, interesting way.

Resident Alien theatre review

What is Resident Alien?  Is it a play?  There is no story to speak of.  Is it a biography?  Of sorts.  A tribute?  Yes.  It is a one man show and a character study and a warm-hearted tribute to an entertainer whose chief talent was his captivating personality.  Quentin Crisp was undoubtedly eccentric, but he was also educated and quick-witted.  He was a fascinating man.  So much so that a show in his honour need not bother with a plot, or a clever premise, or dramatic reenactments of his early life.  Simply seeing the man embodied is enough to grip the audience for as long as it takes for him to impart the wisdom he wishes to share.

For he also demonstrated surprising wisdom; Crisp was nothing if not insightful.  His way with words and his manner of delivery mean that the most serious of matters can be made frivolous, and the most complex issues reduced to a snappy phrase. Yet within these glib soundbites and witticisms is great truth.  That was his genius: to succinctly express life's struggles and overcome them with style.

His is a legacy worth learning about, and seeing Resident Alien is an enjoyable way to start.

See Roy Ward bring Crisp to life while you can.  It's as close as you'll get to the real thing.

Motel theatre review

Four stories take place in one motel room.  The stories are unrelated, but the curmudgeonly motel owner appears in each, to varying degrees of importance.  As the format might suggest, the play is something of a mixed bag.

Each story has great dramatic potential, but the development of the characters is lacking, to the point that I found I was often not invested in their plight, or the outcome of each scenario.  The characters never felt like true characters, instead remaining thin representations of a stereotype.  Consequently, the hard-hitting moments never quite land the way they ought to.

There is some strong acting, but generally the emotions are downplayed which gives the play a wash of sameness to it.  However, the cast are not to blame here.  The script simply needs more work.

I just got a bit bored, really.

The scenes would have been helped by an increase in pace.  Things felt slow and time dragged.  The director missed several opportunities to inject a fresh energy.  Even the interludes between scenes were unnecessarily sluggish.  Disappointing.

See this play if you have patience, or a drug that messes with your perception of time.

We're the Millers film review

We're the Millers tries its best to shock with its off-beat morality and frequent vulgarity.  But it takes more than it used to to shock an audience and this does not quite cut it.  It's a funny film, but too often it resorts to base humour and smut.  It's one thing to incorporate adult themes in ones humour, but it is another to make these themes the punchline.  There was a disappointing lack of wit or surprise and this is what ultimately lets down an otherwise strong film.

The story is interesting enough, but it falls into every cliche it could until it ends up just too predictable.

The most enjoyable aspect of the film is the chemistry between Jason Sudeikis and Jennifer Aniston.  They work well together and I hope to see them together with a more developed script next time.

See this film for something colourful and light, or if you're a grubby teenaged boy.

The Way, Way Back film review

The more things change, the more they stay the same?  One of the most appealing elements of this film is that it seems to take place in a more innocent time.  It is 1983 and it is always sunny.  Children can spend all day playing and return home only for meals, they can jump from bridges into rivers, they enjoy the outdoors.  But then, the occasionally product placed igadget determines that it is 2013.  So why the time travel 30 years into the past?  I'm not sure, but it's sweet.  Like Candyland.

And such is the tone of the film in general: sweet, for sweetness' sake.  The story is nothing new: boy dislikes Mom's boyfriend, boy seeks a place to call his own, boy finds male role model and the place he belongs and gets his first kiss.  The summer he came of age.  And eventually Mom sees that boyfriend is a jerk.

It's sweet, lighthearted and gets a few good laughs.  I enjoyed it, but couldn't help feel that I was watching someone's therapy session.  I felt like perhaps the writer was rewriting his adolescence and romanticising it. It is one way of owning it, but that is not the same as writing a beguiling screenplay.  The main fault is that it takes for granted that we are onside with the protagonist.  For me, that allegiance was not fully earned.  Had it been fully earned, the rest of the film would likely have been a lot more satisfying.

See this if you are fond of the '80s and fancy a trip down memory lane.

The Heretic theatre review

The Heretic is a play of two halves.  Act I introduces the viewer to the title character, a controversial scientist, in her natural habitat; her office within the walls of a highly respected university.  Here, she is confident and assertive and in control...until she's not.  Act II shows her at home, where she is less in control, and the play shifts focus to the private lives of her and her daughter.  I thoroughly enjoyed the first act, mostly for the expert comic timing of Jennifer Ward-Lealand and Stelios Yiakmis.  I laughed a lot.  The second act, though, shifted ground too much to carry on what the first act established.

