Crime

Film Featured Comedy Crime Drama

Sucker (2015) Review

written by David Griffiths

Summary: A young teenager teams up with an aging scammer and his daughter after he fails a High School exam.

Year: 2015

Australian Cinema Release Date: N/A

Australian DVD Release Date: 15th January 2016

Country: Australia

Director: Ben Chessell

Screenwriter: Ben Chessell, Laurence Leung

Cast: Eddie Baroo (Stu), Chris Broadstock (Andy), Ferdinand Hoang (Leo), Jacek Koman (Riley), Lawrence Leung (himself), Yang Li (Uncle Sam), John Luc (Lawrence), Shaun Micallef (Harry), Sophie Ross (Joy), Linda Scharagger (Mai-Ling), Dalip Sondhi (Rashid), Timothy Spall (The Professor), Jacinta Stapleton (Alice), Kat Stewart (Emma), Lily Sullivan (Sarah)

Runtime: 90 mins

Classification: CTC

OUR SUCKER REVIEWS & RATINGS:

David Griffiths:

Normally when you think of a heist film you think of big stakes and huge amounts of action. It’s how modern day cinema has programmed us with films like Oceans 11 and The Fast And The Furious pushing the boundaries of the genre with every entry into their franchise. But now comes a heist movie with a real difference. Low budget film Sucker takes a look at the smaller heist and scams that probably go on around the world every single day. Hell, you’ve probably been a victim of them and not even realised.

The man pulling the scams is the aging rip off merchant who names himself The Professor (Timothy Spall). He has been successfully (and sometimes not so successfully) scamming people right around Australia for most of his life. Sure it might just be $50 here or $100 there but it pays the bills and keeps him going, he is more than happy. For the last few years he has also had his beautiful and skillful daughter, Sarah (Lily Sullivan) by his side. While she makes the scams easier she also causes The Professor pain as it makes him remember when he was blindsided himself with his ex-wife.

Then along comes Lawrence (John Luc who many would know as Youtube sensation MyChonny) a naive young Asian teenager who has just failed his family by being caught on his end of year school exams. Eager to make a change in his life (and perhaps just to escape his family for a while) Lawrence becomes intrigued by the world that The Professor lives in and decides that he wants to be his protégé.

Anyone expecting Sucker to compete on the same par as the above mentioned franchises is in for a big shock. Rather than you dazzle you with a massive amount of special effects and huge named stars Sucker is much more a well told character tale. Aside from the whole narrative idea of going along with the idea that this is comedian Lawrence Leung’s life story (or is it?) most of Sucker actually works pretty well.

The screenplay which comes from the pens of Lawrence Leung and director Ben Chessell (who has made his mark with directing hit television shows like Rush and Offspring) actually ends up working on a number of levels. There are a number of moments of comedy which do actually make the audience laugh but the power in this script is the basic yet interesting scams they have managed to include throughout the film.

Yes you do start to care about what happens to Lawrence, especially when the young virgin starts to develop feelings for Sarah, but what really holds your interest is just how basic and simple these various scams are and just how well they work. From scamming chess clubs to finding ways to make money while visiting country pubs these scams are really basic but as an audience you can’t wait to see what the reveal is or whether or not the characters get away with it or not.

Like a lot of Australian films there are some cheesy moments in Sucker but largely the good outweighs the bad. As I mentioned the film does have an emotional level, it’s not just scam after scam or trick after trick. As an audience you do actually invest an interest in the romance between Lawrence and Sarah, especially when you realise what a convincing con artist she is and you can’t help but wonder whether her affection is real or all part of another big scam. You also find yourself concerned about The Professor. The back story of his broken heart adds another element to his character but once again you are never one hundred per cent sure whether you can trust him or not. It might be a subtle kind of suspense that the filmmakers have come up with, but it is certainly there throughout the film.

The legendary Timothy Spall laps up this script with clear actor’s delight. Many of The Professor’s scams involve him pretending to be intoxicated and Spall takes these scenes and runs with them over-acting to his heart’s content. As an actor though he is also smart enough to know when to rope this character again and also gives The Professor moments of deep emotion and also cruel anger. Spall is well backed up by young Lily Sullivan who backs up her sensational performance in Galore to show why she should be considered one of Australia’s most promising young talents… it really is only a matter of time before Hollywood notices her. Making up the team is John Luc who despite his inexperience as an actor never gets blown out of the water by his much more experience co-stars and he reveals himself to be a future comedic force in the Australian film industry.

Sucker is a low budget gem that will have you laughing one moment and then deeply concerned the next. The film is made even more special by the acting talents of Timothy Spall but is well conceived scams that the screenwriters have come up with that will keep you watching.

Average Buzz Rating (out of 5):

January 15, 2016 0 comment

Film Featured Action Crime Drama Thriller

Inferno (2016) Review

written by David Griffiths

inferno

Summary: When Robert Langdon wakes up in an Italian hospital with amnesia, he teams up with Dr. Sienna Brooks, and together they must race across Europe against the clock to foil a deadly global plot.

Year: 2016

Australian Cinema Release Date: 13th October 2016

Australian DVD Release Date: 18th January, 2017

Country: United States, Japan, Turkey, Hungry

Director: Ron Howard

Screenwriter: David Koepp, Dan Brown (novel)

Cast: Cesare Cremonini (Ignazio Busoni), Ida Darvish (Marta), Jon Donahue (Richard Savage), Mehmet Ergen (Mirsat), Ben Foster (Bertrand Zorbist), Tom Hanks (Robert Langdon), Felicity Jones (Dr. Sienna Brooks), Irrfan Khan (Harry Sims ‘The Provost’), Sidse Babett Knudsen (Dr. Elizabeth Sinskey), Xavier Laurent (Antoine), Fausto Maria Sciarappa (Parker), Paolo Antonio Simioni (Dr. Marconi), Omar Sy (Christoph Bruder), Ana Ularu (Vayentha)

Runtime: 121 mins

Classification: M

OUR INFERNO REVIEWS & RATINGS:

David Griffiths:

Inferno sees the arrival of yet another attempted franchise reboot in 2016. We’ve seen Ghostbusters and Bridget Jones’s Baby arrive with mixed success now we find Academy Award winning director Ron Howard (A Beautiful Mind) rebooting the Robert Langdon franchise some seven years after its last instalment.

