FOUR KIDS AND IT (2020)

 

Four kids on holiday in Cornwall meet a magical creature on the beach with the power to grant wishes.

One glance at the movie poster for this film and it tells you a lot of what to expect from this flick; something that would easily fall into the same category as The Muppets or Fraggle Rock. Four Kids and It is an adaptation of the 2012 novel, Four Children and It, which in turn is inspired by E. Nesbit's 1902 novel, Five Children and It. Two distinct levels of source material should form a solid foundation for a children's film with a good moral compass. 

The screenplay, which is written by Simon Lewis, is not quite up to scratch, however. If you have read the books, you will be aware that the film is a fair departure from the materials that it is sourced from, which could have been a brilliant case of creating a unique version of the story, but instead forms a flat, lifeless film with little in the way of a cohesive structure. The entire premise of the original story is based around the idea of "being careful what you wish for", with the frivolous dreams of children turning into scary scenarios that teach the children about the consequences of their actions.

In this adaptation, on the other hand, the characters have been rewritten to include two broken families meeting for the first time, and as such, the majority of the film focuses not on the wish-granting creature, but on the conflicts between these children and their position on whether to try and "fix" their respective families or move forward with a mixed family. The change in focus from the magical creature to the family conflict means a reduced cost in special effects, but it also means a lot fewer exciting scenes for the kids to enjoy.

The magical creature itself is an interesting choice. The Psammead is a sand fairy that--thanks to the visual styling of Dark Crystal's Brian and Wendy Froud--looks more like a decaying, neglected, E.T. toy covered in moss. Voiced by Michael Caine, the character is the highlight of the film but is such a small part of the story (compared to the familial struggles) that Caine's mature, sophisticated voice is completely wasted on this farting CGI creature. 

Russel Brand is also present in the film with a new character and, again, you can't help but feel that the character was written with Brand in mind, purely to sell tickets on the name and face recognition alone. His character is such an over-the-top villain, and while he introduces the only effective moral to the story (which coincidentally coincides with the original story's premise), his presence is also minimal and feels tacked on. 

For a film that is meant to be about the dangers of grandiose wishes, there is a surprising lack of consequence to any of the wishes; no injuries, no long-term effects on the plot, a simple "sorry" and these children carry on as if nothing has happened. There is no point when the children are forced to eat humble pie and develop as characters because of it, they simply stay in their lane until everything has to work out after the film. 

Each child has a unique perspective on their character concerning the family situation, one that wants to reunite her mum and dad, one that recognises their parents are not in love and wants to move forward, one that wants to run away and live with her father, and one that simply wants everyone to be happy. The tension in the two broken families is reasonably well-considered, allowing each child an opportunity to put forward their perspective.

Four Kids and It attempts to provide some more mature themes to appeal to adult audiences, but the sexually promiscuous nature of the two parents, or Brand throwing about phrases such as "ethnically insensitive erotica", does little to make this a film that will hold wide appeal. 

With mediocre computer-generated effects on display, this is a film that will only really appeal to the under-8-year-olds who will be wowed by the concept of being able to fly or have superpowers. Nothing of consequence really seems to happen, and while the story lacks any depth, it will pass some time for the younger ones.

Four Kids and It is in cinemas from September 24, 2020

Originally posted to: https://djin.nz/Kr8711

SAVAGE (2019)

 

Inspired by the true stories of New Zealand's street gangs across 30 years, Danny is shown at three defining moments in his life as he grows from a boy into the violent enforcer of a gang.

Sam Kelly's feature film debut, Savage, attempts to portray the savagery of New Zealand gangs. While it certainly makes itself a bottomless vessel of tension and anxiety, the savagery is somewhat scarce in its authenticity and realism. Not dissimilar to a mask, Savage, is a dissection of the root causes of gang formation, and the eventual contradictory nature of their brand of "family".

Focused around the Savage enforcer, Danny is known by many names; nowadays living under the monikers 'Damage' or 'Sarge'. The film takes us through three pivotal stages in his life that led to questioning his loyalties. A scowling tattooed man with "kind eyes", our protagonist lacks the unstable chaotic nature of Once Were Warriors Jake the Muss; Danny is not content in his position amongst the Savages. Having been the caring, responsible child who would put themselves in harm's way to protect his siblings, his transformation into a weapon for another person's cause, is leading to much unease. More along the lines of this year's Irish drama, Calm With Horses, Savage wants to bring to light the shades of grey in a seedy underworld that many consider black and white.