At interval I asked myself what might happen next.  I found it impossible to know.  I found no unresolved questions from the first half that I cared to have answered.  The private lives of the characters were simply not interesting enough to keep my interest, and the professional issues that had arisen had found a resolve of sorts.  And so, in Act II the sub-plot about her daughter takes the focus.  Act II is funny and fast-paced and watchable, but it lacks the originality that made Act I so interesting.

What I enjoyed about Act I is that the subject matter was topical, thought-provoking and shown in a new light.  About time there was a comedy about climate change.  The dialogue is funny, and the tone is set for a comedy of words and ideas, suitable for the academic setting.  When the setting changes, so too does the tone, and it felt like quite a different play.

See this play if you need a happy ending.  Leave at half time if you don't.

Like There's No Tomorrow theatre review

This is a play and it is so many plays and it is performance art and it is awesome!  From the moment I entered The Basement, I was greeted by friendly young things looking for a good time.  I was soon taken under the wing of a popular girl dressed as an ancient Mayan, and she convinced me to take my pants off on the dance floor...maybe that's giving too much away, but the great thing about this work of art is that everyone will have a unique experience.  That was mine, and it almost certainly won't be yours.

The premise is a simple one; a shock death has occurred at a local high school and tonight the friends and peers of the deceased are partying at the "cancelled" afterball.  The Basement provides the venue of a megaparty, utilising every part of the grounds to create a tour of the many sub-parties, and the audience are absorbed as fellow revelers - sometimes part of the action, sometimes flies on the wall but never far from the high dramas of youth gone wild.

I enjoyed myself like I was at a party, so infectious was the energy of the young cast.  I was reminded how fun it was to be a teenager.  Wow.  I never used to buy into that "high school is the best years of your life" stuff, but this show has made me analyse that anew.

Basically, the experience is like no other, and I loved how the many stories interweave and are each given their moment in the spotlight.  But even as a straight play, this would be a strong piece!  The story is truly moving and a little disturbing.  It is so true to life that I recognised many of my schoolmates in the characters drawn for us.  While the acting is mixed, there are some very powerful performances here and overall it bodes well for the future of theatre in Auckland.

See this for an all-consuming experience that will rejuvenate you if you let it.  Just wow.

Mood Indigo film review

No one creates dreamlike worlds quite like Michel Gondry.  The world inhabited in Mood Indigo is cartoon-like and defies many of the physical laws that govern and shape the environment we know.  He uses a variety of methods to achieve this, seamlessly incorporating projections, stop-motion, and a range of tricky special effects I can't name.  But despite this healthy dose of the surreal, the viewer immediately accepts this charming world's unfamiliar qualities.  Much of this effect can be credited to the actors, who take everything in their stride and are kind enough to invite us to follow.  Also, the physical environment in Mood Indigo is used to reflect its characters emotions/health.  In this sense, there is some logic to their world - but it is a dream-logic.

Similarly, the photography of the film reflects the story and transitions from bright-carefree-happy to bleak-struggle-hardship.  The film is at all times beautiful, and it handles this transition well, but ultimately it is this unusual structure that proves to be the film's greatest obstacle.  When a film tells a story of people making it through hard times to reach the good on the other side, the audience is uplifted.  This film does the opposite.  To what effect?  It is sad.  The charming protagonists meet their fate with considerable grace, which provides a sense of hope.  There is an underlying message that love is enough, and that one can choose to meet the hardest of circumstances with dignity.  But mostly, it is sad.  The predominant theme is rather bleak: life is fragile and one random event can be enough to turn our fortunes, perhaps none of us are as far from destitution as we like to believe.  This may be true, but it is not a message most of us like to hear.  And so I think this film will struggle to reach a wide audience.

See this film for a visually beautiful experience.  The story has many charms, but is ultimately more depressing than uplifting.  As far as tragedies go, this is a pretty happy one.

Man of Steel film review

The origins of Superman are given firm foundations in this loving  portrayal of the early life of Superman/Kel-El/Clark Kent.  Certainly, by the end of the film I understood his upbringing and his heritage better than ever before - and these are instrumental is understanding his purpose.  Unfortunately I also felt exhausted and my ears were sore from listening to an hour of endless explosions.  The story is interesting, and has definite emotional journeys for several key characters, but the action sequences are many and frequent, and there is the sense that each needs to outdo the preceding ones.  They end up taking over an initially smart, mature telling of a familiar tale.

