THE HUNGER GAMES: THE BALLAD OF SONGBIRDS & SNAKES (2023)

Years before he became the tyrannical president of Panem, 18-year-old Coriolanus Snow remains the last hope for his fading lineage. With the 10th annual Hunger Games fast approaching, the young Snow becomes alarmed when he's assigned to mentor Lucy Gray Baird from District 12. Uniting their instincts for showmanship and political savvy, they race against time to ultimately reveal who's a songbird and who's a snake.

In The Hunger Games cinematic universe, The Ballad of Songbirds and Snakes emerges as an ambitious prequel directed by Francis Lawrence and penned by Michael Lesslie, Michael Arndt, and Suzanne Collins. However, the noticeable absence of Jennifer Lawrence, a key figure in the prior films, sets the stage for a narrative unfolding decades before the emergence of Katniss Everdeen.

The storyline unfolds 64 years before the inaugural Hunger Games film, situated in a post-war Panem. It paints a portrait of an almost desolate Capitol and introduces us to an 18-year-old Coriolanus Snow, portrayed by English actor Tom Blyth. Snow, a naive student at the prestigious Capitol Academy, becomes entangled in a significant twist commemorating the tenth Hunger Games anniversary. The film introduces Lucy Gray, a vibrant and rebellious tribute played by Rachel Zegler, infusing her character with Southern charm and a penchant for spontaneous song.

With a runtime of two hours and forty minutes, the film delves beyond the Games, chronicling Snow's transition from an earnest participant to the mastermind orchestrating the brutal Hunger Games. However, this transformation feels hasty and lacks focus, diminishing the impact of Snow's evolution.

Ballad endeavours to explore a Panem on the brink of moral ambiguity, a society not entirely desensitized to the gruesome spectacle of the Games. It aims to reflect on media consumption and societal indoctrination, particularly the affluent's relish in the downfall of the less fortunate.

In its attempt to humanize Coriolanus Snow, the film encounters stumbling blocks. Uncharacteristic hesitancy and a lack of confidence overshadow the ruthless character, causing unnecessary confusion and diluting the impact of his decisions. This misguided effort to elicit sympathy undermines the portrayal of a notoriously ruthless figure.

Rachel Zegler's portrayal of Lucy Gray showcases her remarkable singing range, adding depth to her character. However, the film grapples with pacing issues, notably in the third act, where a sudden shift in tone seems more focused on setting up future sequels than serving the current narrative. The film becomes, in essence, a tale of two halves.

Ballad hesitates to fully commit to exploring Snow as a twisted antihero, instead clinging to a Romeo and Juliet-style romance. This diversion, occasionally affecting, primarily serves as a distraction from the intriguing road-to-ruin story promised by the premise.

Director Francis Lawrence, helming most Hunger Games films, closely adheres to the source material, presenting challenges. The second act lingers excessively within the Games, while the third act takes an unexpected detour away from the Capitol. Both choices contribute to a bloated running time exceeding 2 1/2 hours, diluting the tension.

As the Games conclude, the film delves into Snow's villainous origins, presenting decisions detached from the character's established persona. Dark choices appear rushed, lacking the necessary build-up for plausibility. The film struggles to find its footing, seemingly caught off guard by the necessity to narrate Snow's turn towards malevolence.

The decision to consolidate diverse narratives into a single film raises questions, especially when juxtaposed with the split of Mockingjay into two parts. Despite an abundance of characters, the film's premise doesn't significantly deviate from its predecessors, adhering to the formula of oppressed survivors overcoming tyrannical authorities in gladiatorial trials.

While some violence escalates with a darker tone, the action outside the relationship drama fails to captivate. Ballad retraces familiar beats from earlier films but with subpar editing and a scarcity of sci-fi elements.

The Ballad of Songbirds and Snakes strives to chart a unique course in the Hunger Games saga. Despite commendable performances, particularly from Rachel Zegler, and the exploration of moral ambiguity, the film succumbs to pacing issues, a conflicted portrayal of its protagonist, and a narrative discord hindering its overall impact. 

The absence of Jennifer Lawrence is evident, and her lack of presence is not sufficiently countered, prompting contemplation on whether this prelude added a harmonious melody to the Hunger Games symphony or if it lost itself in discordant notes.

The Hunger Games: The Ballad of Songbirds & Snakes was released in NZ cinemas on November 16, 2023

ANYONE BUT YOU (2023)

Despite an amazing first date, Bea and Ben's initial attraction quickly turns sour. However, when they unexpectedly find themselves at a destination wedding in Australia, they pretend to be the perfect couple to keep up appearances.

