FAULTY TOWERS - THE DINING EXPERIENCE

Basil, Manuel and Sybil are in town—and they’re bringing a healthy dose of mayhem to your door. Fully immersive, highly interactive and completely original, this is the top-flight show where anything can happen and usually does—and with 70% of the show improvised, it’s never the same twice. With two hours of comedy, three courses of food, and five-star reviews, expect chaos, laughs, and a brilliant night out. 

For fans of the beloved British TV series Fawlty Towers, the interactive dining experience Faulty Towers: The Dining Experience offers an unforgettable evening of chaotic comedy and ‘70s-style hospitality. Paying tribute to the original show, created by John Cleese and Connie Booth, this immersive event transports guests directly into the world of Basil, Sybil, and Manuel. As an interactive theatre piece staged in a restaurant, this experience takes the audience from mere viewers to participants, with comedy and chaos unfolding right at the dinner table.

The concept behind Faulty Towers: The Dining Experience is simple yet brilliant: take the classic comedic tension of the Fawlty Towers hotel and bring it to life in a live setting. Audience members are no longer just spectators but esteemed guests at Basil’s mismanaged establishment. The cast for the 2024 New Zealand tour includes Jed McKinney as Basil, Eilannin Harris-Black as Sybil, and Michael Gonsalves as Manuel – each delivering their own spin on these iconic characters.

From the moment you arrive, the show begins. After a brief welcome period, during which guests can refresh at the bar, the infamous Basil and Manuel make their first appearance, and from there, the mayhem quickly ensues. Manuel is collecting the wrong glasses, and Basil misreads and critiques names as guests are hurriedly ushered to their seats, already giving a taste of what’s to come.

Once seated, the real fun begins. The evening revolves around the antics of the three lead characters. Manuel, with his limited understanding of English, provides endless opportunities for misunderstanding and slapstick humour. Basil’s frustration grows as he attempts to manage the chaos, while Sybil steps in from time to time, offering both reprimands and her own brand of unhelpful management. The performance is packed with physical comedy, with bread rolls flying across the room, chairs being misplaced, and Manuel rolling himself over serving dishes.

The show pays homage to the original series by including recognisable snippets and familiar gags. However, even for those unfamiliar with Fawlty Towers, the experience remains entertaining. I shared a table with a group of guests who had seen only a few minutes of the original series, and they were laughing as hard as those more acquainted with the iconic episodes. The blend of slapstick comedy and wordplay ensures that the humour is accessible to all, regardless of whether you’re a die-hard Fawlty Towers fan or not.

The meal itself, a three-course ‘70s-style dinner, is woven into the show in such a way that it becomes part of the performance. Served over two hours, the courses are punctuated by moments of absurdity, including the discovery of "personal items" among the plates and the playful mistreatment of guests – some being temporarily ignored, while others, particularly men, receive comically disproportionate attention. Despite the madness, the food arrives with minimal hitches, thanks to the assistance of the show's additional "competent staff." It’s a testament to the direction of the show that they can balance both performing and ensuring the practicalities of dinner service run smoothly.

Each of the three main actors brings a distinct energy to their roles. Jed McKinney, as Basil, bears a striking physical resemblance to John Cleese, with his height and tone fitting the character. Though his portrayal of Basil’s frustration doesn’t quite reach the towering levels of Cleese’s rage, McKinney’s more restrained approach results in an engaging and comfortable performance that avoids alienating the audience. It’s clear he has studied the character well, as his body language and exasperated expressions are spot on.

The true comedic powerhouse of the night, however, is Michael Gonsalves as Manuel. His portrayal of the lovable but confused Spanish waiter anchors much of the evening’s humour. With excellent comedic timing and infectious energy, Gonsalves excels in the role, effortlessly navigating the physical demands of the character. His facial expressions, clumsy movements, and broken English have the audience in stitches. Even during quieter moments, Gonsalves manages to keep the energy up with improvised jokes, adding a layer of unpredictability to the performance. Though his moustache and hair don't look as authentic, his brilliant use of physical comedy and charming performance more than compensate.

Eilannin Harris-Black, as Sybil, takes on a smaller role compared to her counterparts, but she is nonetheless crucial to maintaining the chaotic flow of the evening. Popping in and out of scenes, she plays the role of a mini-antagonist, often nudging the action along and helping to direct Basil and Manuel when things spiral out of control. Her sharp tongue and no-nonsense attitude mirror the original character, and while she may not have the same stage time as Basil or Manuel, her presence is felt in every scene.

