SEVEN PSYCHOPATHS (2012)

Billy wants to help his friend Marty find inspiration and complete a script. He kidnaps a shih tzu that belongs to a gangster who has no qualms about killing anyone to get back his dog.

In 2012, director and writer Martin McDonagh brought us Seven Psychopaths, a film that takes us on a wild and self-aware journey through Hollywood's underbelly. Starring Colin Farrell, Woody Harrelson, Sam Rockwell, and Christopher Walken, this darkly humorous tale weaves together elements of crime, violence, and absurdity. Set against the backdrop of the City of Angels, McDonagh's creation is an exploration of the fine line between snark and satirical wit, all while serving as a commentary on violence and peace in the world of movies.

The film revolves around Marty (Colin Farrell), an aspiring scriptwriter in Hollywood, who, in reality, hasn't progressed much beyond the title of his screenplay, "Seven Psychopaths." Marty's mundane life takes a wild turn when his best friend, Billy (Sam Rockwell), inadvertently dognaps the cherished shih tzu of a ruthless gangster, Charlie (Woody Harrelson). This sets off a chain of events that entangles them with a host of eccentric characters and some truly deranged individuals.

Colin Farrell's portrayal of Marty is a refreshing departure from his previous roles, embracing the character of an Irish waster. Christopher Walken, as Marty's elderly accomplice Hans, brings depth and intrigue to his character with his distinctive delivery and demeanour. Meanwhile, Woody Harrelson is convincingly menacing as Charlie, providing the necessary edge to the story.

Seven Psychopaths delves into a dark and violent world, but it does so with a unique sense of humour that permeates even the most gruesome moments. McDonagh skillfully balances humour, violence, and absurdity, creating a plot that keeps the audience engaged throughout. The film's self-awareness is a striking feature, with the characters themselves openly critiquing the movie as it unfolds, drawing inspiration from the works of Samuel Beckett.

One of the film's standout elements is its witty dialogue, which is laced with humour. The characters engage in deconstructions of famous sayings, surreal script ideas, and humorous confrontations. McDonagh's ability to craft funny dialogue for these small-time criminals adds depth to their characters and amplifies the comedic aspect of the story.

Seven Psychopaths is a cinematic experience that can be likened to Quentin Tarantino's work, particularly in the opening scenes. However, to merely label it as a Tarantino imitation would be an injustice to McDonagh's own unique voice. The dialogue, for the most part, is dry and well-constructed, providing a fresh perspective on the crime-comedy genre.

The film also engages in meta-commentary on the art of filmmaking, weaving questions about the meaning of life and the human need for dreams into its narrative. It prompts viewers to ponder whether our actions in life hold significance, or if we are merely characters in someone else's story. This thematic depth adds an extra layer of intrigue to the film.

Despite its occasional snarky tone, Seven Psychopaths is a highly entertaining movie. It captivates audiences with its unconventional characters, dark humour, and moments of violence. While it may not leave a lasting impact like some of its contemporaries, it stands as a unique addition to the world of crime-comedy cinema.

Seven Psychopaths offers a rollercoaster of absurdity, violence, and wit. With a top-notch cast and a story that keeps you guessing, it's a film that leaves you entertained and contemplating the meaning of life and storytelling. It may not be a perfect cinematic masterpiece, but it is undeniably a memorable and engaging experience.

THE FALL OF THE HOUSE OF USHER (2023)

Siblings Roderick and Madeline Usher have built a pharmaceutical company into an empire of wealth, privilege and power; however, secrets come to light when the heirs to the Usher dynasty start dying.

Netflix's The Fall of the House of Usher is a television series created by Mike Flanagan and features a cast that includes Bruce Greenwood, Carla Gugino, Mary McDonnell, Carl Lumbly, and Mark Hamill. This adaptation is loosely based on Edgar Allan Poe's short story of the same name. The show unfolds a chilling tale of a pharmaceutical industry magnate, Roderick Usher, who watches his offspring meet gruesome ends during the twilight of his empire. Over the course of its eight episodes, Flanagan crafts a sort of Poe Cinematic Universe, drawing inspiration from Poe's most famous works and weaving them into an original narrative of greed and familial disintegration.