In the enchanting realm of romantic comedies, Anyone But You, helmed by director Will Gluck and penned by Ilana Wolpert and Will Gluck, takes audiences on a whimsical journey through the intricacies of miscommunication and pretence. Sydney Sweeney assumes the role of Bea, while Glen Powell portrays Ben, creating a magnetic on-screen dynamic that infuses the film with energy and charm.

A distinctive feature of the film lies in the authentic chemistry shared between Sweeney and Powell. Their on-screen connection is so compelling that the orchestrated plot twists, meant to introduce tension, come across as somewhat conspicuous and forced. The duo's magnetic presence elevates the film, drawing viewers into the amusing escapades that unfold.

Anyone But You endeavours to inject a contemporary and inclusive essence into the traditional rom-com narrative, featuring an interracial queer couple and a Black family. However, these characters often serve more as narrative catalysts than fully fleshed-out individuals. While the film earnestly aims for inclusivity, the characters' roles appear somewhat tokenistic.

The narrative intricately weaves a tapestry of relationships, misunderstandings, and familial dynamics. Bea, a law school dropout, and Ben, a charismatic stock trader, find their lives entwined after a transformative one-night stand. The ensuing complexities lead them to feign a romantic connection for the sake of a family wedding in Australia, resulting in a backdrop of delightful chaos.

Yet, the film navigates a delicate balance between an abundance of plot twists and a lack of rational problem-solving. The characters' dilemmas could be easily resolved with a moment's reflection, introducing an element of frustration to an otherwise light-hearted storyline.

Anyone But You wholeheartedly embraces the timeless tropes of romantic comedies, immersing itself in the dance of love, misunderstanding, and reconciliation. The film's success hinges on its ability to enthral the audience with silliness and over-the-top clichés, creating an entertaining and engaging viewing experience.

Unfortunately, the supporting characters remain one-dimensional, serving more as plot devices than evolving into fully realized individuals. This lack of depth in the ensemble cast diminishes the overall impact of the film, leaving much to be desired in terms of a well-rounded and relatable supporting cast.

Despite its imperfections, Anyone But You excels as a delightful escape into the world of fun and whimsy. The film's charm, wit, sincerity, and emotional moments, coupled with the picturesque subtropical setting, contribute to its breezy and enjoyable nature.

The movie positions itself as a modern interpretation of Shakespeare's Much Ado About Nothing, adding an intriguing layer to the narrative. Glen Powell's portrayal of Ben, a character with flaws and a partial awareness of his shortcomings, injects unexpected humour into the story. Sydney Sweeney showcases her talent for physical comedy, enhancing the film's comedic elements.

Anyone But You fulfils its promise of R-rated entertainment, delivering amusing and increasingly ludicrous sequences and nudity. Powell and Sweeney infuse a fiery energy into their characters' journey from disdain to affection, providing a refreshing twist to the traditional rom-com storyline.

The film's reliance on rom-com clichés proves to be both a strength and a weakness. While some clichés seamlessly integrate into the narrative, thanks to a self-aware perspective, others verge on the cringe-worthy. The introduction of a battle of the ages adds complexity, creating a blend of moments that resonate and others that fall flat.

Anyone But You shines with its vibrant and energetic presentation, complemented by the undeniable attractiveness of the main couple. The film's predictability doesn't hinder its watchability, as it is enhanced by a surprising dose of charm and emotional depth, particularly in Glen Powell's performance.

Anyone But You emerges as a delightful rom-com that skillfully weaves humour, romance, and absurdity. While facing stumbling blocks in certain areas, the film's overall allure and the captivating chemistry between its leads make it a worthwhile addition to the romantic comedy genre.

Anyone But You is in NZ cinemas from December 26, 2023

THE JUNGLE BUNCH: WORLD TOUR (2023)

Who do you call to help when a mysterious supervillain covers the jungle with pink foam that explodes upon contact with water? The Jungle Bunch! Less than a month before the rainy season, the race against time is on. From the North Pole to the Far East, crossing mountains, deserts and oceans, our heroes will have to travel the world in search of an antidote, far from their favourite jungle!

The Jungle Bunch: World Tour takes viewers on a whirlwind adventure with the beloved characters from the popular French children's animated show. Directed by Laurent Bru, Yannick Moulin, and Benoît Somville, and features the creative minds of writers David Alaux, Eric Tosti, and Jean-François Tosti.

The plot revolves around a mysterious supervillain who blankets the jungle with a toxic pink foam that reacts explosively to water. In response, the Jungle Bunch springs into action, embarking on a worldwide quest to find an antidote. The film's premise is undeniably intriguing, offering a mix of humour, action, and globe-trotting escapades. It's simple but provides an effective "ticking timer" that pushes the story forward.