One of the key aspects of Faulty Towers: The Dining Experience is its reliance on improvisation. The performers skilfully interact with the audience, creating a sense of spontaneity and unpredictability that keeps the energy high, with the audience's real birthdays and wedding anniversaries merged into the experience. Manuel’s misunderstandings and Basil’s impatience lead to unique interactions with different tables, ensuring no two shows are the same. The interactive nature of the event means that each audience member’s experience feels personal, as the cast tailors jokes and moments to the reactions of the crowd.

Despite the improvisation and new elements, the show remains firmly rooted in the world of Fawlty Towers, with many of the jokes being recycled from the original script. However, this recycling feels more like a tribute than a lack of originality. For fans of the show, seeing the German goose step or Basil’s barely-contained rage unfold in person is a treat. At the same time, the fresh jokes and improvisational moments ensure the performance is much more than a simple re-enactment of TV episodes.

Faulty Towers: The Dining Experience offers a delightfully chaotic evening of entertainment, blending physical comedy, quick wit, and immersive interaction. Whether you're a long-time fan of the original series or new to the world of Basil, Sybil, and Manuel, this show guarantees laughter from start to finish. The 2024 cast, with McKinney, Gonsalves, and Harris-Black, deliver a memorable performance that both honours the original and adds its own twist. If you're looking for an evening of hilarity with a side of delicious nostalgia, this dining experience is not to be missed.

Booking fee included in ticket price. All tickets include a 3-course meal and 2-hour interactive show.

HAROLD AND THE PURPLE CRAYON (2024)

Inside of his book, adventurous Harold can make anything come to life simply by drawing it. After he grows up and draws himself off the book's pages and into the physical world, Harold finds he has a lot to learn about real life.

In Harold and the Purple Crayon, director Carlos Saldanha brings to life Crockett Johnson’s beloved children’s book, but with a twist—the story follows a now-adult Harold on a journey that extends beyond the confines of his storybook world. With a magical crayon that can create anything he imagines, Harold, played by Zachary Levi, embarks on a quest to find the missing Narrator of his book.

Blending live-action with animation, the film’s visuals are one of its key strengths. Gabriel Beristain’s cinematography contrasts the whimsical 2D animated world that Harold comes from with the more grounded live-action setting of the real world. This juxtaposition gives the movie a unique style, though at times the film struggles to fully capitalise on the imaginative possibilities of its premise. While the visual elements are charming, they fall short of the vibrant creativity that could have made Harold’s world more immersive.

The storyline is structured around Harold’s "fish out of water" experience as he discovers the real world. This is a familiar narrative trope, reminiscent of films like Barbie, Elf, Enchanted, and Big, where characters from fantastical settings must navigate ordinary environments. While the trope isn’t original, it remains effective, providing plenty of light-hearted comedy. Harold’s naïveté about the world leads to amusing misunderstandings, much of which will entertain younger audiences. Yet, there are moments of humour aimed at adults, ensuring that parents watching with their children have something to chuckle at as well.

One of the film’s strongest aspects is how it balances being both a children’s movie and something that adults can enjoy. The film’s central message about imagination resonates with audiences of all ages. It serves as a reminder that, as adults, we often lose sight of the importance of creativity and dreaming, and Harold’s crayon, which can bring anything to life, symbolises the boundless potential of the human imagination. This theme is explored throughout the movie, though the screenplay doesn’t fully delve into its deeper implications.

While the film encourages imagination, the plot itself is often predictable. The villain, though entertaining, never feels truly menacing, keeping the stakes low and preventing the film from building much tension. However, this light-heartedness also makes the movie suitable for all ages, as the threat never becomes too intense for younger viewers. In this way, the film maintains a playful, pantomime-like tone that keeps the mood fun and lively.

The cast delivers solid performances, with Zachary Levi bringing enthusiasm to the role of Harold. However, much of the film’s heart comes from young Benjamin Bottani, who plays Mel, a character who adds a sense of youthful wonder to the story. The supporting characters, Moose and Porcupine, portrayed by Lil Rel Howery and Tanya Reynolds respectively, provide comic relief and quirky charm, though their roles are underdeveloped due to the film’s split focus across multiple characters.

