No. 73 (2021) COMING HOME IN THE DARK AUGUST 31st.

 

Film No. 73 (2021)  August 31st.  6:45 PM   Cinema 1   LUNA,  Leederville. 

"It's amazing how a little bit of music can lighten the mood?" (Mandrake tries to calm the atmosphere which has become tense, mainly by his doing, to say the least).

Well known to New Zealand audiences, mainly as an actor, James Ashcroft directs his first feature film, COMING HOME IN THE DARK. He has been heard to express his ambition for what he'd like audiences to take away from his film. His aim here is to get under people's skins. Did he succeed in my case? No, but there are a few scenes that creeped me out. 

We meet an everyday family made up of Hoagie (Erik Thomson), Jill (Miriama McDowell) and their teenage sons Maika (Billy Paratene) and Jordan (Frankie Paratene). They are on a camping trip in wind-swept New Zealand. Of course we know that the film is meant to shock, but the rate at which events turn for the worse surprised me. Enter star performer Daniel Gilles playing Mandrake along with his brooding off-sider Matthias Luafutu as Tubbs. They mean to do harm, we are never in doubt of that, but are their motives random? And does Jill, the only female lead, hold an emotional edge over these fragile males? 

The real creepiness of this film lays in the atmosphere. The New Zealand landscape on cold, dreary days might just dampen the spirits of many a person. When those conditions become the back-drop for dastardly things to happen, an environment like the one on screen, dark feelings become front of mind. With 50% of the shoot taking place in a moving vehicle, with a dark exterior, the hum of tyre on road and the bulk of the script slowly un-packing the story, Ashcroft has injected an unnerving style into COMING HOME. 

This hard-arsed genre, done well, is being lorded by studios right now. Ashcroft has been lured towards two major projects since COMING HOME debuted at Sundance 2021. Execs' with a keen eye for what sells were impressed with Ashcroft's first feature. It is stylish, it is creepy and is getting under the skins' of many. The film should be admired for those qualities. 9GUMS.

         

 

No. 72 (2021) NITRAM (Cinefest Oz 2021) AUGUST 29th.

 

Film No. 72 (2021)  August 29th.  12:30 PM   Cinema 3   ORANA CINEMAS,  Bussleton   W.A. 

"I gave up and went back to the car. And then I heard someone laughing. I looked around and he was laughing at my pain" (Mum talking to Helen about life before her son became an adult).

NITRAM, in my eyes, does not depict anything gratuitous in depicting a version of the lead up to the horrific events of April 28th 1996. It is disturbing, and while I understand that it may bring back awful memories for those who are closer to the event and victims of that black day, the film does hold a mirror up to the world and asks the question; how might we recognise signs of the possibility of another event like Port Arthur?

The film is gaining notoriety because of the awards it is accumulating due to the excellent script and brilliant performances. Judy Davis plays the mum, Anthony LaPaglia is dad and Essie Davis the eccentric wealthy friend, Helen. They must have been compromised when accepting their roles but they excel. The lead, played by Caleb Landry Jones, an American is the main reason for the film's accumulation of gongs. He depicts a young man who has become one of Australia's most hated criminals, in a way that never excuses his behaviour, but shines a stream of light on a society that can't be compassionate to those, they decide, can't be helped.

I enjoyed the film for the message Justin Kurzel (SNOWTOWN, TRUE HISTORY OF THE KELLY GANG) had to offer up from a broader, big picture POV. I did not enjoy the memories of where I was, as I played with my children, on that fateful Sunday in April 1996. I was pleased to be able to remember and pay tribute in my own mind to the brave victims and those closely linked to those who died or were injured on that day. The victims of that day must continue to be remembered. 

I cannot recommend this film. I won't rate it. I'm pleased I saw it for the reasons above. There is certainly a lesson to be learnt from NITRAM.

          

No. 69 (2021) LITTLE TORNADOES (Cinefest Oz 2021) AUGUST 27th.

 

Film No. 69 (2021)  August 27th.  6:00 PM   Cinema 3   ORANA CINEMAS,  Bussleton   W.A. 

"Well, I think what men mistook for happiness was in fact resignation and impatience" (Germaine Greer is caught in the background, featured on a small black and white television, answering a question).