Based on the novel by Dan Brown Inferno begins with Robert Langdon (Tom Hanks – Forrest Gump) waking up in a hospital with no memory of how he got there and being hunted by a assassin (Ana Ularu – Serena). After managing to escape with Dr. Sienna Brooks (Felicity Jones – The Amazing Spider-Man) Langdon starts putting together the pieces and realises that he must try and stop an apocalyptic event set by Bertrand Zorbist (Ben Foster – Warcraft: The Beginning) who believes his actions will actually save the world.

But as Langdon tries to overcome memory loss and put the pieces together to solve the mystery things are made even more difficult by him when he realises he doesn’t know which World Health Organisation agent he can trust, Dr. Elizabeth Sinskey (Sidse Babett Knudsen – Westworld) or Christoph Bruder (Omar Sy – Jurassic World). To add to their confusion the audience also learns there is a puppet-master in the wings in the form of Harry Sims (Irrfan Khan – Life Of Pi).

While watching Inferno you do start to realise that this is going to be a film that divides its audience. For the regular popcorn set this is going to be a film that delivers a fairly decent, if not at times confusing, crime thriller plot that shows you just as many European landmarks as a Bond film. For the more seasoned film goer though this is a film that reveals some of the laziest filmmaking Ron Howard will deliver during his career with a clichéd plot that just follows the same sequence over and over – Langdon arrives in a city, goes to find the puzzle piece, is chased by Police and uses an ancient tunnel to escape and then moves on to the next city. There is also a level of inconsistence around the character of Robert Langdon that surfaces right throughout this film and despite the work of screenwriter, David Koepp (Jurassic Park), to pass it off as part of Langdon’s amnesia it simply doesn’t work.

Rather than being a gritty thriller Inferno becomes more of a fun ride as the audience gets to see European city of European city while there is a mid-level of suspense and you try in your mind to put the pieces together at the same time as Langdon does… although that it made a hell of a lot easier if you are up to date on your Dante. The big tip for the audience is to not let to get too bogged down in the ‘historical’ parts of this film or you will be scratching your head and hurling popcorn as you struggle to work out what the hell is going on.

Likewise this is a movie that Tom Hanks just seems to breeze through. While Sully recent saw Hanks once again reveal his wonderful character acting skills here Hanks wears the character of Robert Langdon like an old slipper, it’s a role that he is obviously comfortable in but doesn’t deliver the acting heights that we know he is capable of. The same can be said for Felicity Jones who isn’t given a huge amount to work with and even disappears for a quarter of the film. The big winner in the acting stakes is Sidse Babett Knudsen who makes good use of the screen time she is given. Omar Sy and Irrfan Khan are also wasted in their roles, the latter being given a role very similar to a poor man’s Bond villain as he plays a character that leaves the audience asking… is that even a profession?

The best way to enjoy Inferno is to just go into the cinema expecting a fun film. While it isn’t exactly a borefest it certainly lacks the suspense of Angels & Demons and is a lot more clichéd than the Da Vinci Code. Did the Robert Langdon franchise need Inferno? Probably not!

Average Buzz Rating (out of 5):

October 13, 2016 0 comment

Film Featured Comedy Crime

Game Night Review

written by David Griffiths

Summary:A group of friends who meet regularly for game nights find themselves entangled in a real-life mystery.

Year: 2018

Australian Cinema Release Date: 22nd February 2018

Australian DVD Release Date: TBA

Country: United States

Director: John Francis Daley, Jonathan Goldstein

Screenwriter: Mark Perez

Cast: Jason Batman (Max), Kylie Bunbury (Michelle), Kyle Chandler (Brooks), Camille Chen (Dr. Chin), Michael Cyril Creighton (Bill), John Francis Daley (Carter), R.F. Daley (Tats), Abigail Ford (Mrs. Anderton), Jonathan Goldstein (Dan), Michael C. Hall (The Bulgarian), Natasha Hall (Madison), Sharon Horgan (Sarah), Malcolm X. Hughes (Not Denzel), Danny Huston (Donald Anderton), Candy Ibarra (Rachel Burns), Jessica Lee (Debbie), Daniel Lucente (Dan Steele), Curtis Lyons (Logan), Billy Magnussen (Ryan), Rachel McAdams (Annie), Joshua Mikel (Colin), Lamorne Morris (Kevin), Tony Ohara (Kramer), Olivia (Bastian), Chelsea Peretti (Glenda), Jesse Plemons (Gary), Brooke Jaye Taylor (Linda), Michael Twombley (Michael Bates), Zerrick Williams (Val)

Runtime: 100 mins

Classification: R

OUR GAME NIGHT REVIEWS & RATINGS:

Dave Griffiths Review:

To listen to some film journalists talk the state of the comedy genre is in tatters. Apparently unfunny comedy after unfunny comedy floods our cinemas screens. The notion is ridiculous though. It seems that films like Horrible Bosses and We’re The Millers have been completely forgotten about… hell even the local comedy Swinging Safari was a lot funnier that most journos gave it credit for. Now comes Game Night a film that certainly shows that comedy is back – not only does the film’s twists and turns keep the audience guessing but it’s sassy comedy and modern edge make a film worthy of more than one viewing.

The plot of Game Night is unique in itself. Max (Jason Bateman – Arrested Development, Juno) and Annie (Rachel McAdams – The Notebook, Mean Girls) are a regular couple with a big difference – they are driven by a competitive spirit that makes their frequent games’ nights a must attend for their friends.

