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.