Henry Cavill does an outstanding job of carrying Superman's journey from lost boy to saviour of mankind.  He also carries the film, amongst a stellar cast, most of whom are given less to do than their calibre deserves.  Thus it is extra frustrating that the villain (General Zod) is given such a basic and boring interpretation by Michael Shannon.  Hid is the role the A-Listers ought to have been fighting over.  However, Shannon delivers a blandly serviceable baddie with a hunger for power and an appetite for destruction.  This would not rankle so much were it not for the fact that the script provides so much rich material for Shannon, which he chooses to ignore.  Zod has a long and interesting history with Superman's father, he is miraculously delivered from the destruction of his home planet and believes it his grand destiny to provide his race with a new home, his beliefs favour eugenics and socialism and he is ruthless in his means to achieve a greater good.  He is interesting, he believes he is doing good and he is personally invested in the missions he undertakes.  When Superman foils his plans, I craved an emotional response.  Does Zod crumble?  Cry?  Scream?  No, he calmly explains his motives then does continues on in bloodlust (but now without it making sense).  It was just such a wasted opportunity.  And when he is defeated once and for all (that's hardly a spoiler...it's pretty predictable) the means with which he is beaten are so ridiculously simple it mocks the complex methods that have gone before and failed.

So....yeah....I loved a lot of things about this film but the overdone action sequences killed it.  It is a strong foundation for the films that will follow, and I look forward to the sequels exploring the emotional depths of more than one character.

See this film at home, so you can control the volume and fast-forward the boring bits.  The good bits are really good - and so pretty!  It is a shame they go hand in hand with so much senseless violence.

Child's Pose film review

A grown man seeks to escape the influence of his overbearing mother.  When he finds himself the cause of a fatal car accident, she is quick to make herself indispensable.  For her, it is a chance to prove her devotion to him.  He struggles to accept her assistance.

It is a strong premise, and the realationships are easily recognisable, but I did not enjoy the treatment this film gives it.

At the heart of the story is the mother/son relationship.  It is told, though, exclusively from the mother's side, so the viewer never comes to understand enough about the son to appreciate why their relationship is so strained.  Presenting only half the story makes this high stakes drama rather boring.  I simply did not understand the conflict.

Another feature I struggled with was the film's cinematography: the majority is shot in mid-close-up with a shaky handheld camera.  Why?  It's stupid.  It never looks good.  There are also close ups and extreme close ups, but they have no effect.  The son is such a boring character that no amount of close ups could elicit further interest in him.

The mother is a complex, interesting character, and played with panache by Luminita Gheorghiu - but the story requires more than just her and more than just her version of events.  It lets itself down in focusing solely on the mother, as she cannot be understood without understanding the people around her.

See this film if you do not mind ugly camerawork and are happy to work to fill in the gaps this film leaves.

In the House film review

Like other French treats, this morsel is light, delicate and goes down easily.  But like a bite of marzipan, it has a less than sweet edge to it.  It wastes no time establishing its characters, their relationships, and the premise.  I like a fast paced film, so I was happy to go along with the twists and turns and plot devices, though the story grew more absurd with each.

For a film about storytelling, it was unsurprising to notice a form of meta-commentary - in particular it asks the age-old question "how to end it?"  A perennial problem, for endings are not a natural thing.  Real life has no endings, so how to create an ending that feels natural and also balances surprise with inevitability?  It is tricky, but the film manages to get it just right.  While the subject matter encourages hypercritical analysis of its storytelling, I found I was happy to go wherever the story took us - having been solidly won over by the films many charms, not least of which is the lovable cast.  No one in In the House is without fault, but there vulnerabilities are more often endearing than anything else.

See this film for a charming diversion and some uniquely French humour.  The ending certainly is quite nutty, but I loved it nonetheless.  Why not love it?

Tu theatre review

Tawata Productions' TŪ gets a lot of things right.  It is absorbing and affecting, well-acted and well-designed and at all times precise in its actions.  It tells a story worthy of an audience - but several aspects of the story remained unclear.  This kept the story distant and undefined, and as a result I struggled to connect with the material on a personal level.

For one thing, the script was often too overt and too formal.  The cast demonstrated varying levels of ability in making the dialogue sound natural - but on the whole it too often sounded unnatural.  One such example is the lack of contractions; rather than saying "I'm" the characters would say "I am".  I could not find a reason for this and it created an unnecessary barrier for the actors and audience alike.

The script also struggle to establish a sense of place.  It presents both time and place as important factors in the life of the play, but shies away from defining them.  The time periods are eventually made very clear - but this should have been achieved earlier than it was.  Place, though, is left unclear.  There is a lot of talk of city and country, and that the central family tie their sense of home/belonging to the land they know.  I was unsure, though, where this play takes place.  Wellington?  Auckland?  Christchurch?  It's hard to be certain.  Is it important?  Not to me, but it is important to the main characters, so understanding their home would help us to identify with them.