However, The Fall of the House of Usher exhibits a disconcerting discord between its subject matter and its emotional tone. Despite sporadic moments of intrigue, the series lacks the central element found in Poe's works: passion. The characters in Usher may be meeting their fates like characters in a gothic horror tale, but they fail to live with the fervour that such a setting demands.

Mike Flanagan, known for his fondness for jump scares, introspective monologues, and a keen interest in exploring family dynamics, brings these themes to the forefront in this adaptation. Flanagan's perspective suggests that, even in the face of cynicism, there is always hope for family reconciliation or redemption.

The grim deaths of the Usher family members are portrayed as supernatural retribution for their role in America's opioid crisis, which they directly contributed to. While the series references numerous works by Poe, they often serve as mere Easter eggs, failing to enhance the main storyline. Furthermore, the primary narrative suffers from a disconnect between the stories it draws from and the actual direction of the plot.

Even when characters are succumbing to delusions or meeting their demise, the series maintains a detached tonal approach, as if we are observing human suffering from an indifferent corporate tower, much like Roderick Usher himself. While there are elements of horror in The Fall of the House of Usher that are skillfully executed, the series becomes overwhelmed by its inconsistent handling of source material, which might not have been necessary in the first place.

The show's narrative becomes convoluted with flashbacks, subplots, and diversions, to the point where a flow chart would be helpful in navigating it. The overarching story revolves around the impending, bizarre deaths of Usher's reprehensible heirs within a month's time, all connected by a mysterious woman played by Carla Gugino, who serves as an angel of death.

Unlike Flanagan's previous works like The Haunting of Hill House and The Haunting of Bly Manor, The Fall of the House of Usher fails to evoke fear, and this lack of emotional connection permeates the series. The narrative is predominantly retrospective, with the consequences already unveiled, making it challenging to connect with the characters.

The series takes inspiration from various Poe works such as The Fall of the House of Usher, "The Masque of the Red Death," "The Murders in the Rue Morgue," "The Black Cat," "The Tell-Tale Heart," "The Gold Bug," "The Pit and the Pendulum," and the poem "The Raven." These gruesome events are attributed to the karmic revenge of a shape-shifting spectral character named Verna, an anagram of "raven".

Despite the consistency and competence in storytelling, the series' pacing is a significant drawback, particularly in the lengthy flashbacks that reveal the origins of the Usher twins' torment. The revelation may leave the audience somewhat disappointed, as there is still a substantial amount of wrap-up that includes a series of monologues.

Flanagan has transformed stories that fundamentally explore the horror of loneliness into platforms for melodramatic family dynamics. While there are few scares in The Fall of the House of Usher, they often take the form of eerie apparitions suddenly appearing to terrify Roderick Usher.

The initial episode establishes an intriguing narrative, but subsequent episodes follow a formulaic structure. Each episode delves into a different Usher descendant's inner life and the gradual intrusion of a mysterious woman named Verna, leading to their eventual demise. Unfortunately, the characters fail to engage the audience effectively.

The series suffers from predictability and mundanity, which is unexpected, especially given Flanagan's reputation for crafting unconventional narratives. Each episode sets the stage for the downfall of a beneficiary of the ruthless Usher empire, with Roderick recounting the stories of their catastrophic ends. This predictability diminishes the sense of dread.

Although the series contains bursts of gruesomeness, they are insufficient to evoke the melancholic dread typically associated with Poe's works. The series is inundated with an abundance of monologues, all presented in a similar fashion, which becomes tiresome.

In conclusion, The Fall of the House of Usher attempts to amalgamate various elements of Poe's works into a contemporary narrative. While it boasts moments of effective horror and is competent in its execution, the series struggles with tonal inconsistency and a narrative structure that becomes formulaic and repetitive. The emotional depth and connection with the characters are lacking, ultimately leaving the viewer with a sense of detachment. Despite its thematic ambitions, the series fails to fully capture the essence of Edgar Allan Poe's storytelling, resulting in a work that, while intriguing at times, falls short of its potential.

The Fall of the House of Usher was released on Netflix on October 12, 2023

REPTILE (2023)

Following the brutal murder of a young real estate agent, a hardened detective attempts to uncover the truth in a case where nothing is as it seems, and, by doing so, dismantles the illusions in his own life.