However their games nights are changed forever when the couple realise that their inability to conceive a child is caused by Max’s competitive streak with his rich and popular brother Brooks (Kyle Chandler – Argo, Manchester By The Sea). With Brooks coming to town and deciding to host the latest games night… a night that he says nobody will forget… Max and Annie are already on edge. To make things worse they are trying to hide the night from their creepy, ex-friend and Police Officer Gary (Jesse Plemons – Battleship, Black Mass) so he doesn’t turn up, but that all pails into insignificance when Brooks’ real life makes the night potentially deadly.

Universally panned for their work on Vacation directors John Francis Daley and Jonathan Goldstein bounce back here largely thanks to a witty script written by Mark Perez (Accepted, Herbie: Fully Loaded). While the premise of the film seems basic Perez’s screenplay makes this film stand-out. Game Night has everything that a good comedy should have – witty one-liners plus memorable characters like the dry and dull Gary and the extremely dumb himbo Ryan (Billy Magnussen – Into The Woods, The Big Short).

But Game Night also has more than that. The suspense of the plot is only enhances with a serious of twists and turns that soon has the audience realising that they can’t predict what is going to happen in the next minute let alone for the rest of the film. The fact that Perez is smart enough to have Max almost narrate what some would call film flaws with lines like ‘great two guys show up that haven’t been revealed in the plot earlier’ makes the decision to include such risky choices in the film pay off with laughter. The screenplay also gives a nod to other films, again with a smirk to the audience as Rachel McAdams declares ‘like Liam Neeson in Taken 3.’

In fact it is the chances that Game Night makes that ends up letting the film work. The decision to tone the adult humour down when compared to a film like Horrible Bosses means that this becomes the perfect date movie for both men and women while the interesting choice of cast all works. Batman and McAdams gel well as an on-screen couple while Jesse Plemons steals just about every scene he is in with some brilliant deadpan character acting. The other big surprise here is Kyle Chandler. Known more for his gritty dramatic roles in productions like Friday Night Lights Chandler here shows the world his comedic skills as he makes sure Brooks is one of those characters that the audience will love one moment and hate the next.

Game Night is one comedy that is well worth a look. Its great screenplay allows for a little more storyline and suspense then what we expect from most comedy films while Jason Bateman once again shows why he is the current king of comedy. As you sit down to watch Game Night be prepared for a wild ride with more than enough laughs to keep the comedy fans happy as well.

Greg King’s Review:

This enjoyable mix of action and comedy from the team behind films like Horrible Bosses is like David Fincher’s The Game crossed with Date Night.

A group of friends regularly meet every Saturday night for some old-fashioned fun, playing old school board games and charades. The games are held at the home of Max (Jason Bateman) and his wife Annie (Rachel McAdams), both very competitive gamers who met a trivia night. The players include bickering high school sweethearts Kevin (Lomorne Morris) and Michelle (Kylie Bunbury) and dim-witted ladies’ man Ryan (Billy Magnussen, from tv series Get Shorty, etc), who brings along a different shallow empty-headed date each night.

But this time, Max’s supposedly much more successful and wealthy older brother Brooks (Kyle Chandler, Emmy winner from Saturday Night Lights, etc) arrives for a surprise visit and decides to up the ante when he hosts his own game night. He has chosen an interactive “mystery” theme around the concept of a kidnapping. But things quickly go pear shaped when real life crooks invade the house, beat up Brooks, duct tape and drag him from the house. Max and the gang initially think it was all part of the game.

But when they realise that it was real, Max and his friends embark on a cross town chase to try and rescue Brooks. Their competitive spirit though means that they try to race each other to find Brooks and their efforts are driven by their natural one-upmanship. They soon discover that neither the game nor Brooks are what they seem. The chase also sees them having to find a Faberge egg, which is something of a McGuffin.

For the most part Game Night is an energetic and light-hearted action comedy with thriller elements as it mixes some car chases, fight scenes and the odd angry shot. But the plot is also very convoluted and there are a couple of last minute twists that defy credibility. The script comes from Mark Perez (the more family friendly Disney film Herbie Fully Loaded, etc). The film has been directed by John Francis Daley and Jonathan Goldstein, who are best known for writing comedies like Horrible Bosses, etc. They made their feature film directorial debut with 2015’s disappointing Vacation reboot, and here they bring their own comic sensibilities to Perez’s screenplay and make the most of the thin premise.

The film is slickly paced, and cinematographer Barry Peterson suffuses the material with a noir like palette. There are some nice visual gags as well, including establishing shots of various neighbourhoods that initially resemble a board game community.

Bateman often has a nice everyman quality that shapes his performances. Here he seems far more comfortable than in some of the crass comedies like Office Christmas Party that he has appeared in. He and McAdams develop a wonderful chemistry that lifts the film, and they play off each other well. It seems that she has allowed Bateman to lift his game. McAdams also shows a nice flair for comedy. The cast also features Jeffrey Wright (Casino Royale, etc), and Danny Huston and Dexter star Michael C Hall in small roles as shady underworld figures.

Everyone in the cast is given their own moment to shine. But the stand out of the ensemble is Jesse Plemons (American Made, etc) who plays Gary, Max and Annie’s somewhat creepy and obsessive neighbour. Gary used to be a regular part of their game night crowd until he and his wife Debbie divorced, and he became too moody and depressed for their liking.

Game Night is uneven, but with a brisk running time of 100 minutes it never quite outstays its welcome. And it is a lot more fun than many other recent Hollywood comedies.

Nick Gardener’s Review:

The amiable if at times flat Game Night is a little like David Fincher’s The Game done in the style of contemporary comedies like Horrible Bosses. It also falls into that cinematic sub-genre the Jason Bateman movie in which Bateman plays the put-upon, every-man, nice guy schlub forced into a dangerous situation that inevitably provides some necessary jolt to his staid suburban life.