But the story still comes through, and it is a sad and shocking tale that had me feeling sick to the stomach.  The staging is excellent, as is the  use of Maori cultural traditions to portray battles and struggles, and ease transitions.  This is a slick production, that shines in spite of a sloppy script.

See this play if you care about  family and/or war and/or the urbanisation of New Zealand.

Paradise: Love film review

The first in a trilogy of films of women seeking fulfillment from without, and it's a tough watch.  It is slow and strange and it is hard to believe, but it is often enjoyable and certainly thought-provoking.  It seems best to view it as an allegory.  Our protagonist's search for love is expressed through her desperate attempts to find a holiday romance.  There is very little hope that anything genuine will occur, and when she comes close to achieving what she wants she proves herself rather difficult to love.  So a pattern is established of increased effort and diminishing returns.  With each man she pursues, failure to succeed in love seems more inevitable.  It must get harder each time to maintain her determination, but her optimism never wains.  And here is where the true message lies.  More than being about love, I felt the story was a study of hope and optimism.  Various characters advise each other "give it a try", as if trying doesn't cost anything.  For me this raised the question "when is it better not to try?"

So, for a film that purports to be about finding nirvana through love, I was surprised that its commentary on the subject was very slight.  I lost interest by the end, as the attempts became more ridiculous and more futile.  I felt it touched on the issue that love is not something one should seek to receive, rather something one should seek to give...and yet it didn't quite address this fully.

See this film if you like frequent nudity and sexual themes.  There are many laugh out loud moments, but overall it is pretty tough-going and the rewards are few.

Stories We Tell film review

The story Sarah Polley tells exposes her family history, in particular the legacy of her mother, in a way that is heartfelt, funny and very very smart.  For what does it really expose?  What is true?  What is truth?

Polley's film is ostensibly a documentary, but the truths it reveals are often somewhat subjective.  Which are the truest?  There are different points of view presented here and the film's conclusion draws attention to the importance of subjectivity in storytelling.  And while this is an interesting point to ponder, I found the conclusion somewhat forced.  Yes, the stories told are subjective.  But, together I found they painted a very clear picture.  For Polley's angle to work, I felt there ought to have been greater contradictions on offer.  As it was, the few contradictions were so minor that they did not provide the necessary weight for such a grand conclusion.  And anyway, pointing out that stories tell us as much about the storyteller as the subjects is...kind of obvious.

This film, though, is quite remarkable.  I loved the way in which the pieces slowly fall into place.  Polley leads us along a path just open enough to keep us guessing.  Her timing is perfect as sets up the clues one by one before surprising us with the answers.  Her story is a fascinating one that endears the viewer to her.  Then, revealing that her "documentary" is partly (wholly?) scripted and performed by actors...that is a great way to mess with minds.

See this film for the unique experience of a genre that has not yet been named.  I loved the film and enjoyed its style, but found its message rather basic and less enlightening than I had hoped.

No Holds Bard

No Holds Bard is a one man show in which several of Shakespeare's protagonists meet, and their discourse is thought-provoking, energetic, and often hilarious.  For Michael Hurst it is quite the tour de force.  His characterisations are concise and suitably quirky, while remaining recognisable.  His vocal work is second to none: the richness of his voice, and his aptititude for accents are showcased and the material provides the chance to demonstrate one's whole vocal repertoire.  And for a crowd-pleasing climax, Hurst discovers the hilarity in a one-person fight sequence.  Hurst proves his worth time and again.  It's all very impressive.  But is it good?

Well, it is entertaining.  I liked it.  Shakespeare's words are really quite exquisite and familiarity with his most popular works is rewarded.  The script cleverly weaves Shakespeare's words into new situations.  As for a beginning, middle and end...well that is where this piece is weakest.  There is some sense of story, and a token pithy resolution to reassure the audience that the stage-play format has not been forgotten.  But, actually nothing about the story interested me.

The part of the script I enjoyed most was the tug and tussle and push and pull between Macbeth and Hamlet.  Here they represent two opposing drives: one a man of action, the other a man of grand talk.  Some of their discussions are works of genius.  Macbeth is reliably funny (surprise?!?), and Hamlet is ridiculously foppish (poor guy).  These characters are given the most development, and their interactions with each other are the most interesting and edifying.  I wondered whether a better play might have been one in which these two found were kept front and centre throughout.

Special mention to the lighting design for achieving some bold effects, with smooth, precise transitions.