Reptile, directed by Grant Singer and headlined by the formidable Benicio Del Toro, embarks on a suspenseful journey that initially teases the idyllic facade of suburban life. However, as the plot unfolds, it delves into a world of mystery, mistrust, and danger, although not without its flaws. The film opens with a picturesque portrayal of American middle and upper-class life, featuring grand white houses symbolizing the allure of prosperity. However, this illusion of affluence is quickly shattered by a shocking murder, setting the stage for a dark and gripping detective drama.

At the heart of the investigation is Tom Nichols, portrayed by Benicio Del Toro. Tom stands out as a well-adjusted movie cop, a rarity in the genre. His interactions with his wife Judy, played by Alicia Silverstone, and his colleagues appear harmonious. This suburban setting, captured visually by cinematographer Mike Gioulakis, serves as a contrasting backdrop to the impending chaos.

However, Reptile fails to fully exploit the potential of this suburban nightmare. While Tom's character displays eccentricities on the job, he is observant, rule-driven, and straightforward. His personal life, complete with square dancing and poker nights, is enriched by the unwavering support of his intelligent and forthright wife, Judy, and her extended family, which includes his police colleagues.

Despite the all-pervading mood of mistrust that engulfs the film, it remains the singular note, varying in shades of unease. The movie occasionally touches on worthy moments of tension and insight, but the narrative occasionally becomes convoluted and derivative. Benicio Del Toro's mesmerizing and authentic performance elevates Reptile above its occasional shortcomings. His on-screen chemistry with Alicia Silverstone's Judy exudes warmth and passion, with a subtle undercurrent of tension stemming from Tom's jealousy.

Reptile immerses the audience in a world where danger lurks around every corner. The incessant late-night phone calls and unexpected visitors at the door contribute to an atmosphere of constant unease. The film's tension is further heightened by the ever-encroaching headlights in rearview mirrors and an unrelenting sense of impending peril. Jump scares are abundant, and trust is a rare commodity in this enigmatic world.

Every scene is steeped in an aura of mystery, which works to the film's advantage. However, the leisurely pace in the second half of the movie robs viewers of a more intense and engaging experience. The pool of suspects is limited but surprisingly filled with potential psychopaths. One aspect of Reptile that shines is its craftsmanship. Cinematographer Mike Gioulakis masterfully captures the sinister underbelly of suburban life. The polished imagery brings to life the hidden darkness lurking beneath the facade of the seemingly peaceful neighbourhoods.

Yet, it is the performances that truly carry Reptile. Benicio Del Toro, in particular, delivers a nuanced and understated performance that draws the audience in. His ability to convey a myriad of emotions beneath his calm exterior is nothing short of remarkable. He never overplays or falls short of what is required, making his role a standout in the film. Sometimes, a stellar performance can compensate for a less-than-perfect script. Del Toro's portrayal showcases his unparalleled instincts as an actor, with a face that can convey a multitude of emotions beneath the surface.

Director Grant Singer successfully evokes a grimy and noir atmosphere, teeming with tension and suspense. The overcast skies and sinister mood contribute to the film's overall sense of foreboding. However, Reptile truly excels when the camera is focused on Benicio Del Toro, who effortlessly carries the noir-ish procedural thriller on his capable shoulders. On the other hand, Justin Timberlake's performance falls somewhat short of the mark. His portrayal leaves one with the impression that he is trying too hard, failing to match the authenticity and depth of Del Toro's acting.

The first hour of Reptile builds a solid foundation, but as the storyline becomes increasingly convoluted, it loses some of its initial engagement. The mystery's eventual clarity detracts from the suspense and intrigue that the film initially promises.

Reptile is a mixed bag. While it boasts moments of genuine tension, an authentic performance by Benicio Del Toro, and evocative cinematography, it falls short in terms of a convoluted plot and the less convincing performances of certain cast members. Nevertheless, for fans of the noir detective thriller genre, Reptile is worth a watch, if only for the compelling presence of Benicio Del Toro.

Reptile was released on Netflix on September 7, 2023

KILLERS OF THE FLOWER MOON (2023)

In the 1920s, members of the Osage Native American tribe of Osage County, Oklahoma, are murdered after oil is found on their land, and the FBI decides to investigate.