The film’s climax, which features a showdown involving Harold’s crayon, is one of the most visually exciting moments, finally delivering on the creative potential that was hinted at throughout the film. However, much of the film leading up to this point feels like a missed opportunity, as it leans heavily on familiar tropes rather than fully exploring the imaginative possibilities of the magical crayon.

Harold and the Purple Crayon is an enjoyable family film that doesn’t quite reach the heights of its source material. While it offers a fun and light-hearted experience, it lacks the depth and creativity that could have made it truly special. Still, for audiences who go in expecting a simple, fun adventure, the movie delivers enough charm to make for an entertaining outing. The film reminds us that, sometimes, all we need is a little imagination to make life more exciting—even if the movie itself doesn’t always live up to that promise.

Harold and the Purple Crayon is in NZ cinemas from September 26, 2024

MEGALOPOLIS (2024)

The city of New Rome is the main conflict between Cesar Catilina, a brilliant artist in favour of a utopian future, and the greedy mayor Franklyn Cicero. Between them is Julia Cicero, her loyalty divided between her father and her beloved.

After 13 years away from filmmaking, Francis Ford Coppola returns with Megalopolis, a film brimming with ambition but teetering on the edge of chaos. This epic blend of ancient Rome and a futuristic New York City—rebranded as “New Rome”—tackles grand philosophical ideas, but its execution struggles under the weight of its sprawling narrative and overstuffed subplots.

At the heart of the film is Cesar Catilina (Adam Driver), a visionary artist with the ability to manipulate time, who believes that a substance called Megalon holds the key to a utopian future. His adversary is Mayor Cicero (Giancarlo Esposito), a figure who represents the forces of tradition and the status quo, standing against Catilina's radical plans for a new society. The tension between these two characters drives much of the plot, but their conflict is only one of many threads that Coppola tries to weave together.

Megalopolis offers an intriguing vision of a dystopian future, where modern technology and Roman influences coexist. Adam Driver’s portrayal of Catilina is bold, with his Caesar-inspired bowl cut and philosophical musings lending an air of gravitas. His romance with Julia Cicero, played by Nathalie Emmanuel, serves as a central subplot, though it feels undercooked and laboured. The chemistry between the two is lacking, and their relationship doesn’t add much emotional depth to the narrative.

The film's supporting characters are equally eccentric. Shia LaBeouf stands out as Clodio Pulcher, the spoiled and erratic son of a powerful family. Clodio is embroiled in political intrigue and family drama, with his love for Julia and his possible incestuous relationship with his sister adding layers of discomfort to his arc. Yet, like many characters in Megalopolis, his motivations feel underdeveloped, and his actions often lack meaningful consequences.

Visually, Megalopolis is a feast for the eyes, though it can be overwhelming at times. Coppola has pulled out all the stops with elaborate sets, stunning costumes, and a golden-hued cinematography that evokes the grandeur of ancient Rome. The costumes, designed by Milena Canonero, blend Roman aesthetics with modern flair, giving the characters a striking presence on screen. However, while the visuals are often spectacular, the film's lack of narrative discipline detracts from their impact.

Coppola’s love for experimental filmmaking techniques is evident throughout the movie. The use of split-screens, kaleidoscopic imagery, and a constant interplay between CGI and practical sets creates a sensory overload. At times, the screen divides into three separate scenes, creating a disorienting effect that can be both mesmerising and frustrating. These moments, while visually innovative, contribute to the film’s overall lack of coherence, making it hard to follow the already complex storyline.

Despite its ambitious premise, Megalopolis suffers from a disjointed plot and too many underdeveloped ideas. Coppola introduces numerous subplots involving political conspiracies, power struggles, and familial conflicts, but few are given the time or space they need to fully develop. The result is a narrative that feels both overcrowded and incomplete. There are moments of brilliance scattered throughout the film, but they are buried beneath layers of convoluted storytelling.

The film's dialogue is another point of contention. Coppola borrows heavily from Shakespeare, Marcus Aurelius, and classical philosophy, imbuing the characters with a sense of intellectualism that feels forced. While the film clearly aims to tackle big ideas about society, power, and legacy, much of the dialogue comes across as stilted and unnatural. Characters often speak in grandiose terms, but their words lack the emotional weight needed to make these philosophical debates resonate with the audience.