See this play for a laugh and to hear some beautiful words.  Michael Hurst's performance is world class and makes the show gripping from start to finish.

Before Midnight film review

Richard Linklater's third installment in the story of Jesse and Celine feels very personal.  There is a confessional quality to the writing that had me imagining this might be a big screen version of somebody's diary.  Certainly, it seems that this series has become a labour of love for many of the parties involved.  This sense even translates to the audience, many of whom will feel connected to the material because of its legacy.

Whether or not the film tells the story you had hoped it might, this film so trusts its audience to go along with it that I believe many will.  I was spellbound from start to finish.  I did not want it to end.  There is a lot of backstory to fill-in in a short time, and this is achieved through rather densely packed dialogue.  In lesser hands the dialogue could feel clunky or start to drag, but Ethan Hawke and Julie Delpy always keep the ball in the air and the mind quick, and appear to constantly surprise each other with sudden shifts in mood.  The other large part of what makes the long and wordy discussions work is that they are often filmed in one take.  The freedom this affords the actors is invaluable.

See this film if you like rapid-fire dialogue and have been following Jesse and Celine for a while.  The style of these films will appeal to those who enjoy confessional singer-songwriters and live theatre with clever speeches.

White Rabbit Red Rabbit theatre review

White Rabbit Red Rabbit was written in 2010 by Iran's Nassim Soleimanpour, and he describes it not as a play, but as an experiment.  At tonight's performance, there were 120 present - including the actor and the writer.  

[spoiler alert]

The writer's presence is an interesting thing to note.  His voice stands in for the voice of God - and perhaps whether or not you count his presence depends on your theology.  But whether or not Soleimanpour is present, his instructions remain clear.  At least...they are represented as such by the actor reading the text.  But as an audience, we choose whether we believe her entirely.  I did.  We all did.  We believed that every word she spoke was written in the past.  Every instruction she gives is ordained by a higher power - and this trust is evident in our ready participation in the action: we obey the orders we are given.  What would it take to provoke disobedience?  Where is the line we refuse to cross?  How much do you value human life?  What is your responsibility, and what is not?

I am proud to say the audience I belonged to did not allow our actor to risk too much of herself.  And she was our actor.  Jess Holly Bates connected honestly with every one of us.  She made eye contact with each audience member as we were proving ourselves countable and making ourselves accountable.  She gained our trust and she gained our respect and we would stand up for her before we would stand up for ourselves.

Did this remarkable piece demonstrate how nationalism happens and how dictators maintain their power?  Does it also comment on religious fanatics and the dangers of legalism?  Does it raise questions of humanity vs society?  Does it challenge us to think and to act and to live?  Probably.  This artwork achieves many things in its 60ish minute, not least of which was the spine-tingling terror I felt at its climax.

Bravo.

See this experiment to learn a few things about what life is and how it works.

Nick: An Accidental Hero theatre review

Nick is a poignant piece of theatre and on more than one occasion had me crying uncontrollably.  I was that guy loudly blowing his nose in the quiet bits.  Wisely, though, the prevailing mood is very light and frequently hilarious.  That the tone can flick from one mood to another so quickly and adeptly comes down to the skill of all-in-one performer Renee Lyons.  Lyons switches between characters with utmost control and constant clarity about whom she now embodies.

Another wise choice in this production is that no one character dominates, unless maybe our title character does.  You see, Lyons spends very little time as Nick himself.  We understand his situation by the dialogue addressed to him by a succession of characters, each of whom has their moment in the spotlight.  This conceit is the perfect solution to the problem that plagues many one-woman (or one-man) shows: why is this person talking?  Monologues don't exist in real life.  And one-sided dialogue is tricky.  If the actor is playing two characters...why not just have two actors?  Nick has no monologues.  That really works for me.

At just 50 minutes long, it is remarkable that Nick packs in as much as it does.  It tells the story of Nick Chisholm, covering about 15 years of his life.  That's efficient story-telling!  It focuses on the aftermath of an accident that leaves him paralysed.  It's a life-changing event and it affects those around him in different ways.  Far from being a sob-story, this piece celebrates strength of character and an enduring will to live, and live life to its fullest.  The characters who guide this journey are somewhat stereotypical, but in the way that we recognise them.  This supports the underlying message that any one of us could find ourselves in a story like this.  

See this play if you need to be reminded how to be compassionate.  Or if you just want to see some exceptional theatre.

The Pitchfork Disney theatre review

Several times, over many years, have I tried to understand what Antonin Artaud was trying to achieve with his "Theatre of Cruelty" and what exactly that phrase might mean.  I think that The Pitchfork Disney just may fit into that category!