In Martin Scorsese's latest film, Killers of the Flower Moon, audiences are transported to a period in history that's both harrowing and authentic. This extensive Western crime drama delves into the haunting story of the Osage Indian murders in the 1920s, shedding light on a dark chapter in American history. Boasting a stellar cast led by Leonardo DiCaprio and Robert De Niro, this epic clocks in at three and a half hours, providing a thought-provoking exploration of themes like greed, oppression, and justice.

Adapted from David Grann's book, Killers of the Flower Moon immerses us in a world where the Osage Indians in Oklahoma unexpectedly became the wealthiest per capita due to the discovery of oil beneath their reservation. They lived in grandeur, residing in opulent mansions with chandeliers and surrounded by household staff. The film introduces us to the character of Ernest Burkhart, played by Leonardo DiCaprio, a war veteran returning to live with his uncle, William Hale, portrayed by Robert De Niro.

Hale, a cattle rancher with a facade of charm and congeniality, conceals a sinister and insatiable greed. Ernest, in contrast, appears easily manipulated, serving as the perfect pawn in Hale's ambitions. His mission is to court Mollie, a full-blood Osage woman with valuable oil headrights, a character brought to life with magnetic enigma by Lily Gladstone. Despite Mollie's apparent wisdom, she falls under the spell of Ernest's charms and becomes entangled in a twisted love story that leaves the audience with lingering questions.

Killers of the Flower Moon grapples with pacing issues and moments where further context might have been enlightening. However, the film takes advantage of its extended runtime to construct a vivid world that captures the era's opulence and underlying tension. It's not just a story about greed and murder but also a period piece that immerses us in the 1920s, highlighting the stark contrast between wealth and suffering.

One aspect that leaves room for improvement is the depth of context. It would have been informative to understand why the Osage Indians were so accommodating to the white settlers during this time. The complex love story at the film's core, while rooted in reality, might benefit from more elaboration to deeply resonate with the audience.

Killers of the Flower Moon is not a typical thriller; it lacks the suspense of a classic whodunit because the audience knows the identity of the murderers from the beginning. De Niro's portrayal of malevolence lurking in plain sight is menacingly charismatic, and DiCaprio captures Ernest's internal conflict, guilt, and desperation. Lily Gladstone's performance is captivating and enigmatic, mirroring the complexity of her character.

Nevertheless, the film falls short of fully exploring the character of Mollie, a pivotal figure in Osage Indian history. It's a missed opportunity to tell her story more profoundly. Scorsese's cinematic approach is more focused on character and incidents rather than adhering to a conventional narrative structure, which may not cater to everyone's taste.

Killers of the Flower Moon illuminates a forgotten tragedy of American history, exploring themes of oppression, vengeance, and resistance. The film portrays the devastating consequences of greed and prejudice, with a focus on the Osage people's struggle to manage their newfound wealth while enduring discrimination.

Scorsese's visual storytelling is exceptional, capturing the beauty of the American plains and presenting scenes that resemble paintings. The director's choice to prioritize the antagonists over the victims of the crimes may leave some viewers desiring more depth and emotional connection to the core of the story.

Killers of the Flower Moon offers a compelling examination of a tragic chapter in American history. It provides a glimpse into a world of grandeur and suffering, where greed knows no boundaries. With its remarkable cast and a visual approach that showcases the beauty of the era, the film delivers a unique cinematic experience.

While it grapples with pacing issues and a lack of depth in some areas, Killers of the Flower Moon succeeds in shedding light on a forgotten tragedy. It's a story that needs to be told, reminding us of the dark consequences of prejudice, greed, and the quest for justice. This film may not be for everyone, but it is a thought-provoking and visually stunning piece of cinema that deserves your attention.

Killer of the Flower Moon was released in NZ cinemas on October 19, 2023

SAW X (2023)

A sick and desperate John travels to Mexico for a risky and experimental medical procedure in hopes of a miracle cure for his cancer only to discover the entire operation is a scam to defraud the most vulnerable.

Saw X, the latest instalment in the long-running Saw series, takes us on a journey into the depths of John Kramer's character, exploring his struggles and motivations. Positioned between the first and second films in the franchise, this movie attempts to bring a fresh perspective to the series. However, it departs from the familiar formula, and in doing so, it raises some questions about the essence of the Saw franchise.