One of Megalopolis’ core themes is the cyclical nature of history, drawing parallels between the fall of Rome and the current state of American society. The film paints a grim picture of a world teetering on the edge of self-inflicted destruction, with powerful families vying for control and the lower classes left to suffer. This exploration of societal decay and the potential for renewal is one of the film's more compelling elements, though it is often overshadowed by the sheer volume of plot points Coppola tries to cram into the story.

Perhaps the most striking thing about Megalopolis is its sincerity. Despite its flaws, the film is earnest in its belief that art and intellectual conversation have the power to shape the future. Coppola’s vision for the film, while messy and occasionally nonsensical, is undeniably heartfelt. There is a certain charm in his refusal to conform to the familiar patterns of contemporary cinema, even if it means alienating much of his audience.

In terms of pacing, Megalopolis is uneven, with moments of frenetic energy followed by long stretches of philosophical meandering. The film’s runtime of 138 minutes feels both too long and not nearly enough to explore all the ideas it introduces. By the time the credits roll, many questions remain unanswered, and several characters’ arcs feel incomplete. Yet, for all its narrative shortcomings, Megalopolis remains a film that dares to take risks, something that can’t always be said of mainstream Hollywood.

The film’s biggest flaw is its lack of focus. Coppola attempts to juggle too many themes and characters, resulting in a film that feels more like a series of disjointed vignettes than a cohesive story. There’s no clear narrative structure, and the film’s many twists and turns often feel more baffling than intriguing. As a result, Megalopolis is a difficult film to engage with emotionally. While it’s easy to admire the scope of Coppola’s vision, it’s much harder to connect with the story on a personal level.

Despite all its chaos and incoherence, Megalopolis is a film that should be seen, if only to witness the audacity of Coppola’s vision. It is a deeply personal project, one that grapples with the legacy of both the artist and society at large. For those willing to embrace its strangeness, there are moments of breathtaking beauty and thought-provoking insight. However, for many viewers, the film’s lack of narrative clarity and emotional resonance will make it a challenging and, at times, frustrating experience.

Megalopolis is an ambitious, sprawling, film. It is visually stunning, intellectually daring, and unapologetically bold, but its lack of focus and coherence prevents it from reaching the heights of Coppola’s earlier masterpieces. While it may not be a success in the traditional sense, Megalopolis is a film that will likely be discussed and debated for years to come, a testament to the enduring ambition of one of cinema’s greatest auteurs.

Megalopolis is in NZ cinemas from September 26, 2024

Classification: TBC

Runtime: 138 minutes

MY FAVOURITE CAKE (2024)

Seventy-year-old Mahin has been living alone in Tehran since her husband died and her daughter left for Europe. One afternoon, tea with friends leads her to break her solitary routine and revitalise her love life.

In My Favourite Cake, directors Maryam Moghadam and Behtash Sanaeeha craft a tender, intimate portrayal of love, ageing, and quiet rebellion. Set in contemporary Iran, the film follows the journey of Mahin (played by Lili Farhadpour), a widowed woman in her 70s who has spent decades coming to terms with a body that is no longer youthful, and a country that feels increasingly stifling. Her life, much like her body, has become a reflection of loss and constraint. Her children live abroad, her husband has been dead for decades, and the friends who once filled her life with laughter now gather only for an annual meeting where the most exciting event is the presentation of a blood pressure monitor as a birthday gift.

Mahin is a character who, at first glance, seems resigned to her fate. She spends her days alone in her garden, napping until noon, and scrambling to answer FaceTime calls from her children who are distant in more ways than one. Her life has become a series of monotonous routines, a stark contrast to the youthful liberalism she once embraced. Yet, beneath this calm, there is a simmering dissatisfaction with her current reality. She misses the freedom she had before the revolution, the intimacy of companionship, and the sense of joy that comes from sharing your life with someone else. The film is deeply personal, but it is also political, as Mahin's story reflects the broader experiences of many Iranian women who have found their freedoms curtailed by a restrictive regime.

The film takes a pivotal turn when Mahin meets Faramarz (Esmaeel Mehrabi), an elderly taxi driver who has also been living in solitude for years. Their meeting is accidental, but there is an undeniable spark. When Mahin overhears that Faramarz is a bachelor, she boldly invites him to her home. What follows is a quietly radical encounter, as the two spend an evening together behind closed doors, far from the prying eyes of neighbours and the morality police. The simple act of inviting a man into her home is an act of rebellion in Iran, where unmarried men and women are not permitted to be alone together. This is where the film truly begins to explore the themes of repression and the human desire for connection.

