PAPI CHULO (2019)

 

After a newly-single TV weatherman is put on leave following an on-air meltdown, he directs his energy into home improvement and hires a middle-aged Latino day labourer named Ernesto to help. Despite a language barrier and having nothing in common, the two men develop an unexpected but profound friendship.

Every time I see Matt Bomer, for a split second I confuse him with Henry Cavill. Their facial structures are incredibly similar, but all you have to do to tell the difference is wait and see how happy they are, because Bomer always seems to have a more positive outlook, whereas Cavill is the stern and surly Man of Steel that we have come to look or hate, and has carried that stoic nature into the majority of his other roles.

Bomer is great at playing the happy guy, and in Papi Chulo (which translates to Pimp Daddy from Spanish) Bomer plays Sean, a weatherman, that is trying to overcome a loss; in this case, it is a former partner that no longer answers his phone calls, no matter how often he drunkenly calls. When one action forces another, Sean is led to engaging the services of Ernesto, and comedy ensues. Papi Chulo is an effective minimalist dramedy a portmanteau of comedy and drama), with Bomer's Sean and Alejandro Patino's Ernesto taking up the bulk of the screentime. 

Every element is well-thought-out and executed, from things as small as the subtitles. Sean and Ernesto speak English and Spanish respectively, with very minimal cross-over, and the audience is allowed to walk in Sean's shoes by not providing subtitles when Sean and Ernesto "converse". Every time Ernesto speaks, we are just as much at a loss as to what he is saying, as Sean is. There are certain moments where Spanish-speaking people are talking together, and because they fully understand each other (and the conversation is plot-significant), we are provided with subtitles for context. But as a rule, if Sean is present and doesn't understand what is being said, neither does the audience.

Bomer's performance is magnificent. While he initially looks like an arrogant flamboyant gay weatherman, who cares about nothing but harassing his ex and finding other young men to flirt with, Bomer expertly inserts a hidden pain into every smile and laugh. You can sense when the emotions being conveyed are over-dramatic and false, and while it appears like poor acting at first glance, there is a heart-wrenching reason behind it, and Bomer goes all-in. the emotional weight is not toned back for a wider mainstream appeal, neither are violent or insecure moments hidden. Eventually, all is revealed; the good, the bad, and the ugly.

His third attempt at writing and directing a feature-length film, director John Butler utilizes that control over the material effectively. his time has not been split between the two roles, the two roles have combined to truly create the vision that he has, and the narrative direction of the film is clear from the outset. It leads you in a certain regard, and some may consider that predictable, but while the events are predictable, Sean's reactions to the events are volatile and erratic because of his poor mental state.

The cinematography from Cathal Watters is compelling. Never flashy enough to distract from the emotional development of the characters, Watters creates a warm, bright environment when Ernesto is with Sean, compared to the darker, flatter environments when Sean is alone. The musical composition from John McPhillips is also inconspicuous and unobtrusive, lifting the material without ever truly making you aware of its presence.

Papi Chulo goes much deeper than what you would expect. It is in no rush to find a happy ending and will let every ounce of desperation and fear hold the viewer in suspense. Patino and Bomer work brilliantly together and the connections, contrasts, and conflicts of their budding friendship blossom into a surprisingly engaging film (about a man hiring a Mexican to paint his deck). 

Papi Chulo is in cinemas from August 27, 2020

DOUBLE - A Darkfield Radio Experience

As COVID-19 continues to disrupt the arts industry across the globe, innovative UK company Darkfield are launching in New Zealand with their visionary new audio experience DOUBLE, opening Tuesday 1 September. Brought to Aotearoa by Australia's Realscape Productions, DOUBLE will allow Kiwis to take part in a critically-acclaimed, chilling, and immersive encounter within their bubbles, regardless of the country's COVID alert level status. All you need is a mobile device, headphones - and a friend...

There is no easy way to describe what I have just experienced. To sit at a kitchen table across from someone, look at them, then close your eyes for twenty minutes as an apps audio plays havoc with your senses. The structure alone of this experience is unnervingly unique. Recreating that feeling of sensory deprivation that you may have experienced while playing on a Virtual Reality set; where blocking your visual field allows you to be transported somewhere now, no longer aware of the dimensions of your actual location.

Darkfield Radio has formed a scintillating and chilling experience that temporarily leads to unease, anxiety, and distrust of the person sitting directly opposite you. A person you know incredibly well...or do you. The experience plays with reality, using the unknown to twist your perceptions about elements you were previously confident about.