At nearly two hours in duration, Saw X is the longest entry in the Book of Saw series. Regrettably, the opening half-hour of the film feels agonizingly slow, dwelling on John Kramer's personal misfortunes rather than advancing the plot. This extended exposition may test the patience of viewers who have come to expect the rapid pacing of previous Saw films.

One notable departure in Saw X is its treatment of John Kramer, a character beloved by fans. Instead of portraying him solely as the orchestrator of gruesome games, the film frames him as a tragic figure. This shift in focus alters the essence of the story and makes us see Jigsaw in a new light.

The hallmark of the Saw franchise has always been its intricate storytelling, both in the design of deadly traps and in the moral dilemmas faced by its victims. However, Saw X falls short in this regard. Unlike earlier entries where the complexity and mystery were paramount, this instalment explains everything before the victims are even ensnared. The result is a lack of suspense and intrigue.

Moreover, the film abandons the social commentaries that previous Saw movies have touched upon. Themes like police brutality, tabloid celebrity, and healthcare and housing crises take a backseat, replaced by a straightforward revenge narrative. While the simplicity of the story might make it more accessible, it also robs it of the engaging layers that fans have come to expect.

A significant departure in Saw X is the way it portrays John Kramer as a sympathetic figure. We are given a glimpse into his personal life, his home, and his battle with cancer. When he realizes that his unconventional treatment hasn't saved him, the audience is meant to share in his frustration. This shift turns the movie into a horror-revenge story, where the audience finds themselves unexpectedly cheering for the character they once considered the "bad guy."

However, despite this unique angle, Saw X struggles to deliver a compelling or convincing story. It veers away from the series' usual themes of retribution and salvation, opting instead for a revenge-driven narrative that feels somewhat out of place.

Tobin Bell, who portrays John Kramer, deserves commendation for his efforts in the film. Despite the lacklustre script, he brings a certain depth to his character. Nevertheless, due to the poorly written character, his performance remains somewhat one-dimensional.

Saw X distinguishes itself from its predecessors by changing the formula of constant police investigations and gruesome traps. While this departure from the norm is intriguing, it adversely affects the pacing and thrill of the movie, leaving it feeling somewhat disjointed.

One notable aspect that hinders the overall experience is the mean-spirited tone and unproportional punishment surrounding each trap and its outcomes. While it may be challenging to feel sympathy for the characters caught in these traps, who are profiting from cancer patients, the film's approach detracts from the overall viewing experience.

In conclusion, Saw X attempts to bring a fresh perspective to the Saw series by delving into John Kramer's character and motivations. However, in doing so, it departs from the core themes that made earlier films in the franchise engaging. 

Despite Tobin Bell's commendable efforts, the movie's one-dimensional script and deviation from the usual narrative approach result in a lacklustre instalment that struggles to live up to the legacy of the Saw series. Fans of the franchise may find themselves longing for the complexity and moral dilemmas that have defined previous entries.

Saw X was released in NZ cinemas on September 29, 2023

THE EXORCIST: BELIEVER (2023)

When two girls disappear into the woods and return three days later with no memory of what happened to them, the father of one girl seeks out Chris MacNeil, who's been forever altered by what happened to her daughter fifty years ago.

In the world of scary movies, some old favourites like Scream and Halloween brought back the characters we love while introducing new faces. So, why not do the same for The Exorcist? The Exorcist: Believer tries to revive this famous horror series, but it doesn't quite hit the mark. It feels slow, has a weird structure, and, most importantly, it's not at all scary.

This movie makes an unusual mistake. It revisits one of the scariest movies ever made but somehow forgets to include the scary parts. They even reused the music from the original, but it still doesn't give you the chills.

The team behind this movie, including director David Gordon Green and writers Scott Teems, Danny McBride, and Peter Sattler, try to do some interesting things. They bring together a bunch of different characters to fight against a demon. The main character is Victor Fielding, played by Leslie Odom Jr. He's a protective single dad who has to assemble a group of people to help him save his daughter Angela (Lidya Jewett) and her friend Katherine (Olivia O’Neill) from being possessed by demons.