Here Bateman plays Max who, despite a comfortable life and marriage to the gorgeous Annie (Rachel McAdams), is perpetually stressed, a condition that seems to be impeding his ability to conceive a child. The source of his anxiety seems to be his arrogant Wall Street trader brother Brooks (Kyle Chandler) who has always taken sadistic delight in trouncing Max at games and competitions throughout their lives. When the obnoxious Brooks invites Max and Annie and their friends to a murder mystery party the night unexpectedly turns into a battle against kidnappers and sleaze-ball gangsters.

The film attempts to weld a typical Bateman middle class suburban rom-com to a crime thriller but the results are at best middling. Bateman’s easy charm and comic timing work about as well as they do in other films where he’s played essentially the same character and McAdams’ cheery, live-wire performance is typically fun and endearing. Add an amusingly creepy performance from Jesse Plemons as a weird, angry cop neighbour who’s determined to inveigle himself into Max and Annie’s life and at least in its early stages, this is an enjoyably perky comedy.

As the film attempts to entangle Max and Annie in a twist-laden action/crime/ caper/ story, though, it begins to lose its appeal. The film lacks the necessary thrills, intensity and drama for this part of the movie to work. Add to this a few dud gags, predictable story threads, sub-plots about characters misfiring relationships that don’t really go anywhere and some completely unbelievable scenarios including a ludicrous sequence at a gangster’s mansion and Game Night becomes a little laboured.

Thankfully, Game Night eschews much some of the grubbiness and nastiness of contemporary raunch comedies but it doesn’t replace this with enough genuine wit, energy or clever story-telling.

Average Buzz Rating (out of 5):

March 18, 2018 0 comment

Film Featured Crime In Cinema Nova Thriller

A Bigger Splash (2015) Review

written by David Griffiths

Summary: A remake of La Piscine from 1969 A Bigger Splash sees rock-star Marianne Lane (Tilda Swinton), who has lost her voice after recent surgery, on a vacation on the beautiful Italian island of Pantelleria, with her recovering drug-addict, filmmaker boyfriend Paul De Smedt (Matthias Schoenaerts).

Their enjoyable times of lazing in the sun however is cut short when Marianne’s manager and ex-lover Harry Hawkes (Ralph Fiennes) and his new-found daughter Penelope Lanier (Dakota Johnson) turn up unexpectedly and cause a range of issues to arise.

Year: 2015

Australian Cinema Release Date: 24th March 2016

Australian DVD Release Date: TBA

Country: Italy, France

Director: Luca Guadagnino

Screenwriter: David Kajganich, Alain Page (story)

Cast: Elena Bucci (Clara), Aurore Clement (Mireille), Ralph Fiennes (Harry Hawkes), Corrado Guzzanti (Maresciallo Carabinieri), Dakota Johnson (Penelope Lanier), Lily McMenamy (Sylvie), Matthias Schoenaerts (Paul DeSmidt), Tilda Swinton (Marianne Lane)

Runtime: 124 mins

Classification: MA15+

OUR A BIGGER SPLASH REVIEWS & RATINGS:

David Griffiths:

If you don’t like slow burns and films a little on the alternative then A Bigger Splash is not the film for you. On the other hand if you like me and like a film with a little bit of an edge to it then you might be right in your element with Italian director Luca Guadagnino’s latest offering – a film that certainly keeps its audience guessing right up until the final credits.

Now I would be lying if I sat here and said that A Bigger Splash is the perfect film because it isn’t. While Guadagnino does use the island’s beauty and perils brilliantly well the film does drag at times, especially early on. Of course anyone who can cope with that slowness is then rewarded handsomely with a second half that sees the character’s loyalties tested and even a massive amount of crime injected into the storyline, and it is those moments that will have the audience on the edge of their seat as even though some of the characters are unlikable you do actually find yourself caring what happens to them in the long run.

A Bigger Splash is really a film told in two halves. The first half of the film is brought to life with some good acting performances that will be loved by those who like serious cinema. Tilda Swinton is at her usual best despite being put to the test by playing a character that can barely say a word. To her credit Swinton instead lets Marianne put all her emotions across powerfully for a range of looks and normally aggressive forms of body language.

Swinton is well supported by Ralph Fiennes who seems to enjoy play the eccentric and very bossy Harry Hawkes. No matter how slow the film is at times Fiennes completely steals a lot of the scenes that he is in, especially one in which he strangely dances for nearly five minutes, a scene which it seems he had a lot of fun filming. His later menacing scenes with both Swinton and Schoenaerts are also standouts that really bring the film to life as well.

Cast wise the audience also gets to see a very different side to Dakota Johnson that what we have not seen previously as well. While audiences got to see her as sweet and demure in Fifty Shades Of Grey and shy and reserved in How To Be Single here Johnson is completely transformed into a sultry and seductive blonde and shows that she is more than capable to match it with her much more experienced cast.

The second half of the film is where Guadagnino really brings the film to life though. As tension reaches a boiling point and a good crime story moves to the fore (don’t worry you won’t read any spoilers here) the film moves up several gears and takes a turn to the dark side. The infusion of glimpses of Europe’s refuge crisis all throughout the film also enhance the latter parts of the storyline as well, which shows that despite the films meandering style early on there was some form of structure there all along.

While A Bigger Splash may not be enjoyed by those who enjoy their normal popcorn movie, this is a film that will be loved by those that love their films a little left of centre and a good dose of darkness.

Greg King:

An erotic psychological drama starring Tilda Swinton, Ralph Fiennes and Dakota Johnson, A Bigger Splash is a loose remake of Jacques Deray’s seductive 1969 film called La Picerne, which starred Alain Delon. Director Luca Guadagnino (better known for the gorgeous and visually sumptuous I Am Love) and writer David Kajganich (the dire Nicole Kidman sci-fi thriller The Invasion, etc) give the material a more contemporary flavour as they work in some topical issues with a mention of displaced migrants and refugees who are flooding into European countries by the boat load.

The film is set on the volcanic island of Pantelleria, which lies off Sicily, and centres around four self destructive characters caught up in a complex and complicated relationship. There is rock star Marianne Lane (Swinton), something of a cross between Bowie and Chrissi Hynde, who is recuperating following throat surgery. She is enjoying a nice holiday with her filmmaker boyfriend Paul (Belgian hunk Matthias Schoenaerts), a recovering alcoholic. Both Marianne and Paul are psychologically wounded and carry mental scars.