Somewhat of a double-edged sword, Danny (portrayed by Jake Ryan) isn't a big talker. It cements his position as nothing but a protective force to his leader and co-founder Moses (Haanz Fa’avae-Jackson); an object to be used, and a friend to none. On the flip side, it means his character lacks any sense of charisma. With very few opportunities to see how 'Damage' would act in normal circumstances, it reduces the impact of the more criminal activities as the film consistently shows him using excessive force. With the simple goals of having some money and some friends and family to spend time with, Danny has found himself constantly at the receiving end of abuse; physical, emotional, and sexual. He cherishes the concept of family and being a protector in his own head, but every person he comes across simply wishes to use and discard him, coercing him in a direction that he does not care for.

Gritty and grounded, Savage knows its subject matter well. There is no exposition or detailed monologues or dialogues about people's feelings; emotions are conveyed through actions and mannerisms; through posturing, violence, and expletive language. Such is the way in which these impoverished communities have been cast out by conventional society. Still, the flashbacks that explain Danny's history mean there is little time spent on the present storyline. Danny being the source of violence in the film, sets the standard for the authenticity and genuine nature of the violence, and the flashbacks undermine the integrity of his savage nature.

The film is well shot, with well-designed production sets showing off the degraded living conditions that the gangs have come to call home. However, this lack of integrity, combined with underdeveloped supporting characters create a final product that is full of violence and tension, but never fully feels real. It makes you hold your breath and feel uncomfortable, but the out-of-frame violence doesn't have the gravitas or lethality to leave a lasting impact. Like a blunt knife, or a table with its edges rounded, Savage is a much safer film; less likely to trigger the audience than Once Were Warriors.

As far as providing an explanation as to how inequality leads to gang culture, Savage does a brilliant job; looking at issues within the family unit, as well as those within the governmental institutes that are supposed to protect children. On the more character-driven side of things, Sam Kelly's debut is lacking, which is unfortunate. There was an opportunity here for something truly memorable.

Savage is in cinemas from September 10, 2020 

THE QUARRY (2020)

After murdering a travelling preacher, a fugitive drifter assumes his identity and becomes the new cleric of a small-town church. While he wins over the congregation, the police chief starts to link the mysterious stranger to a criminal investigation.

Directed and written by Scott Teems, with Andrew Brotzman sharing the screenwriter credits, The Quarry is a film adaptation based upon the novel of the same name by Damon Galgut, with a change in happenstance from a pursuit across rural South Africa to a meander through a rural backwater town in the Southern States of America.

The change in location works well with a more recognisable brand; White Male vs Mexican racism. The Quarry is by all definitions a slow and measured piece, that attempts to build stakes in this cat-and-mouse story, through character development and racial drama rather than fast-paced action sequences. With exceptional acting performances from the mouse, Shea Whigham, and the unknowing cat, Michael Shannon, The Quarry manages to hook you into the story despite underutilized characters and little development of the population outside of the main cast.

Shea Whigham is credited simply as "The Man", and is a dangerous man with a complicated past, at wit's end, with no plan in place, simply ignoring obstacles until collision is imminent. Seeking an escape, The Man finds himself in the role of an English-speaking church minister, in an area that primarily does not speak English. His foil comes in the form of Police Chief Moore, whose racism is so overt that he refers to those he is meant to protect as "bugs" and "mud" to be swept off of the streets.

In what should have been a simple open-and-shut case, Chief Moore's hatred and disdain for the non-white community allows The Man an opportunity to avoid punishment for his indiscretions and an opportunity for redemption, but at the cost of another. The Quarry attempts to open discussions around the positions of power that these two white men hold; as the towns head of Police and head of religious affairs, looking at the similarities and differences in how they use and abuse that power.

Chief Moore considers himself a representative of the law, but has no love for the people of his community, using them to satisfy his own needs as long as he can exert his power over them, unable to distinguish between a difference in class and skin colour. Somebody who yearned for the adoration that traditionally came with the role, but was unwilling to provide the care and humility that generates it. The Man, on the other hand, finds himself in a role that he is literally unprepared for, and his ignorance of the material is misconstrued as speaking without judgment, something that instantly earns him a positive reputation with the oppressed community. Both men, operating under a false identity in one way or another, walk side-by-side as the film progresses, unwittingly separating one plot into two, as a consequence of cynical racism.

In the same way that an empty room allows a buyer to imagine the room filled with their own belongings, the preacher's ignorance forms a monotonous sermon that his congregants are able to imbue with their own meaning and interpretation, while at the same time allowing the preacher a moment to contemplate his own position and history. Consequence, guilt, and forgiveness are the crux of The Quarry, but with a truncated 98-minute runtime, proper development of the community that would be necessary to effectively increase the stakes is unable to occur.  Even the main cast finds their character's complicated pasts are teased and alluded to, but never fully fleshed out

The only character that understands the reality of both men, is that of Valentin (played by Bobby Soto). The player that should be able to easily change the course of the plot, but is held back by metaphorical and literal chains, achieves the poignant purpose of reminding the audience that the law doesn’t always serve those who need it the most.