One of the film's notable strengths lies in its ability to capture the attention of both children and adults. The Jungle Bunch universe introduces unique characters, such as a tiger-penguin with a tiger-goldfish son, sparking curiosity. The original series boasts a whopping 158 episodes, so diving into the extensive lore may be a daunting task for newcomers, but the previous self-titled 2017 film, The Jungle Bunch, will satisfy any curiosity remaining after the credits.

The movie manages to deliver reasonably funny moments and boasts well-crafted animation. However, it faces the challenge of sustaining interest over its 90-minute runtime; it is certainly more suitable for a shorter format. While simplicity characterizes the storyline, the film compensates with humour and action sequences, creating an entertaining experience.

The Jungle Bunch: World Tour leans towards a straightforward narrative without delving into complex emotional journeys. The plot moves swiftly, but the film's simplicity allows viewers to adapt quickly. This simplicity extends to the characters, who are brightly coloured but often one-dimensional or lack distinct personalities. While this limits room for character arcs or personal development, it caters to a younger audience (4-7 years old) by offering simplicity and easy comprehension.

Unlike some animated projects that incorporate subtle adult humour and mature elements, The Jungle Bunch maintains a straightforward approach, aiming squarely at a younger demographic. The film unfolds like a convoluted Rube Goldberg machine, propelling the Jungle Bunch from one set piece to the next through a combination of luck and plentiful MacGuffins.

Amid the main storyline, the film briefly explores smaller arcs touching on themes like jealousy and abandonment. These themes are handled delicately to prevent any shock for younger audiences, allowing the movie to maintain its family-friendly appeal.

In terms of animation, The Jungle Bunch: World Tour showcases a vibrant visual palette with well-rendered and designed characters. Action sequences are executed smoothly, contributing to the film's overall appeal. However, the animation style may be perceived as lacking emotion, particularly in the characters' eyes. Despite this, the film succeeds in delivering an engaging visual experience.

The Jungle Bunch: World Tour offers a delightful adventure for young audiences, combining humour, action, and colourful characters. While the film may be too simple for some adult viewers, it achieves its goal of providing wholesome entertainment for children. The lack of intricate character development is compensated by the film's vivid animation and straightforward storytelling, making it a suitable addition to family movie nights.

In the vast jungle of animated films, The Jungle Bunch stands out as a lighthearted romp around the globe, inviting audiences to join the lovable characters on their quest for a pink foam-free jungle.

The Jungle Bunch World Tour is in NZ cinemas from January 18, 2024

OPPENHEIMER (2023)

The story of American scientist, J. Robert Oppenheimer, and his role in the development of the atomic bomb.

In Christopher Nolan's latest film, Oppenheimer, the intricate life of physicist J. Robert Oppenheimer takes centre stage, skillfully portrayed by Cillian Murphy. With a stellar cast and a dynamic narrative structure, the film navigates Oppenheimer's journey from quantum physics to the Manhattan Project and beyond. Split into three distinct acts, each possessing its own unique style, the film's ambitious approach, while commendable, introduces some notable challenges.

Oppenheimer unfolds as a three-act narrative, illuminating Oppenheimer's scientific contributions, the creation of the atomic bomb, and the subsequent courtroom drama. Christopher Nolan, alongside co-writers Kai Bird and Martin Sherwin, crafts a high-energy biopic filled with dynamic pacing, complemented by Ludwig Göransson's powerful score. The film employs a non-linear structure, seamlessly weaving between timelines and formats, creating an immersive and engaging experience.

Cillian Murphy's portrayal of Oppenheimer is a standout performance, capturing the scientist's vulnerability and enigma. Supported by an ensemble cast including Emily Blunt, Matt Damon, and Robert Downey Jr., the film sustains its captivating narrative throughout its three-hour duration.

Captured for IMAX, Oppenheimer delivers scenes that balance epic grandeur with intimate moments, whether portraying towering pillars of fire or nuanced conversations. Nolan's adept use of black-and-white and colour cinematography, coupled with shifts in film stock and aspect ratios, enriches the visual narrative. While some moments lack subtlety, the overall visual experience remains consistently stunning, contributing to the film's immersive nature.

Despite the film's intricate structure, Nolan's direction and Göransson's score collaboratively create an atmosphere of unrelenting dread. The narrative's focus on Oppenheimer's unique perspective, coupled with vivid depictions of scientific processes, amplifies the weight of the atomic bomb's creation and its consequences. The technical finesse displayed in maintaining focus amid timeline shifts is commendable, making Oppenheimer a cinematic marvel.

In its exploration of Oppenheimer's life, the film sidesteps deep political analysis, using communism as a backdrop without delving into ideological exploration. Furthermore, there is a noticeable limitation in the portrayal of female characters, reflecting historical biases present in the subject matter. Despite being framed around political proceedings, the film surprisingly offers little insight into the political conditions of the era.