Then their idyllic holiday is interrupted by the arrival of flamboyant record producer Harry Hawkes (Fiennes) and his estranged daughter Penelope (Dakota Johnson, from the Razzie award winning Fifty Shades Of Grey, etc). Marianne and Harry share a past history. Indeed it was Harry who introduced Marianne to Paul in an effort to get out of the relationship, and he is now full of regrets over that decision. And the sexually precocious Penelope sets her sights on seducing Paul. The atmosphere is charged with suspicion, jealousy, and personal revelations, and there are palpable undercurrents of sexual tension, lust, temptation.

This is a juicy role for Fiennes. This is Fiennes like we haven’t seen him before on screen – lively, brash and flamboyant – and he chews the scenery with his manic performance. He normally has such an intense screen persona, but here he is such an ebullient character who also strips off and dances and swims naked and shows off rare comic timing. It was his performance in The Grand Budapest Hotel that convinced director Guadagnino that Fiennes was suited to the character here.

Swinton has the more challenging role as Marianne, who is largely a silent participant in events. Her character is unable to speak, so Swinton has to convey a wide range of emotions through gestures and facial expressions. Schoenaerts has plenty of charisma and is solid as the brooding Paul.

Johnson’s breakthrough role was as the ingenue introduced to the world of sexual games and b&d in the risible Fifty Shades Of Grey, and here she plays an outrageous, sexually aware Lolita-like adolescent, but her character is a little underdeveloped.

The film features an eclectic soundtrack that includes The Rolling Stones, Harry Nilsson and Captain Beefheart. And Fiennes’ character narrates a wonderful anecdote about working with the Rolling Stones during the 80s, telling an apocryphal story about the recording of the track The Moon Is Up for their Tattoo You album – the story is apparently true, but the Harry Hawkes character and his involvement is not.

A Bigger Splash has been shot on location on Pantelleria by Guadagnino’s regular cinematographer Yorick Le Saux, who gives the material a sunny, washed out, burned look that complements the setting. The swimming pool itself almost becomes a nother character in the carnal edgy drama. The title is also deliberately evocative of David Hockney’s 1967 painting of the same name, and also recalls Francois Ozon’s film Swimming Pool. The itself has something of a European sensibility in its approach to sex and nudity. Guadagnino’s regular editor Walter Fasano uses abrupt cuts to give the film an unsettling and disjointed feel.

But it remains to be seen whether A Bigger Splash will connect with an audience and make a splash at the box office.

Average Buzz Rating (out of 5):

March 24, 2016 0 comment

Film Featured Crime In Cinema Nova

London Road (2015) Review

written by David Griffiths

Summary: Based on actual events London Road looks at the reactions of local residents in a quiet street named London Road in Ipswich whose peaceful neighborhood was at first disturbed by the arrival of prostitutes deciding to sell their trade in their street and then the craziness and fear that resulted after a serial killer murdered five of the woman.

With a script that has dialogue that comes straight from the interviews conducted with the residents over a three year period London Road explores how everyday people such as a taxi driver named Mark (Tom Hardy) and local residents like Dodge (Paul Thornley) and Julie (Olivia Colman) cope with the resulting media and Police circus.

Year: 2015

Australian Cinema Release Date: 24th September 2015

Australian DVD Release Date: TBA

Country: UK

Director: Rufus Norris

Screenwriter: Alecky Blythe

Cast: Angela Bain (Kath), Rae Baker (Anglia Newsreader), Jason Barnett (Chris Eakin), Gillian Bevan (Colette McBeth), Clare Burt (Jan), Steve Carroll (Tony – Kerb Crawler), Olivia Colman (Julie), Rosealie Craig (Kelly McCormack), Calvin Demba (Alec), Anita Dobson (June), James Doherty (Seb), Kate Fleetwood (Vicky), Hal Fowler (David Crabtree), Michael Fox (Nightclub Bill), Richard Frame (Jason Photographer), Jenny Galloway (Margaret), Jonathan Glew (Steve Cameraman), Amy Griffiths (Sarah), Anna Hale (Jessica), Tom Hardy (Taxi Driver Mark), Linzi Hateley (Helen), Janet Henfrey (Ivy), Rose Hilal (Hayley), Paul Hilton (Tim), Nick Holder (Ron), Ruby Holder (Stephanie), Philip Howard (Bob), Sean Kinglsey (Alan), Mark Lockyer (Grahame Cooper), Helen Lymbery (Stella), Barry McCarthy (Harry), Jayne McKenna (Imelda), Claire Moore (Counciller Carole), Michael Shaeffer (Simon Newton), Mark Sheals (Wayne), Nicola Sloane (Rosemary), Frank Stone (George – Kerb Crawler), Paul Thornley (Dodge), Morgan Walters (Graeme), Howard Ward (Terry), Duncan Wiseby (Gordon)

Runtime: 91 mins

Classification: M

OUR LONDON ROAD REVIEWS & RATINGS:

David Griffiths:

London Road is not an easy film to talk about because to be brutally honest this is a film that is going to divide cinemagoers like no other film this year. On the one hand London Road is a breath of fresh air in the cinema, a type of film that we haven’t really seen before. But then on the other hand all the things that make it so different are also the things that are going to make this film appeal to a very small audience indeed.

For those not in the know London Road is based on the popular National Theatre production that had critics and audiences raving. Now the name National Theatre shouldn’t be foreign to cinema lovers any more. Over the past few years the theatre company have reached out into cinemas with countless productions that have featured some of cinemas’ biggest names – Danny Boyle directed Jonny Lee Miller and Benedict Cumberbatch in Frankenstein, Kenneth Branagh directed Macbeth and Gillian Anderson starred in A Streetcar Named Desire. With these productions filling cinemas worldwide it is very little wonder that the National Theatre have decided to look at other ways to bring their work to the cinema and the result is London Road, a film that is produced by them, stars most of their actors and is directed by Rufus Norris, a Tony nominated theatre director who has had a few films reach the cinemas over the years as well.