LITTLE TORNADOES is a small film which packs a punch with themes of male depression. A theme that continues to resonate in society. LITTLE TORNADOES depicts a time past. The early 70's in rural Australia when a generation of fathers' experiences from WWII  melded with the forgotten draftees from the Vietnam War. It's a film that could be appreciated for its art design alone. I can't think of a film that captures the late 60's to early 70's with such meticulous detail. The cast is little known but all give solid performances. And then there is the mystery as to why LITTLE TORNADOES was shot in 2009 and only recently released. So while Director and writer Aaron Wilson describes his film as a labour of love, his waiting 12 years to finally release it might just form the platform for a whole new story? There is a lot to like about this brilliantly designed social drama.  9GUMS.

    

  

No. 71 (2021) UNDER THE VOLCANO (Cinefest Oz 2021) AUGUST 28th.

 

Film No. 71 (2021)  August 28th.  6:00 PM  The Heart ,  Margaret River.   W.A. 

"It was George Martins idea to take Artists out of their normal environment and put them in harmony with nature. Our BROTHER IN ARMS album was done in a few days" (Mark Knopfler reflects on the influence of Martin and what it meant to Dire Straits).

Young Western Australian film-maker Cody Greenwood listened to stories told by her mother, artist Frane Lessac about a recording studio she lived near on the Caribbean Island of Montserrat. The more Cody researched the subject the more determined she became to make a film profiling the George Martin "love child", AIR Studios. UNDER THE VOLCANO is an engrossing documentary of world music history and hopefully not Greenwood's last.

Martin built the studio (a story in it self) in 1977 as a unique haven of sound production for the likes of Paul McCartney, Sting, Elton John, Mark Knoffler, Duran Duran and The Rolling Stones. One assumed it wasn't cheap, but the film uncovers some great stories. The tale of Elton  John coming as a reluctant artist and being motivated to create 2 LOW FOR ZERO is one story told. Then there was local, Lenny, talking of the relationship he built with Sting as he taught the legend how to wind surf.

While Greenwood turned the key to start the project, her decision to bring Gracie Otto on board to direct UTV was a masterstroke. "Gracie had the experience to bring balance to the film and moulded a great relationship amongst all of us" was how Cody reflected on Otto's directorship. I can relate to the passion she must have had for the stars who make this documentary so compelling. This is likely not to be the case for those younger than the baby boomers. The subject matter may not hold the same appeal.

AIR Studios only existed from 1977 to 1987. The icon that was AIR disappeared as quickly as it was created. The volcanoes of the Soufriers Hills had a say in the future of AIR Studios and, in fact, Montserrat it self, mores the pity. But had they not, maybe the legend that was created in the 10 years of it's existence wouldn't have generated the romance depicted in UNDER THE VOLCANO. 10GUMS.

No. 70 (2021) POPPY (Cinefest Oz 2021) AUGUST 28th.

 

Film No. 70 (2021)  August 28th.  12:30 PM   Cinema 3   ORANA CINEMAS,  Bussleton   W.A. 

"I'll fix your next car and it's not going to cost you anything because you don't pay me!" (Poppy calls brother Pete out for his lack of financial recompense to his hard working sister).

"Everyone has the right to fulfil their potential," is the catch cry screaming from the screen as POPPY, the story a young lady with downs syndrome, plays out. And the story of Libby Hunsdale playing the lead role is a prime example of the statement itself. Hunsdale wins over her audience in spades and all while learning dialogue and moving within the confines film shoots. She masters each scene like the professional she is becoming.

But more importantly POPPY does in no way try to be anything it is not. It is a sweet dramedy that is contrived in such a way that families,(mainly New Zealand families) can sit and watch a film preaching tolerance. This time not pressing themes of race but rather the issues of people with particular needs finding their way into a life they can enjoy without being treated as "different". Poppy has a passion for fast cars, and mechanical ingenuity. Her attitude is that she has no reason not to excel in her chosen field.    

The clunky storyline is predictable but that's the whole point of a thoughtful film with a simple message. Ari Boyland plays Poppie's stressed brother Dave. He has a young Russell Crowe look about him and an assured presence to match. They form the key partnership here and while the back story to their commitment for one another is unpacked slowly, I did crave more depth to some of the sub-plots.

POPPY has not been bought by a major distributor so far, my bet however is that it will become available on a New Zealand and Australian based streaming network in the months ahead. Writer/Director Linda Miccol has been brave in taking on, as her first feature film, one that likely will have a small audience initially. I think Poppy might just warm enough hearts that word will spread. A Netfix gig might well be beckoning. 8GUMS.

        

  

No. 68 (2021) THE BOWRAVILLE MURDERS. AUGUST 24th.

 

Film No. 68 (2021)  August 24th.  6:45 PM   Cinema 1   LUNA,  Leederville. 