Certainly, this play bubbles with a sense of foreboding.  Terror looms.  Tragedy threatens to strike at any moment.  Or if not tragedy, perhaps love.  Perhaps lust, or maybe a conscientious meeting of the minds.  I expected at any moment to be shocked, and the suspense was gripping.  Time and again though, this piece manages to ratchet up the tension and then let it dissipate without fulfillment.  It is masterful in the way it teases and then skirts away from every threat it makes.  In the end, though, I found this suspense too much to bear.  Without any satisfying moments of release, one is faced with the choice to either continue their investment, and continue to hope for the fulfillment of a hastily made promise, or cut one's losses and give up. Well, the many shifts in energy and changes in direction managed to maintain my commitment most of the way through, but towards the end I caved.  I gave up on the piece and wished it to be over.  It kept my attention - the stellar production and capable acting were more than enough to entertain me - but I lost interest in the story because it became clear it would not reach any dramatic high point.  Or a low point.  Or a conclusion.  The story is possibly not even something that should be classed as a story.

So, with such a hollow script to play with it is all the more remarkable that Sophie Roberts and her cast achieve such a delightful night out.  From the moment we set foot in the theatre, we are immersed in the world of the play.  The connections between our leading man and his supporting cast are electric.  Often scintillating, sometimes disturbing.  Always, though, I felt something about what was happening on stage.  I was tickled, impressed, endeared, repulsed, bothered.  So this piece reached me.  Until the point where it didn't, and I can pinpoint when that was.

In the final quarter of the play (which was too long at 105ish minutes), our leading man tells of a nightmare in which his biggest threat in life, and the ultimate cause of his demise, is a character known as The Pitchfork Disney.  He tells this to a character we know as Mr Disney.  We know Mr Disney's work associate to be called Pitchfork.  This would appear to be some remarkable coincidence, yet it is never referred to.  It suggests more sinister elements to the story - but these are not fully developed.  To me, it just reeked of fake symbolism.  It certainly sounds like it should be very meaningful!  To me, though, it just wasn't.  And if it was a subtle reinforcement of one theory I have about the relationship between the characters...then that would be most disappointing.  If the relationship is that which I suspect, then the story is revealed to be far less inspired and original than its style.

What was it really trying to say?  I could probably figure it out, but unfortunately I stopped caring.

See this play if you enjoy clever staging and a well crafted production.  Hopefully you won't mind that the script presents a succession of red herrings.  

This is the End film review

This is the End is nothing like any other Apocalypse movie.  No one is trying to save the world, they're each just out to save themselves.  The lack of heroism may be frustrating for some, but it certainly rings true.  This film is firmly placed in the here and now, painting today's stars as self-absorbed, self-obsessed, and selfish.  They deal with their difficulties (or don't) by using excessive quantities of drugs, playing games, making movies...and when the reality of the situation sinks in they treat it like a reality show, complete with a video confessional and voting members off.  The idea of voting someone off in circumstances that seem certain to spell that individual's death is pretty dark.  And it is this satirical edge that provides the film with many of its best moments.

The bunch of over-privileged douchebags are very entertaining, though.  They quibble and they get distracted and sometimes they accidentally do something useful.  It's hilarious.  It's also not for the faint-hearted.  There are more f-bombs than I've heard in any other recent film.  There's blood, there's gore, there's supernatural activity, and some sexually perverted conversations.  Its R16 rating is well-deserved.

So, while the tone is blokey and coarse there is an underlying intelligence I really appreciated.  The cast is heaving with recognisable names and faces, and the actors all appear as "themselves".  I found it quite clever that each character was a mix of who they are and who they are seen to be by the public.  They take the piss out of themselves as much as they take the piss out of celebrity-mania, and also give us pretty believable characters to follow and enjoy.

So, I enjoyed the film greatly.  I laughed a lot.  I was constantly taken by surprise and frequently grossed out.   Where the film lost me was in its denouement.  It sets itself up for a cheesy, satisfying conclusion and I was happy enough to buy it.  But then it continues.  The [spoiler alert] following interpretation of what heaven could look like was just uncomfortable to watch.  I found it crass and irreligious.  You'd think that could have been expected by now, but actually I felt it contradicted the whole theology laid out all through the film.  It was funny, but it didn't work for me.

Interestingly enough I read online that the heaven sequence was not in the original cut of the film.  It was added in response to test audiences who all wished to see what came next.  Well...I would have preferred the original ending.  Stupid test audiences.

See this film if you would rather laugh about the end of the world than try to prevent it.