Now this is where things get tricky for London Road. The idea of creating a modern day musical about a spate of prostitute murders is so different to anything we have ever seen before that it is actually something that is worth watching. At times the film does really draw you in but the alternative style of musical theatre that makes up the score never really allows its audience to comfortably forget the fact they are watching a musical. The key to a good musical films – things like Sweeney Todd, Moulin Rouge or Rock Of Ages – is to make the audience forget that most of the dialogue is being delivered in song, but here the fact that the songs often contain the one piece of dialogue used over and over again, and the fact that in trying to make this film feel natural they haven’t selected the best singers in the world means that for the entire film you are conscious of the fact that you are watching a musical.

On the plus side though London Road is different enough that it does draw you in. You genuinely feel sorry for the innocent members of the public that through no fault of their own got swept up in this Ipswich Ripper case and at times the directional hand of Rufus Norris does creatively show things such as how scared young girls were scared to walk down the street or were judging every man they meet. Moments like a radio station capitalizing on the murders by running a promotion giving away personal alarms for women are memorable but the most powerful part of this film is when you start to hear the stories of some of the prostitutes who worked in London Road at the time and the effect that the murders had on them.

Aside from those moments the other thing that works for London Road is the fact that there will be one or two characters that each audience member will warm to and you find yourselves really wanting to go on the journey with them. Dodge played by Paul Thornley is one such character and he is one of the more interesting characters. Unfairly you sometimes wonder if he is the killer because of his appearance and seemingly unhealthy obsession with the prostitutes early on the film, and as a result characters like this become a lot more interesting then people like Mark who you know have only been added to the film to get a big name actor like Tom Hardy into the film. While these appearances are a little unnecessary we do learn rather quickly that it’s a good thing that Nolan didn’t want Hardy to portray a musical version of Bain.

London Road is a film that is only going to be lapped up by a very small clique of audience members. Its musical stylings are a little too alternative for you traditional musical lovers while the film is too musical for lovers of alternative cinema. It’s quite a pickle the film finds itself in, but the core problem is that the filmmakers didn’t seem to realise that audiences are a lot more open to alternative theatre than alternative film. Still London Road is worth a look if you like your cinema on the quirky side and it certainly shouldn’t be described as a bad film.

Average Buzz Rating (out of 5):

September 26, 2015 0 comment

Film Crime

“Colourblind” New Release from Nathan Hill

written by Peter Sutton

Nathan Hill (from Nathan Hill Productions ) is an acclaimed Melbourne Arthouse director and has just released a full length feature “Colourblind”, a follow up to “Revenge of the Gweilo,” which premiered in the Chinatown cinema chain. A leading Australian ‘budget’ director he has moved into a new and exciting phase of his film career.

“Colourblind” is an 80 minute feature, based around a murder/mystery, inspired by the Agatha Christie, Hitchock style “Vertigo,” done in the old style “film noire” style. It combines a lot of spy movie style, “which is really where my roots are at,” admits Nathan.

“It’s a return to the roots of the thriller type genre, I also have one of the leads Jane Badler, (remember the lead character Diana, in the Sci Fi “V” series many years ago. In my movie she plays Baxter an American woman with three daughters. The movie revolved around he, a broken down marriage and a younger daughter who has killed herself.”

“She hires a private investigator (Jaffy Rotunda) played by myself, to track the middle child who also might be suicidal.”

“The hook is that the private investigator tracking this girl, is colour blind, but when he sees this girl for the first time, she appears in colour. He thinks she is his soul mate, but she thinks he is just a creep.”

“Is he deluded? Or does he really see her in colour?” There are many subplots explains Nathan.

“The eldest daughter has also hired a private investigator. Both daughters are unaware of this, both private investigators meet up on the job and worlds collide.”

Being the writer I have had to be pretty clever with the red herrings, the twists and the cliff hanger ending.

Advertising screams “Sometimes You Need to Look Twice.” We think of the lead character, the colour-blind detective who sees his client in colour, we look to the two sisters and the two detectives. There are in fact plenty of “twices” in ‘Colour Blind.’

“Then there is the girl who is looking at the detective with tunnel vision, but if she looks at him again she may see an opportunity for love.”

‘It’s a movie I hope you’ll watch twice to try and figure out all the levels. The crux is this private investigator trying to figure out what is happening in this family without getting all the information he needs.”

A violent break up at the start of the movie acts as a breaker to reality, where we see the main character in a less than favorable light. The movie is in fact a tale of redemption as we grow to like this character,m moving away from our first impressions, then tend to un-neccesarily colour our view of his actions”

Nathan likens the movie to a David Lynch film, where the principal character is shown in a series of cuts each somewhat un-related to the other, but all having a thread that draws together as the movie sucks you in. “I like playing with the time line, so the audience is never sure whether it is present day or past.”

Nathan gives as a clue as to the passing of time, past band future. The detective has been beaten up badly and has a “horrific black eye”, as time progresses. His eye heals. “Follow that eye!”

Preparing himself to write the script, Nathan spent many hours researching the lonely world of the private investigator, a world he describes as soul destroying for these guys following the lives of other people.

Armed with a wish list for actors Nathan head hunted Jane Badler (she had worked with Nathan before on a short film,) Ian Rooney from Doctor Blake, Nick Wightman from “Hide and Seek” also returns to work with Nathan. “I probably got 75% from my wish list.”

What was the most difficult scene for you to film as an actor?

‘I had a fight scene with Jake Ryan (Home & Away, Wolf Creek series, Great Gatsby). He was a national Taekwondo Champion, I was a State Champion. It was going to be interesting. But when we did the scene it was just perfect.”

“I was lucky.”

Watch out for the colour grading of the film.Nathan was very particular about getting the right “feel” for the saturation.