"The police haven't got a single piece of evidence. They haven't got a single piece of forensic evidence to tie me to those murders!" (The explanation prime suspect Jay Ford continually repeats as he protests his innocence).

 

Watching this compelling documentary and being embarrassed as a white, privileged, Australian is simply understating how I actually felt as I walked from the cinema after watching THE BOWRAVILLE MURDERS.

As far as documentaries go, TBM is thorough, incisive, informative and as mentioned previously, compelling. Many countries reflect on multiple cases where injustices to their indigenous population raise questions of incompetence by law-makers, law enforcers, and the onlookers who simply shrug their collective shoulders. The injustices blanketing the families of Colleen Walker (16), Evelyn Greenup (4) and Clinton Speedy-Duroux (16) thirty-one years on from their brutal murders will make your blood boil due to the intimate power of this film.

The Australian newspaper first made the forgotten story of these serial killings public in 2016 through a podcast series by sound technician, turned voice talent, Dan Box . Box is featured here along with detective Gary Jubelin, both are committed white men, who dedicated years of their lives to helping the families of the victims. Their stories and the relationships they built with the embittered Gambaynggirr people of the mission settlement in Bowraville give hope to the idea that bridges can be built in our time.

 

The strengths that lie in the human spirit are exemplified here and there are many reasons to be optimistic. However due to the fact that police in a position to deal with the case at the time did nothing, a prime suspect, Jay Ford, was never investigated thoroughly when the scent was warm.

I had no idea that so many more layers to this story had been revealed since I finished listening to Box's Podcast. The layers will have you in awe of the resilience of the families of Colleen, Evelyn and Clinton. The respect we garner for Detective Jubelin in the second half of TBM is nothing compared to the Gambaynggirr people's love for him. The documentary does what a good doco should do; moves an audience.  11GUMS.

             

 

No. 67 (2021) REMINISCIENCE AUGUST 18th.

 

Film No. 67 (2021)  August 18th.  6:45 PM   Cinema 4   GRAND CINEMAS,  Warwick. 

"When the waters began to rise, the war broke out. Nostalgia became a way of life. There wasn't a lot to look forward to" (One of many Nick Bannister voice overs to lead the audience into the experience that is REMINISCIENCE).

There is a strong resemblance to BLADE RUNNER and MINORITY REPORT here in REMINISCENCE. Ambitious to say the least (in my book), but there is a lot to like here. Peppered as it is with a few confusing plot-line issues, REMINISCIENCE is a wholesomely entertaining big screen flick. A film easy to recommend to people who love the cinema but who are particularly discerning about what they see on their 6 to 8 annual visits.     

Hugh Jackman has a reputation for choosing his projects carefully. For Hugh it is all about the script and he does his homework to ensure his next challenge is substantial and entertaining. In REMINISCENCE  he's chosen to work with a rookie director he holds in high esteem, Lisa Joy, and a talented lead in Rebecca Ferguson, an actor he has gelled with previously (THE GREATEST SHOWMAN). It's a shame this big screen crowd pleaser will be viewed by most on a streaming network. To live in Perth, Western Australia during these times is such a privilege.

I try, in this humble blog of mine, to give away less of a film's plot and storyline than its promotional trailer does. I worry when a 3 minute trailer gives so much away about the essence of a film's story that so many who watch it walk away feeling they've seen the film. I'm recommending that if you haven't seen the trailer - don't. 

REMINISCIENCE starts with a BLADE RUNNER type voice-over  (Hugh even sounds like Harrison). We're introduced to a world in the future. Climate change has inflicted havoc on the world, in this case Florida Keys. The rising sea levels are lapping at level 10 of high-rise buildings. Harrison, I beg your pardon, Hugh (Nick) explains his world. With so little to look forward to, memories become a way of life. He's a D.A. with access to the film's smart idea. A pod, where, while partially submerged in water, participants are lulled into reliving memories. These memories would then be played out, theatrically through defused light (hologram-like) onto a podium for onlookers to view.

So what if Nick meets and falls for a memory seeking client, Mae? They fall head over heels in love, then Mae disappears as suddenly as she appeared. Nick cannot accept Mae's disappearance. Nick digs for the truth, the deeper he digs (nostalgia mechanism) the more dangerous his mission becomes. It's tight, it's tense. Hugh drags us along to a climax that cries out for a bit more, but who cares? Not me. Highly addictive entertainment is REMINISCIENCE. But steer clear of the trailer if you can!  10GUMS.