As Mahin and Faramarz share their stories, they bond over their mutual losses and longings. They talk about the loves they’ve lost and the country that no longer allows them to be as free or as joyful as they once were. Their conversations are imbued with both tenderness and a sense of urgency. Both characters are acutely aware that time is running out, and this awareness makes their budding relationship feel all the more poignant. The chemistry between Farhadpour and Mehrabi is palpable, and their performances are nothing short of mesmerising. They play off each other beautifully, with a natural, understated charm that makes their courtship feel authentic and relatable.

The film is masterfully directed, with Moghadam and Sanaeeha using a light touch to explore heavy themes. My Favourite Cake is very much a slice-of-life film, with the story unfolding slowly and organically. The dialogue is considered, and the pacing is deliberate, giving the audience time to fully immerse themselves in the world of the characters. The cinematography, by Mohammad Haddadi, is equally restrained and intimate. One of the most striking scenes in the film is a moment where Mahin and Faramarz sit together in her garden, framed by soft-focus leaves and branches that seem to embrace them as they grow closer. The visual storytelling enhances the emotional depth of the film, creating a sense of warmth and realism that complements the narrative.

While My Favourite Cake is a love story at its core, it is also a critique of the political and social structures that seek to control the lives of its characters. The oppressive presence of the morality police is never far from the thoughts of Mahin and her friends. In an earlier scene, Mahin even rescues a young woman from being arrested for showing too much hair—a stark reminder of the constant surveillance and control that women in Iran face. The film makes it clear that Mahin’s relationship with Faramarz is not just a personal triumph; it is also an act of defiance against the system that seeks to suppress her desires.

The romance between Mahin and Faramarz is depicted with a sweet, almost childlike innocence. There is an infectious giddiness to their interactions, reminiscent of teenagers sneaking around, trying to avoid being caught. This sense of playfulness is in direct contrast to the seriousness of their situation, and it makes their love story all the more endearing. Theirs is a romance that is political by its very nature, as it challenges the norms of a society that forbids such relationships.

Despite the joy that the couple experiences, there is an underlying sense that things are too good to last. The film does not shy away from acknowledging the harsh realities of life in Iran, and this is reflected in the film’s bittersweet ending. Without giving too much away, it is safe to say that the conclusion of My Favourite Cake is not the typical feel-good ending one might expect from a romantic film. However, it is this very contrast between joy and sorrow that gives the film its emotional weight. The love that Mahin and Faramarz share is fleeting, but it is also powerful, and their relationship leaves a lasting impact.

What makes My Favourite Cake truly remarkable is its portrayal of ageing and the irrepressible need for connection. The film reminds us that love knows no age limit, and that the desire for companionship and intimacy is universal. Mahin’s journey is one of self-discovery, as she realises that she still has the capacity for love and joy, despite the years that have passed. Her relationship with Faramarz is a reminder that it is never too late to take risks and embrace life, even in the face of adversity.

The film also explores themes of body positivity and self-acceptance, as Mahin comes to terms with her ageing body and the limitations that come with it. Her relationship with Faramarz is built on mutual respect and understanding, and the film celebrates the beauty of their connection without resorting to clichés or sentimentality.

My Favourite Cake is a deeply endearing film that is as much a celebration of love and intimacy as it is a critique of repression. The film’s quiet rebellion, heartfelt performances, and nuanced exploration of the complexities of ageing make it a standout work. With its bittersweet ending and its thoughtful reflection on the passage of time, My Favourite Cake is a tender, touching film that will resonate with audiences long after the credits roll. It is a reminder that, no matter how old we are, or how constrained our circumstances may be, we all have the right to happiness and connection.

My Favourite Cake is in NZ cinemas from October 17th, 2024

GIRLS & BOYS (2024)

Love is a battlefield. This is a war story. It begins with a chance encounter at an airport in Naples. How it ends will make you question whether it's ever possible to truly know the people we love.

Girls & Boys, a gripping solo performance by Beatriz Romilly, directed by Eleanor Bishop, is a deeply unsettling exploration of gender, violence, and love. Performed on a minimalist set designed by Tracy Grant Lord, the production strips back all unnecessary elements, allowing Romilly to command the stage for an intense 110 minutes. Dressed simply in a white singlet and beige sweatpants, Romilly invites the audience into an intimate and confessional dialogue, charting the arc of a relationship that begins in passion and ends in devastating tragedy.