Anne Boleyn theatre review

ATC's latest production makes quite a splash with its bold, colourful costumes and use of drums to underscore the drama.  Stephen Lovatt makes quite a splash as the flamboyant, large-living King James I.  That's all the splashing there is, though.  Nothing else manages to meet these elements on quite the same level of high drama and high camp.  While George Henare's Cecil  provides Lovatt with a perfect foil and excuses himself from such excesses with his claims he lacks imagination, I found the lack of imagination in the rest of the cast unexpected and unaccounted for.

To be clear: the cast do a great job of telling the fascinating story of Anne Boleyn's influence over England, its monarch and the predominant religion, and the story reveals fascinating theories of her motives.  But stylistically, I felt that the actors were often not united with the tone set by the pithy script and the outlandish costumes.  Well...were the costumes outlandish?  Yes and no.  Some were.  Some were not.  As with the actors making bold interesting choices: some did and some did not.  

I can't blame the cast, as I know these people can act.  I won't blame the script, because the script is consistent within itself and ekes out the plot points at a perfect pace.  I could blame the costumes for leading my expectations astray - but I feel the flashier costumes were right on the money.  So I will blame the director, Mr Colin McColl.  

McColl failed to get his whole team to perform within the same genre.  Was the end result part of his vision?  Did he want naturalism?  Did he fail to communicate his vision to the cast?  The vision was certainly not communicated to the audience.  Whatever the cause, the result is that Anne Boleyn lacks the finesse it often implies it ought to have.  Certainly, it was well rehearsed.  The show is tight, and it tells the story effectively.  It just lacks a certain spark that is hinted at by Lovatt, Elizabeth Whiting's costumes, and Simon Prast's delightfully dastardly Thomas Cromwell.  I would have preferred a more heightened drama that embraces the anachronistic vernacular and fashion sense.  I feel that would have best served the script, and today's audiences.

What else to say?  The many actors deliver perfectly adequate portrayals of their (even more) many characters.  Their stagecraft is hard to fault, with every action and intention reading clearly, every consonant reaching to the back of the room.  However, from the supporting roles I would have liked a little scenery chewing.  That would have felt right.  From the lead roles, I would have liked to have seen greater emotional connection.  The laughter didn't sound like true laughter.  The (potentially) tender moments did not provoke true tears.  Anne Boleyn failed to make me care about her plight or her feelings, indeed I wasn't sure she had any.  And considering the story is driven by her courtship with Henry VIII, I would have like to have seen some kind of chemistry between them.

It was just dry.  Why the lack of imagination?

See this show for the first chance in years to see some of Auckland's most luminary actors perform perfunctory roles in an interesting story.  See this show if you like colourful costumes.

King Kong theatre review

You have to see it to believe it.  This brand new musical at Melbourne's Regent Theatre is a most spectacular spectacular.  I thought I had seen most of the things that stageshows can achieve - and this introduced me to all sorts of new effects.

As a show and a spectacle, there is nothing like King Kong.  As a musical...it is a little baffling.

Marius de Vries' original music and arrangements of familiar songs are commanding, and often rather catchy. Our lead actress, Esther Hannaford, is given the most opportunity to demonstrate her vocal prowess - and that she does.  She sings with a modern blues/jazz sensibility that is easily accessible and feels true to both the 1930's period and today.  What lets the songs down are the banal lyrics.  When I could make out what they were, I was frequently non-plussed.  What is she singing about?  Why does she feel that way?  How does this relate to what we just saw?  There are a lot of songs, and the only two I am sure I understood are the lullaby sung to soothe King Kong (no metaphors or anything...it's just a lullaby), and the one in which our love interest explains to our heroine that his father built the Golden Gate Bridge out of vanity.

The rest of the music was lovely but hollow.  There is not much more substance to the script.  Really, this show is about an eight metre tall puppet.  

As it happens, though, the giant puppet is a fine actor.  It looks incredible.  It tells the story.  It got all of my sympathy.  The best moments all belong to Kong, and so they should.  The 17 puppet operators seem able to achieve any action, and any emotion - and the movements all look fluid and natural.  It's a marvel of engineering.  Kong's co-stars struggle to keep up.

Kong's greatest rival for attention is the bold and busy lighting.  There are an array of projections that create virtual sets, and alter costumes to make them something altogether new and exciting.  To be honest, I couldn't really figure out what the lights were doing or how.  Whatever it was, though, has me in awe.

Stray observations:

- I have no idea what the opening number was about, but it should have been about the opening of The Empire State Building.