The audio is incredibly well-produced, with a storyline that turns from a soothing delve into your own interpersonal relationships, and spirals out of control down a rabbit hole of uncertainty. The quality of the audio cannot be downplayed. this is not a simple left and right stereo experience. This is a cinematic 360-degree adventure of unanticipated--but welcomed--depth; all with your eyes kept firmly shut.

DOUBLE calls for the best over-the-head headphones that you can procure, and I would even go as far as to recommend a sleeping mask too if you have one. Something that will allow you to sit in the darkness, with no visual or aural stimuli from your direct surroundings beyond your memory of them. While it will work fine with earbuds and your eyes closed, the experience works best with as little background noise as possible.

So difficult to explain without ruining the experience, the knowledge that the person sitting opposite you is receiving different audio, it plays with your mind, and the aural display starts to affect your other senses. The shadows in your mind's eye start to move, and your grasp of what is real and what is fabricated begin to blur.

DOUBLE is exquisite. A must-experience performance that will leave you breathless and covered in goosebumps. As for what you can expect in terms of content? All I can say is, don't leave your glass of water too close to the edge of the table... A cinematic performance for the mind that will have you absolutely yearning for more.

DOUBLE opens Tuesday 1 September 2020.

Session times: Tues, Thurs, Fri and Sat at 8pm, 10pm and 11pm.
Tickets are available via the Darkfield website
Price: $10

LOWDOWN DIRTY CRIMINALS (2020)

Best buddies Freddy and Marvin naively think a life of crime will be glamorous and rewarding, but when they mess up a simple job for their new boss, the hilarious and violent consequences spiral out of control!

There was a clear attempt to create something exciting. To recreate the quirky comedy and gratuitous violence and insanity of Guy Ritchie's Snatch or Lock, Stock and Two Smoking Barrels, with the small world vibe of New Zealand. Lowdown Dirty Criminals falls short of the mark; a 90-minute feature film that feels more like a spinoff of Outrageous Fortune than it's own well-developed piece.

Lowdown Dirty Criminals stars a veritable ensemble of familiar faces; from Boy's James Rolleston, Packed To The Rafters' Rebecca Gibney, Scott Wills from Underbelly NZ: Land Of The Long Green Cloud, to Robbie Magasiva from Sione's Wedding, and Cohen Holloway (What We Do In The Shadows, Hunt For The Wilderpeople, Thor: Ragnarok, Eagle Vs Shark). This is as kiwi as you can get in terms of cast, but is also very kiwi with how it caters to the lowest common denominator in terms of its comedy stylings.

This has such a quintessential kiwi look and feel to it, that you want it to succeed; you are willing this to be another international hit like Hunt for the Wilderpeople or What We Do In The Shadows. What we have, however, is something that feels like an exaggerated broadway play that has had its timeline switched around to make the story feel more exciting. Every character is completely one-dimensional and has an over-the-top flair for the dramatic. Excessive to the point that a child watching the tv through a window from across the street will still know exactly what is going on. There is no room for subtlety here. 

The humour itself is enjoyable if you are young enough. Everything is either a visual or a physical gag; look how crazy he looks! look how overweight that man is! ew! is he watching porn? There are no deep meanings or hidden contexts in Lowdown Dirty Criminals, everything is spelt out by the antagonists and protagonists but misunderstood by each other, which leads to the gratuitous unnecessary violence. Why are they incapable of properly communicating? Because if they could, the film wouldn't exist. 

Initially, it all catches your interest. It's pretty fast-paced and wacky, but as the film progresses, it becomes clear that there is no real story, the protagonists have such little development that you don't care what happens to them, and even as the blood and gore step up, as an audience member it all stops registering or garnering a reaction. In this manner, you could compare Lowdown Dirty Criminals to one of Daniel Radcliffe's latest films (which coincidentally was also filmed in New Zealand), Guns Akimbo, which fetishized the physical and toilet humour along with gory violence. 

The soundtrack works quite well, with some great tracks from kiwi greats Collision, Gin Wigmore, Supergroove, and even young heavy metalheads Alien Weaponry get two tracks on the soundtrack. All of this Kiwiana adds to my disappointment at the conclusion of this film. It was kiwi cast with kiwi music, shot in kiwi-land, but the script is so weak that it feels as if they have dumbed it down. It's condescending enough to say that we made this for you from all your stuff, but we will spell out everything and make the story really basic, otherwise, we don't think you'll get it. 