The play opens with humour and warmth as Romilly’s character recounts her whirlwind romance with a charismatic man she meets at an airport. He runs a successful business, while she lands a job as a development executive through sheer nerve. The chemistry between them is palpable, and together they build a life, raising two children, Leanne and Danny, in what seems to be a thriving household. Romilly’s playful and witty delivery creates a light-hearted atmosphere, drawing the audience in with ease.

But beneath the surface of this seemingly perfect life, cracks begin to show. About halfway through the play, a subtle shift occurs, hinting at the impending disaster. A single, startling line signals the unravelling of the narrative, and what begins as a comedy steadily transforms into something much darker. The play delves into the nature of violence, posing uncomfortable questions about whether it is ingrained in male behaviour. This theme is mirrored in the contrasting behaviours of the children—Danny, who gravitates toward destruction, and Leanne, who exhibits a more constructive, intellectual nature.

Romilly’s performance is masterful. She alternates between sharing memories of her flourishing production career and recounting the mundane yet demanding challenges of parenting. As she controls the narrative, there is an underlying tension, as if she is concealing something from both the audience and herself. This sense of control only intensifies when a shocking act of violence is revealed. The audience never witnesses the violence directly, but Romilly’s vivid description of the event is gut-wrenching, offering a brutally honest depiction of a love affair turned sour.

What makes Girls & Boys so compelling is its willingness to confront uncomfortable truths about masculinity and power. The play does not shy away from examining the darker aspects of male identity, particularly as they manifest in jealousy and violence. It also highlights the resilience of the human spirit, as Romilly’s character endures both personal and professional turmoil. This combination of vulnerability and strength gives the play its emotional depth.

The minimalistic set design, while initially slow in pace, enhances the introspective nature of the performance. With no props or visual distractions, the focus remains entirely on Romilly as she moves across the stage, connecting with all sides of the audience. Subtle lighting changes and carefully timed sound effects are the only cues that shift the tone and setting, reinforcing the isolation and disconnection at the heart of the story.

Romilly’s portrayal of anger is particularly striking. Unlike traditional depictions of female rage, her performance is raw and unfiltered, yet devoid of tears, which adds a layer of unsettling power. The absence of overt emotional release amplifies the play’s tension, making the audience feel the weight of her suppressed emotions.

Though the fast-paced dialogue and British accents may be challenging for non-native English speakers, Romilly’s sharp wit and tenacity ensure that the character's personality shines through. The humour, though often dark and laced with profanity, serves to temper the play’s more violent themes, providing moments of relief amidst the intensity.

Ultimately, Girls & Boys is a provocative and timely exploration of violence, love, and gender. The play refuses to let its audience remain passive, forcing them to confront difficult realities that resonate deeply in today’s world. It is a show that lingers long after the final line is spoken—dark, unflinching, and undeniably relevant.

Girls & Boys is being performed at the ASB Waterfront Theatre from 10 - 22 September, 2024

Purchase tickets here

Duration

1 hour and 50 minutes, no interval

Advisory

This production contains offensive language, graphic descriptions of family violence, murder and suicide, sexual references, and depiction of psychological distress. Not suitable for anyone under 18 years of age.

Need to talk?

If you or someone you know needs information or support, the following organisations may be helpful, and are available 24 hours a day, seven days a week:

Are You OK?

0800 456 450 or Webchat available 24/7

https://www.areyouok.org.nz/

Lifeline

0800 543 354 (0800 LIFELINE) or free text 4357 (HELP) any time

www.lifeline.org.nz

Shine Domestic Abuse Helpline

0508 744 633 or Webchat available 24/7

www.2shine.org.nz

Women's Refuge

0800 REFUGE of or Webchat available 24/7 https://womensrefuge.org.nz/

1737 - Need to Talk?

Free call or text 1737 any time

1737.org.nz 

TRANSFORMERS ONE (2024)

The untold origin story of Optimus Prime and Megatron, better known as sworn enemies, but once were friends bonded like brothers who changed the fate of Cybertron forever.