- The prophetess who occasionally appears, sings, and covers a set-change seemed to have wandered in from one of Andrew Lloyd Webber's more gothic musicals.

- I found the song about The Golden Gate Bridge compelling because it was so unusual.  Perhaps it would have meant more if it had been about The Empire State Building.
- Weirdest makeover montage ever.

- I wanted more The Empire State Building.

See this theatrical production if you want a unique experience.  The puppet steals the show, but it is a feat of engineering that is more than a vanity project: it may change the face of theatre.

The Great Gatsby film review

The Great Gatsby is a giddy ride into a fantastic re-imagining of the past.  It's just the most stylish thing ever - but the story lacks heart.

Fans of Baz Luhrman will love the frenzied, colourful and oh-so-slick approach to illustrating the story.  Certainly, he stays true to the style that has brought him such acclaim.  He fills each frame to saturation point, that within the first half hour I felt the film had already achieved more than many films do over their full length.  I saw the film in 3D, and for the first time felt that the effect was used to accomplish something worthwhile.  Certainly, the 3D effects are not important - but they are fun and rather impressive.

So it all starts with a rush and a roar and provides quite the adrenaline rush, then it comes time to progress the story and the pace slows considerably.  It is an unusual story, with an unusual shape and Luhrman is very faithful to the source material.  For this reason, I wondered whether the film's problems were unavoidable.  He fails, though, to make the most of the weightier moments.  One of the greatest strengths of the story is that it is filled with fascinating, endearing characters whose paths cross in unexpected ways.  The film does well at painting these characters.  In particular, I enjoyed the female characters immensely.  Sadly, though, the audience is kept at too far a distance.  Despite many extreme close ups, the viewer is forever watching the action from across the bay.  I was not even sure whose side I should have been on.  This, then, means that the double tragedy the film builds to, means very little.  The character who I felt closest to was our narrator Nick Carraway, played by the evergreen Tobey Maguire.  Unfortunately, Carraway has no character arc.  He doesn't have a story or an ending.  He is no more than a plot device.  This is very true to the book.  Nevertheless, I felt Luhrman has done us a disservice by being so faithful to the book.  

Another strength of the book is the beautiful poetic nature of the writing.  Luhrman is conscious of bringing this to life, and his efforts to do so work well when done visually - the passage of the seasons alone is breathtaking. It is less effective when the poetry is thrust at us with flying words.  It is a literal approach - and literal poetry must be an oxymoron.

Ultimately, The Great Gatsby is beautiful, and it tells the story clearly.  It lacks intimacy to the story.  The friendship between Gatsby and Carraway should break hearts as the story concludes...and it just doesn't.

A special mention must be made of the music.  The majority of the music is fairly recent pop music.  I loved the new recordings of each song, and marveled at how well it all fit together.  

See the beginning of this film if you love colour and dramatic music.  See the rest of this film if you like a cool, detached story.  I enjoyed both parts of the film, but found the transition a little clunky.  Perhaps the transmission needs to be looked at...I know a good mechanic...

Tyran Parke: A Light in the Dark. Cabaret review.

Tyran Parke begins singing offstage and I immediately picture an adolescent, so clean and pure is his voice.  When he appears on stage, I am surprised to see that he is old enough to have seen Les Miserables on its first Australian tour.  Parke displays a youthful vitality, but as his show progresses, he also demonstrates a depth and strength that only maturity brings.

His song selection is of the musical theatre oeuvre, which is my chosen field of musical obsession.  I thoroughly enjoyed hearing fresh interpretations of some obscure material.  I was happy, too, to learn a few new songs.  That Parke is confident in presenting his audience with unfamiliar music is inspiring.  That he sells each story so personally is truly remarkable.  Parke has an amazing understanding of how to tell a story with a song.  He was so connected to every word, and his voice sounded so free and effortless it was easy to forget he wasn't just speaking.  Music may well be his first language.

The show's structure is in the mould of a typical cabaret.  Parke tells of his long journey to accepting his love of theatre, illustrating his story with anecdotes and songs.  I enjoyed his segues, and only a couple of early songs lacked the appropriate context.

Parke's talent is what made the evening so enjoyable, while the show was fairly bare.  I would like to think that if Parke continues to tour these songs and stories, he could dress it up a little more, with a sharper costume or two.  I also felt the show would have gained a lot to have played around with the musical arrangements.  While the keyboard accompaniment was adequate and ably played, the transition between musical styles was sometimes a little jarring.  It would be nice to see a musical director bring the various songs into a cohesive musical approach.

See this show if you love musical theatre.  Or just music.  Or just theatre.