I watched it, I laughed a few times, and I cringed a few times, but by the end of the film, the non-linear narrative was more annoying than joyful, and there were insufficient stakes built up to make for a satisfying final act. On the wrong side of the comedy/satire line, Lowdown Dirty Criminals can't be taken seriously at all, so all threats of violence and ultimatums, end up having no effect at hooking the audience in. You can have comedy, but you need to properly develop your characters and validate the threats. None of that has happened here. 

Save this one for when you are under the influence; you'll love it then.

Lowdown Dirty Criminals is in cinemas from August 20, 2020

CUT THROAT CITY (2020)

 

Set after Hurricane Katrina, four boyhood friends out of options reluctantly accept an offer to pull off a dangerous heist in the heart of New Orleans.

It's only now that I realise heist movies have always been predominantly a caucasian genre. Most heist films will have one "ethnically diverse" character in their crew, but to find a film that is either majority or completely non-white? That is a very limited batch of films, such as Set It Off (starring Queen Latifah, Jada Pinkett, Vivica A. Fox and Kimberly Elise), Juice (starring Omar Epps, Tupac Shakur, Jermaine Hopkins and Khalil Kain), and technically the Fast and Furious franchise.

It is likely that Juice--which starred Tupac Shakur--was a huge source of inspiration for Cut Throat City, even going as far as to cast Demetrius Shipp Jr. who has portrayed Tupac Shakur in the biography All Eyez On Me. Juice follows four black youths growing up in Harlem, and their struggles with police harassment, neighbourhood gangs, and their families. Cut Throat City includes many similar struggles, but is located in the post-Katrina 9th Ward of New Orleans, and primarily focuses on the inequality between the goals of the white and black communities.

Following four creative protagonists, that have done everything right; they had good jobs, they had avoided criminal activities, paid all of their bills, and had insurance. The 9th Ward of New Orleans finds most of the FEMA money is being funnelled towards financing casino rebuilds rather than supporting the impoverished black communities whose livelihoods were washed away by Katrina. Interestingly enough, this subplot actually makes Cut Throat City much more of a politically driven drama than an action heist flick.

As such the film is split into different sections; the first act which introduces our protagonists and includes the majority of the action and heist action; the second act which is exposition-rich and aims to enlighten the audience about the real-life oppression and lack of support that the black communities have received as they attempt to co-exist in a city that is gradually being converted into more and more casino complexes (a trend that existed before Hurrican Katrina but has accelerated unhindered since the disaster). It is a topic that is fascinating (14 years since Katrina hit, only 350 permits for new home builds had been issued, compared to massive casinos benefitting from a law change that allows them to be built further inland, with 8 casinos rebuilt and a further 14 new casinos in various stages of planning and construction). 

While compelling a subplot (that I encourage you to look up and do some research into), it complicates the story of Cut Throat City to the point that the heist is not a significant part of the plot. It is merely a device that pushes our protagonists into learning more about the history of New Orleans and allows the audience to learn about what is effectively a conspiracy that is barely connected to the initial storyline. The film pushes the concept of "home" and uses several references to The Wizard of Oz, with our protagonists wanting nothing more than to be able to return to the place that has scorned them; they are unhappy with their situation, but not willing to abandon their home. 

Directed by RZA (of Wu-Tang Clan fame), the film lacks a strong narrative direction, weighed down by unwieldy and extensive exposition. Struggling to maintain the pacing that was established in the comedic, action-packed first act, the film mistakes character introductions as plot, hoping that presence of Shameik Moore, T.I., Wesley Snipes, Terrence Howard, or Ethan Hawke will make up for a lack of functional story. Too wrapped up in its own politics, the disregard for its primary story thread leads to a confusing final act that tries to merge the two conflicting angles of the previous two acts.

Visually, Cut Throat City has been well-produced. Set design is on point, and costuming feels authentic. The film is simply let down by a weak script, and poor direction. If you enjoy the New Orleans aesthetic and the intricacies of the "gangsta" lifestyle, you will likely enjoy this film; there is enough violence and nudity to keep you entertained. If you want an engaging story, however, the inconsistent manner in which characters enter and exit the story will prove tiring, and the story threads that are simply disregarded and forgotten will leave you scratching your head.

Cut Throat City is in cinemas from August 20, 2020

TWO OF US (2019)

 

Pensioners Nina and Madeleine have hidden their deep and passionate love for many decades, but their bond is put to the test when they are suddenly unable to move freely between each other's apartments.

In such a similar fashion to last year's Portrait Of A Lady On Fire, Two Of Us has provided one of the most unexpectedly powerful cinematic experiences of the year. Filippo Meneghetti has created a gorgeous minimalistic narrative display that feels more documentary than fiction.