The beginning of the movie is actually not bad. It sets up the relationship between Victor and his daughter Angela really well. It also hints at Angela's desire to connect with her late mother and the growing fear as the parents realize something is wrong after their daughters go missing in the woods. But, despite all this, it's not scary or suspenseful. Still, the first part has some good moments, and you feel like the director might be onto something.

The actors in the movie are all pretty good, and they do a good job of making things tense. They create a sense of uncertainty, and if you didn't know this was an Exorcist movie, you might hope for some unexpected twists. Unfortunately, once they settle on the idea that it's all supernatural, the movie goes off in the wrong direction.

The movie tries to show how a community can fall apart when bad things happen and people can't get along. But it also tries to show how they can come together to fight against the evil. This group includes Katherine's very religious parents, their church leader, a nurse who used to want to be a nun, Victor's workout buddy and neighbour, a Catholic priest, and an African spiritualist Doctor. It's an interesting mix of people with different beliefs.

The movie tries to juggle too many subplots at once. There's Ann Dowd's character who wanted to be a nun when she was younger, some voodoo stuff going on, a Protestant minister getting involved, and even a Catholic priest who faces resistance from his superiors. It's just too much, and it takes away from the main story. Another problem is that they focus too much on Angela and her dad's relationship and forget about Katherine, the other girl who's possessed. This makes the story weaker and takes away from the potential for scary moments.

The movie's strength is in showing how a community can come together to fight evil, especially when they all have different beliefs. This part is interesting, even though the movie doesn't do a great job of it. But, in the end, The Exorcist: Believer falls short of being as shocking and scary as the original Exorcist movie. This shows just how powerful practical effects and makeup are for creating a truly terrifying atmosphere, something this movie lacks.

The Exorcist: Believer is a loud and chaotic movie that doesn't deliver the scares you expect from a horror film. It tries to explore themes of community and unity against evil but gets lost in a complicated plot and forgets to be scary. It can't match up to the classic original and misses the chance to bring new life to The Exorcist series for a new generation.

The Exorcist: Believer was released in NZ cinemas on October 5, 2023

A HAUNTING IN VENICE (2023)

In post-World War II Venice, Poirot, now retired and living in his own exile, reluctantly attends a seance. But when one of the guests is murdered, it is up to the former detective to once again to uncover the killer.

In Kenneth Branagh's latest Agatha Christie movie, A Haunting in Venice, we follow the famous detective Hercule Poirot on yet another exciting adventure. This is the third movie in Branagh's series, following Murder on the Orient Express and Death on the Nile. Poirot, played by Branagh himself, finds himself in the beautiful but mysterious city of Venice, where he tries to stay out of trouble but ends up in the middle of a strange and deadly case.

At the start of the movie, Poirot is in Venice, trying to avoid getting involved in any mysteries. He even hires someone to protect him from people who want his help. But trouble always seems to find him. Ariadne Oliver, played by Tina Fey, a friend who writes mystery stories, invites him to a strange party at Rowena Drake's house, a former opera singer played by Kelly Reilly. The highlight of the party is a seance led by Joyce Reynolds, a famous psychic or possibly a fake, played by Michelle Yeoh. Oliver wants Poirot to help figure out if the seance is real or a hoax.

From the beginning, A Haunting in Venice sets a spooky and mysterious mood. Venice is covered in thick mist, and the eerie music by Hildur Guðnadóttir adds to the creepy feeling. As bells ring and crows caw, you can't help but feel that something bad is about to happen. The movie does a great job of creating a scary atmosphere, which sets it apart from the other movies in the series.

While the movie may have some awkward moments and scenes that could have been done better, it doesn't shy away from the supernatural elements of the story. Some viewers might guess who the killer is, but the script by Michael Green has enough surprises to keep us guessing.

Unlike the previous movies, which were about revenge and greed, A Haunting in Venice explores the idea of life after death. It makes us think about whether there's something beyond this life. This adds depth to the story as Poirot tries to solve the murder mystery while also dealing with questions about the afterlife.

One of the best things about this movie is its excellent craftsmanship. Kenneth Branagh uses creative camera work and angles to make us feel like we're seeing things from a child's perspective or from the point of view of spirits in the haunted house. This unique style adds to the spooky feeling and draws us into the supernatural world.