Oppenheimer encounters challenges in its opening scenes, with a lack of clarity that may initially disorient viewers. However, as the narrative settles, a clearer storyline emerges, culminating in a robust emotional payoff by the climax. Cillian Murphy's nuanced performance, marked by a powerful gaze, contributes to the film's emotional resonance.

While Murphy's portrayal of Oppenheimer is compelling, the film has a one-sided focus on the "tortured white male genius". The victims of the atomic bomb's atrocities, particularly the Japanese and Native Americans, are somewhat overlooked, creating a noticeable gap in the narrative. This omission prompts questions about the film's portrayal of historical events and the perspectives it chooses to emphasize.

Oppenheimer stands as a cinematic triumph, showcasing Nolan's directorial prowess and Murphy's stellar performance. The film's dynamic storytelling, visual spectacle, and unrelenting atmosphere contribute to its immersive nature. Despite its one-sided focus and historical oversights, as a three-hour cinematic experience, Oppenheimer manages to captivate audiences without overstaying its welcome.

Oppenheimer was released digitally on November 21, 2023

THE BOY AND THE HERON (2023)

Mahito, a young 12-year-old boy, struggles to settle in a new town after his mother's death. However, when a talking heron informs Mahito that his mother is still alive, he enters an abandoned tower in search of her, which takes him to another world.

Hayao Miyazaki, the creative force behind Studio Ghibli, takes audiences on an enchanting journey with his latest masterpiece, The Boy and the Heron. Miyazaki crafts a tale of profound depth, weaving themes of loss, grief, and the transformative power of imagination. This cinematic gem delves into a magical realm that captivates both the eyes and the heart.

Against the backdrop of war-torn Tokyo in 1943, the film introduces us to Mahito, a young boy whose world crumbles in the wake of an Allied bombing, resulting in the loss of his mother. Miyazaki skillfully portrays Mahito's deep mourning, leading to his reluctant relocation to the countryside with an emotionally distant father and a new stepmother. The solitude of Mahito's walks becomes a canvas for a unique relationship with a mysterious grey heron, setting the stage for a captivating narrative that explores both tangible and metaphysical worlds.

The Boy and the Heron unfolds as Mahito embarks on a quest to confront paralyzing grief. The film gracefully guides audiences into Miyazaki's dreamworld, where life and death dance together, and fantastical adventures unfold. The animation's handmade feel becomes apparent in daring character designs and compositions. Colours bleed beyond lines, portraying chaos, and characters contort in mesmerizing ways.

Miyazaki introduces a rich palette of characters, including the titular heron, who is revealed to be a man in disguise. Together, this unlikely duo traverses an otherworldly realm where younger versions of the living and the dead coexist. The film masterfully balances heavy themes of grief and war with moments of humour, featuring comically dull-witted parakeets and the heron's misadventures. This delicate balance transforms The Boy and the Heron into a delightful fantasy film, offering a touch of magic on the big screen.

Miyazaki's enchanted world oscillates between light and darkness, mirroring life's complexities. Themes of grief and war are explored with a delicate touch, providing levity through humorous characters and situations. However, the continuous introduction of new layers and ideas may challenge some viewers, and a more condensed runtime could have enhanced the film's overall pacing.

The animation's breathtaking visuals, reminiscent of watercolours and oils, immerse the audience in a world where reality and fantasy seamlessly coexist. The music score, skillfully composed, complements the narrative without overpowering the scenes. Miyazaki's inventive storytelling and imagery consistently surprise, refusing to let the audience passively observe Mahito's transformative odyssey.

While the film's plot is undeniably intricate, there's a distinction between complexity and complication. Miyazaki's choice to embrace complexity results in a slow-burn storytelling approach. Streamlining certain segments for brevity, without sacrificing thematic richness, could have elevated the film's overall impact.

As Mahito explores "the above," Miyazaki cleverly employs the four elements—Earth, water, air, and fire—to construct a universe of wonder and depth. Each challenge Mahito faces becomes a journey of curiosity and awe, leaving the audience spellbound.

The Boy and the Heron unfolds its magical system with a careful unveiling of relevant aspects, allowing Miyazaki to explore ideas without overwhelming the audience. Themes of death and horror, disguised by playful characters, create a captivating blend of mystery and enchantment throughout the film.

Hayao Miyazaki's storytelling and direction bring forth a poignant narrative that transcends the boundaries of animated cinema. As Mahito's journey unfolds in a world where reality and fantasy intertwine, audiences are treated to a visually stunning and emotionally resonant experience. 

The Boy and the Heron is in NZ cinemas on December 7, 2023