This is a story that we have all seen and heard before but from a fresh new perspective, combining a "coming-out" LGBTQ narrative with the added nuance of the maturity of the protagonists. Barbara Sukowa and Martine Chevallier are the duo that makes this film such a masterpiece. In their late 60's and early 70's, the experience and acting abilities of Sukowa and Chevallier are evident to all that observe them. They are completely absorbed into their roles as Nina and Madeleine (respectively); there is not a question in my mind that I am watching two women that have formed a strong loving bond over the years. There are no actors in this film. There are only characters. 

It is near-enough indescribable how well Sukowa and Chevallier fit together, that combination of a high calibre of acting with a well-refined script from Malysone Bovorasmy and Meneghetti, form a 95-minute piece about a couple that somehow explains their entire life up until that moment. This goes far beyond the fiery youthful passion and lust that most LGBTQ films choose to portray. There is an intimacy that speaks far more volume than any passionate kiss could dare try to convey. Every glance, every slight piece of physical contact, tells a story, and as a viewer, you absorb the depth of character with every action.

The film is a foreign language film that includes French and German, with English subtitles, but so much of the film is communicated non-verbally. As the film progresses, more of the story is communicated through the face and the eyes, and cinematographer Aurélien Marra does a magnificent job at capturing the emotions on display through close-ups and framing. This together with the aural landscape of the film, there is not a wasted moment. Every sound (or lack thereof) has a purpose, every movement of the eyes begs for its story to be told. The chemistry is so genuine, that it feels absurd to think that Chevallier and Sukova could part ways at the cessation of filming.

This is more than a film about the elderly, and this is more than an LGBTQ film; this a heart-breakingly intoxicating love story, that simply skips over the honeymoon phase of a relationship. So much of the story is visual, that the film is accessible even to those that hate subtitles. The film may revolve around maturer protagonists, but we all understand the appeal of being loved and having companionship. It may be an LGBTQ film, but we all understand and want to avoid the pain of rejection and disappointment, especially from family. 

Two Of Us is a gorgeously bound emotional rollercoaster. From Chevallier's authentic non-verbal acting to Sukowa's graspable frustration and desperation, the obsession is real and the love is palpable. It is rare to find a film that can make you feel such a strong connection in such a short amount of time.

Two of Us is releasing in cinemas from August 20,2020

FAMILY BUSINESS (2020)

They say never mix family and business but what happens when that business is family law? This warm-hearted French family and legal drama follows mother-daughter duo Astrid and Audrey as they navigate the positives and pitfalls of practising law together.

Family Business is another foreign Acorn TV exclusive, this time a French production. Usually, I try to avoid mentioning subtitles as they are often considered a hindrance to watching some brilliant content. As the award-winning director, Bong Joon-ho (Parasite) said in his Golden Globe acceptance speech, "Once you overcome the one-inch tall barriers of subtitles, you will be introduced to so many more amazing films." In this case, however, Acorn TV has not done their due diligence and showed a lack of attention to detail.

I say this because the subtitles are the biggest negative in the series. Unlike other shows that place all of their subtitles at the bottom of the screen, Family Business occasionally switches and places the subtitles on the top of the screen. This is a reasonably common practice if the background is too light at the bottom, so the switch to the top is meant to ensure the text is still legible. However, Acorn TV's video player does not necessarily allow this to happen. The player as it is embedded is in a more widescreen aspect ration which truncates the top of the video, cutting off the subtitles that appear there. Viewing the video in full screen may alleviate the issue slightly, but it all depends on the screen shape of the device. The wider the screen, the more of the "upper" subtitles that are lost. If it happened once, I would not be concerned, but this happens on several occasions and becomes disruptive after a while.

The second area of concern regarding the subtitles is a feature that I have only seen used in this series. Whenever subtitles pop up on-screen, the entire image darkens noticeably. Once the subtitle disappears the screen lightens up again. Anytime there is not constant dialogue (or a complete lack of dialogue) the video effectively flickers as if a toddler has realised he can reach the light switch or an office setting that refuses to replace the dodgy fluorescent lights. It is a subtle lighting change, but it is still noticeable. Would it be enough to cause an epileptic seizure? I could not say. It certainly took several episodes to overcome the distracting nature of it. But let's look past this and discuss the actual content of the series.