“We took out all the red when we shot it,” he explains. “When we looked at the rushes when we were putting it together, it already had that washed out feeling. So when we went to grey I only had to tweek it!”

“It is really me trying to maker a stand and say “Look guys this is me, I can direct, this is a proper feature film!”

At present it is on Amazon.prime.

Stars: Nathan Hill, Anne Gauthier, Jane Badler, Nick Wightman, Anica Brown, Ian Rooney, Mardi Edge, Jake Ryan, David Macrae, Marty Rhone, Frederique Fouche, Leslie Lawrence and Thomas Morris star in the film written by Hill and produced by Hill and Michael Siu.

August 30, 2018 0 comment

Film Featured Action Comedy Crime Kids/Family

Despicable Me 3 (2017) Review

written by David Griffiths

Summary: Gru meets his long-lost charming, cheerful, and more successful twin brother Dru who wants to team up with him for one last criminal heist.

Year: 2017

Australian Cinema Release Date: 15th June 2017

Australian DVD Release Date: 20th September 2017

Country: USA

Director: Kyle Balda, Pierre Coffin, Eric Guillon

Screenwriter: Ken Daurio, Cinco Paul

Cast: Julie Andrews (Gru’s Mom (voice)), Michael Beattie (The Scar Faced Man/TMZ Announcer (voice)), Russell Brando (Dr. Nefario (voice)), Steve Carell (Gru/Dru (voice)), Adrian Ciscato (Niko (voice)), Pierre Coffin (Mel/The Minions (voice)), Steve Coogan (Silas (voice)), Miranda Cosgrove (Margo (voice)), Dana Gaier (Edith (voice)), Andy Nyman (Clive (voice)), Trey Parker (Balthazar Bratt (voice)), Nev Scharrel (Agnes (voice)), Jenny Slate (Valerie Da Vinci (voice)), Kristen Wiig (Lucy Wilde (voice)),

Runtime: 90 mins

Classification: PG

OUR DESPICABLE ME 3 REVIEWS & RATINGS:

David Griffiths:

If you’ve got kids then you’ve certainly heard of the Despicable Me franchise. What a lot of people don’t realise is that while Despicable Me has become one of the most popular film franchises amongst families it also changed the entire animated film game. There was once a time when Pixar ruled that market but the arrival of the original Despicable Me saw a new challenger enter the ring and that challenger took it straight up to Pixar blowing them out of the water.

This new Despicable Me movie is technically the fourth film in the franchise (three Despicable Mefilms and one Minions films) and shows that there is certainly still a lot of life left in these films as the creative team behind it has once again found new ways to breathe new life into it and keep it interesting.

This new film sees Gru (Steve Carrell) now firmly entrenched as Lucy’s (Kristen Wiig) life and work partner. And while Lucy is having trouble coming to terms being a mother to Margo (Miranda Cosgrove – School Of Rock, Drake & Josh), Edith (Dana Gaier – 30 Rock, The Icecream Truck) and Agnes (Nev Scharrel – Fun Size Horror: Volume One, Clippings) Gru is slowly getting used to now taking down villains instead of being one… but then even he fails the test when Balthazar Bratt (Trey Parker – ) steals one of the world’s largest diamonds.

The resulting stuff-up sees both Gru and Lucy fired from their jobs and while they are soul-searching at what they should do next with their lives Gru learns that he has a twin brother. Upon getting to know his brother Gru learns more and more about his life and soon finds himself wondering if turning his back on being a villain was really such a wise decision, especially when his beloved Minions leave him and start looking for greener pastures elsewhere.

Like the films before it in the franchise Despicable Me 3 has some great elements of humour that will have the whole family laughing while also touching on some very deep issues that many families have to come to grips with in everyday life – the storyline of Lucy trying to learn how to be a mother to the three girls is told in a way that many people could relate to. Likewise, the storyline of Agnes having to learn things such as unicorns not being real is something that every kid has to face at some time.

On the flipside, the film never loses site of the fact that it is also supposed to make families laugh. This is achieved in a number of different ways by the team of screenwriters behind the film, from the usual slapstick comedy of Gru and co getting hurt right through to the creativeness of the new villain – Balthazar Bratt. While the back story of being a childhood star may go right over the head of kids watching the film the great ‘music and dance battles’ that he is involved in certainly won’t. Credit needs to be paid on how creative they have been with this villain, Bratt actually ends up being memorable than any of the baddies Marvel have created recently.

Having praised the screenwriters for making Despicable Me 3 so funny I also have to point out that the film also lacks a little from the fact that the Minions don’t have such a big role this time around. Yes the Minions are around, and yes they do have their own little storyline, mainly about them leaving Gru, but that story almost feels tacked on and the film really does feel like it is lacking any brilliant ‘banana’ moments like we have had in the past… let’s hope instead that we get another Minions film sometime soon.

There is an air of difference around Despicable Me 3 to all the films in the series but this is a film that is going to be lapped up by those that have grown up watching the franchise. The film does have its laugh-out-loud moments and also contains some valuable life lessons. Yes, Gru is back and once again he is on a winner!