The movie also combines computer-generated effects with real locations in Venice and soundstages to make everything feel real and weighty. It shows the beauty of Venice but also the strange and eerie events happening in its historic streets and canals.

Kenneth Branagh's performance as Poirot is once again impressive. While he's not as over-the-top as in the previous movie, he still captures the character's quirks and accent. This time, Poirot is more complex, and Branagh brings out these layers well, making him a compelling character in this supernatural mystery.

A Haunting in Venice might have some predictable moments and scenes that could have been better, but it excels at creating a spooky atmosphere and making us think about the mysteries of life and death. The shift towards a more old-fashioned horror style, reminiscent of movies from the mid-20th century, gives Branagh's Agatha Christie adaptations a unique flavour. 

With interesting characters, a mysterious setting, and a plot that keeps us guessing, A Haunting in Venice is another exciting addition to the Poirot series. It encourages us to ponder life's mysteries, both in this world and beyond, making it a valuable part of Branagh's Christie collection.

A Haunting in Venice was released in NZ cinemas on September 14, 2023

UPROAR (2023)

A 17-year-old student is forced to get off the fence he has actively sat on all his life to stand up for himself, his whanau (family) and his future in this heartwarming story of identity.

Uproar, the latest film from New Zealand, takes us on a heartfelt journey through a tough time in the country's history. It's also a story about growing up, facing racism, and discovering who you are. Directed by Hamish Bennett and Paul Middleditch, this movie is set in the 1980s during a big rugby event that caused a lot of arguments in New Zealand.

The film's colours and style make it feel like we're back in the '80s. It doesn't hide the problems of that time, like racism and unfair treatment of the Māori people. The main character is a 17-year-old named Josh, played by Julian Dennison. He's like a lot of teenagers, trying to fit in, but he also has to deal with racism at school.

Josh's mom, played by Minnie Driver, wants him to join the school's rugby team to get support from the school's old boys. But Josh doesn't like rugby and feels out of place. His only escape is a drama club run by a cheerful teacher named Brother Madigan, played by Rhys Darby. Josh is good at talking, and the drama club becomes his safe place. As the story unfolds, Josh becomes more aware of the problems in his country. The film uses real news footage from the protests and police clashes, making the story even more powerful.

Uproar doesn't hide the big issues it talks about, like racism and unfair treatment. It's not a subtle movie, but it has a lot of heart. It connects the big historical events with a personal story that you can relate to.

One of the main themes in the film is finding yourself. Josh feels like he doesn't fit in because he's caught between two worlds. His father was Māori, but he passed away, and his mother is from England. As the protests get closer, Josh has to make important choices about his future and what his family's past means to him.

The directors, Paul Middleditch and Hamish Bennett, along with Sonia Whiteman, tell a story that's not just about one person but about New Zealand's cultural identity. This is important, especially now when there are debates about supporting the Māori community.

Julian Dennison, who's known for his humour, shows his serious side and brings out strong emotions in his performance. The film's big heart and touching story make it a must-see. 

When one of Josh's teachers, played by Rhys Darby, suggests he join the drama club, and his best friend Grace joins the protests, Josh finds a new calling and a deeper connection to his culture. With his charm and wit, Julian Dennison's character explores complex emotions in a powerful way. Darby, known for his funny roles, shows his serious side in this movie. He's a caring teacher who brings humour and warmth to his character.

Uproar tells us that the Māori people belong to New Zealand, but they also feel unwelcome sometimes. They can't just forget about the past because it still affects them. The film shows how hard it is to find your place when you're stuck between two worlds.

A touching and powerful movie that takes us back to a crucial time in New Zealand's history. It talks about important issues like racism and unfair treatment in a straightforward way. The talented cast, led by Julian Dennison and Rhys Darby, delivers performances that make the story even more powerful. Uproar is a movie that speaks not only to New Zealand but to the whole world, reminding us of the ongoing struggle for justice and cultural recognition. It's a film that combines entertainment with deep thoughts, making it a must-see for everyone.

Uproar was released in NZ cinemas on October 5, 2023

THE CREATOR (2023)

Against the backdrop of a war between humans and robots with artificial intelligence, a former soldier finds the secret weapon, a robot in the form of a young child. 