There is something inextricably thrilling about legal dramas. Something about an empirically evidence-based judgement system that is resolved by subjective means. It allows any single piece of evidence or information to swing a case around and led to the opposite result. Crushing defeat or magnanimous victory, it could easily go either way. 

Family Business manages to work within the genre well, despite having very few courtroom scenes. The series predominantly takes place at the firm, and wastes little time in injecting drama into the lives of our primary characters. With a similar structure to most cop procedural and medical dramas, Family Business is an episodic series that swiftly changes into a more serialised format as our protagonists get dragged into their own businesses as a recipient rather than the donor. 

There is a clear feminist streak in the show, with a primarily female-led cast and a focus on family law as opposed to criminal proceedings. This does mean that as is becoming more and more commonplace in female-led shows, the male characters are portrayed in a derogatory fashion, as either womanizing, misogynistic, manipulative, narcissistic, unintelligent, or just plain criminal, with their only redeeming factor coming in the form of an aesthetically pleasing appearance. if you can look past the biased nature of the genders being portrayed, however, there is much to enjoy.

The show tackles many subjects from emotional abuse and manipulation to alcohol and gambling addictions, shared custody, to blackmail and inherited assets. With near-on a full hour allocated to each case, Family Business delves into the subjects in reasonable depth, without getting too complicated for those of us that are uninitiated in the judicial system of France. 

Visually, the series is well shot, with gorgeous set design, and the dialogue (while very cliché at times) doesn't impede in the goal of making you care about the characters. The series does forecast its direction in a not-so-subtle fashion, but what they do brilliantly, is to create a number of well-developed characters that the audience care about (whether it be in a positive or negative manner is irrelevant). We hate seeing someone being oppressed, manipulated or otherwise being taken advantage of, and the plethora of situations and three-dimensional characters make it very easy to empathise and sympathise with. 

If Acorn TV can fix these subtitle issues before the show premieres, Family Business has the potential to be as popular and engaging as Boston Legal or Law & Order: Special Victim's Unit. 

Family Business is premiering exclusively on Acorn TV from August 24, 2020
Originally posted to: https:djin.nz/Kr8697

23 WALKS (2020)

A gentle, sweet, funny, romantic story of love in later life following a couple in their sixties, Dave and Fern, who get to know one another over the course of 23 dog walks.

Written and directed by Paul Morrison, 23 Walks is a story about two people connecting while out walking their dogs. Considering how 2020 has gone so far, with people around the world forced into isolation, with essential trips or exercise their only respite, the idea of making an impromptu connection while out on a walk is something that is relevant and relatable to an ever-growing number of people.

A minimal drama with two major characters and a small crew of supporting cast, no time is wasted in introducing our two protagonists. Dave Johns and Alison Steadman play our two leads Dave and Fern, whose initial interaction is combative and antagonistic. Morrison takes the interesting approach of attempting to write two of the most opposing personalities with enough baggage to smother a small elephant. While the details of their past are only revealed later in the film, it is clear from the start that there are aspects of their lives strongly affecting their actions. Morrison uses these aspects to form red herrings that constantly misdirect the audience every time it comes across a commonly used trope.

Perhaps the most compelling part of 23 Walks comes in the form of its canine cast. Terrier "Henry" and, to a greater extent, German Shepherd "Tilly" are the highlight and perform their cues exceptionally well, garnering the strongest emotional reaction in the entire 102-minute runtime. 

The majority of the story comes from Dave's point of view, and with this, there is a slight disconnect with much of Fern's story remaining untold. We feel the giddiness as he meets Fern, his uncertainty around his own behaviour, and the frequent jumps from joy to heartache and anger. While the acting is well done, the limitations of the film mean a lot of the conflict and development is told, not shown, and as a consequence, the acting is accentuated and embellished to try and wring greater emotional attachment from the audience. It creates a feeling that is somewhat disingenuous but still manages to pull at the heartstrings regardless.

The frequent misdirection and poor judgement calls do wear thin as the film progresses, and while it gains points for what is undoubtedly a much more realistic portrayal of a budding relationship between two mature individuals, it isn't able to maintain that minimal amount of positivity and magic in the story to make 23 Walks a story that you would want to rewatch or recommend. There are a lot of results that don't feel earned, and it takes away from what would otherwise be a satisfying final act.

With pleasant environments and a cool, clean look, 23 Walks is down-to-earth and pragmatic in its approach to relationships. There isn't enough to captivate and transfix the audience, but there is still a level of charm and understanding that creates a seed of hope in dark times.

23 Walks is in theatres from August 13, 2020

Originally posted to: https://djin.nz/Kr8684