Visually, the environments are beautiful, with minimal yet effective set designs. Michael Shannon and Shea Whigham bring weight to their performances, which form an enticing element to the film. It isn't enough to carry the final act, but everything leading up to it is more than enough to warrant a viewing. 

The Quarry is in cinemas from September 10, 2020

Originally posted to: https://djin.nz/Kr8690

BECKY (2020)

Spunky and rebellious Becky tries to reconnect with her father during a weekend getaway at a lakefront house. But the trip soon takes a turn for the worse when convicts on the run, led by the merciless Dominick, suddenly invade the home.

As soon as I saw this film was about escaped convicts at a lakehouse, I had flashbacks to when I was eight years old watching an at-the-time scary thriller called Firestorm. Nostalgia is a pain sometimes, as Becky was unable to bring that same level of adrenaline and excitement. Of course, it is not fair to compare two different films, especially when they are on two completely different ends of the spectrum with regard to budget and scale. That being said, Becky only scratches the surface of its own potential. 

When you look at the cast, Joel McHale and Kevin James are a surprising choice for the film. Both are playing against their usual typecast role, James going to the furthest point; from a silly, comedic protagonist to the sullen, racially bigoted antagonist of the film. Unfortunately, due to some lacklustre scriptwriting from trio Nick Morris, Lane Skye, and Ruckus Skye, these unlikely roles aren't taken advantage of. 

There are so many cases of comedians having Oscar-worthy performances when they take on more dramatic roles; such as Seth Rogen in Steve Jobs, Jim Carrey in Eternal Sunshine of the Spotless Mind, Steve Carell in Foxcatcher, or Robin Williams in One Hour Photo and Insomnia. Comedians, while often known for overexaggerating and being over-the-top in their performances (especially when physical humour is involved), excel at serious and dramatic roles thanks to their superior understanding of the emotional context of a scene. While I have literally hated everything I have ever seen Kevin James do (Pixels, Paul Blart: Mall Cop, I Now Pronounce You Chuck And Larry, Grown Ups, The King Of Queens), simply seeing James taking on a serious role with a shaved head and full beard...it gave me hope. Hope that didn't quite pan out.

While the likes of Robin Williams and Jim Carrey can easily portray joy and happiness, they can also switch on a dime towards something darker, and more sinister. James simply doesn't have the same effect. Everything that raises red flags and tells you that he is the antagonist comes from his appearance (tattoos), instead of coming from his actions. Where there was an opportunity to really delve into what made his character a bad person, James is a soft-spoken antagonist that delegates anything "evil" to his minions, whose pep talks would fit better if he was a bear (a hairy, heavy-set gay or bisexual man). There is nothing overwhelmingly threatening and without a strong antagonist, the film lacks the proper stakes for this thriller.

What it does do, on the other hand, is allow LuluWilson to take the spotlight. You may recognise her from The Haunting of Hill House, Annabelle: Creation, Ouija: Origin of Evil, and Deliver Us From Evil, but in Becky, she is completely at home. Becky is a 13-year-old with pupils so dilated that her entire aura reeks of "medicated to compliance". As you would expect with any scenario involving someone who has medication withheld, her behaviour becomes increasingly aggressive and unstable as we reach the tipping point, where all hell breaks loose. Again, the script gives very little room for character development, and while Becky is the highlight of the film, we never get to see a full transition from one state to the other. 

Greta Zozula's cinematography is competently crafted, with an almost hazy desaturated filter that juxtaposes the warmth of a family trip to the lake house, and the coldness of premeditated murder and assault. The colour palette and direction are well executed, but it isn't enough to overcome the weaknesses of the script. Underdeveloped characters all-around mean anyone could be churned out as meat for the grinder in this gritty, gory thriller, but it is a double-edged sword as it also means you don't care if any of them die as you don't connect with them.

There is a fair amount of gore in Becky and it works well to keep a level of intrigue and excitement as the film progresses, but there are certainly some scenes that feel extraneous and out of place; as if it was put in simply to fill in time, with no effect on the storyline at all. Becky exists as a film because of its MacGuffin (is an object, device, or event that is necessary to the plot and the motivation of the characters, but insignificant, unimportant, or irrelevant in itself). How the MacGuffin gets where it is, is unknown. What it does is never explained. Why people are willing to kill or die for it is unknown. Is it a weapon, a vehicle, documents, or money? Any explanation would raise the stakes, but the unknown nature means this lakehouse horror story is unlikely to go any further than that.

A fun premise that had the opportunity for some established actors to stretch their wings and excel in a new field, but the script keeps them chained down in this serviceable, but underutilized story. Still worth a watch; go in with low expectations, and you'll be pleasantly surprised.

Becky is in cinemas from September 17

Originally posted to: https://djin.nz/Kr8704