Average Buzz Rating (out of 5):

June 17, 2017 0 comment

Film Featured Action Crime Drama In Cinema Nova Thriller

Sicario (2015) Review

written by David Griffiths

Year: 2015

Australian Cinema Release Date: 24th September 2015

Australian DVD Release Date: TBA

Country: USA

Director: Denis Villeneuve

Screenwriter: Taylor Sheridan

Cast: Edgar Arreola (Guillermo), Jon Bernthal (Ted), Emily Blunt (Kate Macer), Josh Brolin (Matt Graver), Julio Cedillo (Fausto Alarcon), Benicio Del Toro (Alejandro), Laurence Scott Deveraux (Alex Driver), Jeffrey Donovan (Steve Forsing), Victor Garber (Dave Jennings), David Garver (Bob Fisks), Maximiliano Hernandez (Silvio), Daniel Kaluuya (Reggie Wayne), Lora Martinez-Cunningham (Jacinta), Jesus Nevarez-Castillo (Eliseo), Hank Rogerson (Phil Coopers), Bernardo P. Saracino (Manuel Diaz), Boots Southerland (U.S. Marshall Keith), Adam Taylor (U.S. Marshall Kevin), Matthew Tompkins (Jessie Garza), Raoul Trujillo (Rafael), Kevin Wiggins (Burnett)

Runtime: 121 mins

Classification: M

OUR SICARIO REVIEWS & RATINGS:

David Griffiths:

No I’m not chucking in my card to the Comic Book And Cult Film Lovers Association but one of the films I was most looking forward to this year was Sicario. Yes I am not too embarrassed to admit that the fact that a certain director is at the helm of a movie is sometimes enough to make me wanna see a film and that was certainly the case here. See to me Denis Villeneuve’s last film was a cinematic masterpiece. I can watch Prisoners over and over again and find something new that I like about each time, add that to the fact that Villeneuve was directing a borderland crime film starring Josh Brolin and yes Sicario had me at hello. My biggest fear for Sicario was that Hollywood would have claimed Villeneuve and that he would decide to rope in his grittiness and harshness, luckily that certainly isn’t the case here.

Many have labeled Sicario a blockbuster for this year, yet that title just doesn’t seem to fit comfortably with this film. This film is harsh, bloody harsh and it’s not hard to see that the popcorn set are going to struggle with the film’s brutal opening in with Kate finds a house that contains more dead bodies than your local morgue. And in typical Villeneuve fashion he doesn’t make it easy watch for its audience, no as he goes in for the close-up on a decaying man’s face you are well and truly aware of the fact that while he is making a Hollywood film he certainly hasn’t been claimed by Hollywood.

Visually Sicario is a blessing. Villeneuve along with DOP Roger Deakins have made this movie look like some kind of modern day western with it’s yellow tinge and cinematic aerial desert shots, and somehow that works wonders with Brolin and Del Toro cruising around like modern day Sherrifs seeking vengeance. Sadly though Sicario’s screenplay isn’t always as good as the visuals the audience are being treated to. Unlike Prisoners this film has some weak points that leave the audience shaking their head, nothing major but little moments like Kate picking up the Police Officer in the bar… isn’t it just too much coincidence that her partner would just happen to be good friends with the guy?

Still there are powerful moments in Sicario, moments that are so powerful that they will stick in your mind for ages. From the fact that this is a very much anti-Mexican tourism video as Villeneuve takes you past bodies hanging from Mexican border-town overpasses to suspenseful scenes such as the border battle which will have any cinema lover watching with baited breath. Then there is the magnificent finale with Del Toro and a dining table… I’m not going to say anything else but that as I don’t want to spoil the film… but hell it is one of the most suspenseful scenes you are going to see in cinema for a long, long time. Adding to the suspense all throughout this film is the pounding soundtrack that simply becomes a character upon itself.

Now you may have heard some people criticize Emily Blunt’s acting performance in Sicario. Don’t believe it. She puts in a great effort and those complaining about her performance are simply looking for something that doesn’t need to be there. Kate is not Lara Croft in a Police uniform. She’s a very innocent but good at her job cop normally used to dealing with hostage situations who suddenly finds herself thrown into a world she just doesn’t understand. Anyone that goes into this film expecting Blunt to be the gun-ho character she was in Edge Of Tomorrow is going to be disappointed, it’s just not what Kate is.

Then there is Brolin and Del Toro who knock their performances out of the park. Brolin is gruff and rough as you expect him to be and is well backed up by Del Toro who has an air of mystery about him from the moment he first appears on the screen here. Some of the Del Toro’s performances have been a little questionable recently (no I still have not recovered from that scene with him, Diaz and a windshield in The Counselor) but here he bounces back with a brutal performance and for once he doesn’t over act his way through it. He’s just on song.

If you’re a fan of Denis Villeneuve’s past films you are certainly not going to be disappointed by Sicario. It is brutal, rough and in-your-face, just the way a crime thriller should be. Brolin and Del Toro bring their A-Games and this is one film that is a must see for 2015.

Adam Ross:

You can hear Adam’s full Sicario review on The Good The Bad The Ugly Film Show Ep #147

Greg King:

You can hear Greg’s full Sicario review on The Good The Bad The Ugly Film Show Ep #147

Nick Gardener:

You can hear Nick’s full Sicario review on The Good The Bad The Ugly Film Show Ep #147

Average Buzz Rating (out of 5):

September 28, 2015 0 comment

Film Featured Crime In Cinema Nova Thriller

Cut Snake (2014) Review

written by David Griffiths

Summary: Set in Melbourne in the mid-1970s, Cut Snake tells the story of Sparra Farrell (Alex Russell), an ex-con in his twenties trying to make a life for himself in a new city. He has found honest work and becomes engaged to the beautiful Paula (Jessica De Gouw). But the prospect of his new life is challenged when the charismatic, dangerous Pommie (Sullivan Stapleton) tracks him down. Sparra finds himself drawn back into a world that he thought he had left behind.

Year: 2014

Australian Cinema Release Date: 24th September 2015

Australian DVD Release Date: TBA

Country: Australia

Director: Tony Ayres

Screenwriter: Blake Ayshford

Cast: Ricahrd Anastasios (Wayne), Syd Brisbane (Ben), Christopher Bunworth (Mr. McGrath), Jessica De Gouw (Paula), Luke Elliott (Bruce), Megan Holloway (Yvonne), Graham Jahne (Len), Catherine Larcey (May), Paul Moder (Carl), Robert Morgan (Duck), Alex Russell (Sparra Farrell), Jim Russell (Neil), Sullivan Stapleton (Pommie), Brett Swain (Boss), Rosie Traynor (Mrs. McGrath), Antonius Verlaan (Bear), Kerry Walker (Mrs. Farrell)

Runtime: 95 mins

Classification: MA15+