In the ever-expanding realm of science fiction cinema, The Creator stands out as a remarkable gem that has seemingly slipped under the radar. Directed and co-written by Gareth Edwards, this original masterpiece offers a captivating narrative set against a visually stunning backdrop, featuring a talented ensemble cast led by John David Washington, Gemma Chan, and the astonishing debut of Madeleine Yuna Voyles. In this review, we'll delve into the compelling aspects of The Creator and explore the reasons behind its unexpected emergence onto the cinematic stage.

At the heart of The Creator lies a thought-provoking exploration of a not-so-distant future. The film paints a vivid picture of 2070, in what is now known as New Asia, where humanity grapples with the rise of artificial intelligence. This dystopian world is brought to life through Gareth Edwards' masterful direction, creating awe-inspiring landscapes, formidable war machines, and intense robot-human skirmishes that rival the biggest studio productions. It's a testament to Edwards' ability to craft immersive and visually striking worlds that leave a lasting impact on the audience.

The film introduces us to Joshua, portrayed by the enigmatic John David Washington, who embarks on a perilous journey after being separated from his wife, played by the talented Gemma Chan. Washington's performance is a revelation, shedding his stoic on-screen persona to deliver a heartfelt and achingly real portrayal of a man haunted by his past. As viewers, we are drawn into Joshua's struggles, believing in his resilience and the emotional complexity he brings to the character.

However, it is the breakout performance of Madeleine Yuna Voyles as Alphie that truly steals the show. Voyles' expressive and emotive acting lends a captivating authenticity to the film. Her character serves as a bridge between the human and AI worlds, and Voyles navigates this role with remarkable skill, making us genuinely care for her character's fate.

The Creator is a narrative that takes familiar themes from the sci-fi genre, such as the dehumanization of the other, and infuses them with a fresh perspective. The film gradually humanizes the villainized entities, reminding us that even the most brutally oppressed non-human entities deserve empathy and understanding. In this sense, The Creator shares thematic parallels with iconic films like the Terminator series, District 9, and the immediate comparison, Avatar.

Furthermore, the film's narrative can be interpreted on multiple levels, serving as a reflection of contemporary issues such as anti-migrant sentiment and the consequences of military interventions. It's a compelling narrative that invites audiences to contemplate the consequences of our actions and the treatment of those who are marginalized.

While The Creator admirably tackles its thought-provoking themes, it is not always subtle in its messaging, occasionally resorting to exposition dumps. The film's plotting can also feel somewhat clunky at times. However, these shortcomings are overshadowed by its overall rousing and engrossing storytelling, allowing us to forgive its minor flaws.

One cannot discuss The Creator without acknowledging its visual splendour. Gareth Edwards transports us to a post-apocalyptic world with incredible attention to detail. The android settlements, warships, and action sequences are a visual delight, seamlessly integrated with CGI that enhances rather than detracts from the experience. The film is a testament to the craft and care taken in its creation.

The emotional core of The Creator is its greatest strength. Amidst the dazzling visuals and complex narrative, the film never loses sight of the human experience. It explores the depths of emotion, from Joshua's inner turmoil to the connection between him and Alphie. This emotional resonance grounds the film and ensures that it remains relatable and engaging.

The Creator takes audiences on a rollercoaster ride of action and emotion, but it encounters turbulence in its final act. The rushed nature of the conclusion feels formulaic and, at times, flimsy. While the film maintains its momentum for most of its runtime, the third act does leave room for improvement.

The Creator is a cinematic surprise that deserves far more recognition than it has received. Gareth Edwards' vision, combined with outstanding performances from John David Washington and the remarkable Madeleine Yuna Voyles, creates a compelling and visually stunning experience. The film's exploration of themes related to AI, oppression, and redemption invites viewers to think deeply while enjoying a thrilling ride.

Despite a few hiccups in its narrative pacing and conclusion, The Creator remains a testament to the power of mid-budget, original storytelling in the sci-fi genre. It proves that even in a world dominated by big-budget blockbusters, there is still room for intimate, thought-provoking cinema. It stands as a testament to the creative potential of science fiction in the hands of a visionary director and a talented cast, making it a must-watch for both fans of the genre and those seeking a cinematic experience that challenges the mind and touches the heart.

The Creator was released in NZ cinemas on September 28, 2023