Transformers One brings a fresh and dynamic perspective to the beloved Transformers franchise, setting itself apart from previous live-action entries by focusing entirely on the world of the Autobots and Decepticons. Directed by Josh Cooley and featuring the voices of Chris Hemsworth, Brian Tyree Henry, and Scarlett Johansson, this animated feature dives into the rich history of Optimus Prime and Megatron, charting their tragic journey from brothers-in-arms to bitter enemies. With a strong emphasis on emotion, world-building, and character-driven storytelling, Transformers One feels like a rejuvenation of the franchise, injecting it with a level of depth and heart that many fans have longed for.

At its core, Transformers One is an origin story, exploring the early days of the Autobots and Decepticons on Cybertron. The film traces the bond between Optimus Prime and Megatron, highlighting how their once-strong friendship unravels into a bitter rivalry. The emotional weight of their relationship forms the backbone of the narrative, allowing the audience to truly empathize with both characters. It's a refreshing shift from the typical action-heavy plots of past films, offering more substance and depth to the conflict. This focus on character and story development is one of the film's greatest strengths, making the viewer feel the emotional stakes as Optimus and Megatron transform from allies to enemies.

One of the standout features of this film is how human-like the Transformers' facial expressions are. The animation team has done a remarkable job in bringing the Autobots and Decepticons to life, giving them emotions that resonate with the audience. Unlike previous iterations where the Transformers often felt robotic and distant, Transformers One gives them a sense of humanity. Their emotions are clear, their thoughts are visible, and their struggles are palpable. You can see the conflict in Optimus Prime's eyes, feel the anger and betrayal in Megatron's face, and experience the full range of emotions as they grapple with their differences. This attention to detail makes the characters feel alive, more than just machines engaged in battle.

Set entirely on the metallic world of Cybertron, Transformers One offers a visually stunning depiction of the planet, immersing the audience in a fully realised world. The art direction and world-building are top-notch, with every frame filled with intricate details that bring Cybertron to life. The action is clear, fast-paced, and exhilarating, yet the designs of each Transformer are distinct enough that there’s never any confusion about who is who. Each character’s design and colour scheme is instantly recognisable, helping to differentiate them in the heat of battle. The visual clarity is a breath of fresh air compared to the chaotic action sequences of previous live-action films, which often made it hard to keep track of the combatants. Here, everything is crisp and defined.

Clocking in at a brisk 104 minutes, Transformers One manages to strike the perfect balance between action and story. The film wastes no time getting to the heart of the matter, offering high-octane action sequences that are visually impressive without overstaying their welcome. The third act, in particular, is a spectacle of energy and excitement, ramping up the tension and delivering on the emotional beats that have been building throughout the film. While some may find the plot points predictable, the execution is so strong that it doesn’t diminish the impact of the story. The pacing is tight, and the action sequences are dynamic and thrilling, although some moments are so fast-paced that it may be difficult to keep up if seated too close to the screen.

Transformers One is clearly aimed at a younger audience, blending the coming-of-age genre with the world of robots. However, the film does an excellent job of making its themes and storylines accessible to all ages. The emotional depth, character development, and sense of nostalgia make it enjoyable for long-time fans of the franchise as well as newcomers. It strikes a careful balance, offering enough action and visual excitement to keep younger viewers engaged while also providing a thoughtful exploration of friendship, loyalty, and the cost of war. The coming-of-age aspect is seamlessly woven into the narrative, adding an extra layer of relatability.

One of the most refreshing aspects of Transformers One is its focus on the Transformers themselves. Unlike previous films, which often became bogged down in human-centric storylines, this movie keeps the attention squarely on the Autobots and Decepticons. The plot revolves around their conflicts, their relationships, and their world. By doing so, the film avoids the distraction of human drama, allowing for a more cohesive and engaging story. It's a welcome change for fans who have long wanted a film that truly centres the Transformers without the constant presence of human characters stealing the spotlight.

The film’s humour is blunt and direct, with moments of levity breaking up the intense action and drama. While the comedy may not appeal to everyone, it fits well within the tone of the film, keeping the overall atmosphere light-hearted even in the midst of darker moments. The jokes are in-your-face, but they serve their purpose of providing some relief amid the high-stakes action and emotional tension. The balance of humour and drama ensures that the film never feels too heavy, maintaining an enjoyable and engaging pace throughout.

Transformers One breathes new life into a franchise that many thought had run its course. By focusing on the origins of Optimus Prime and Megatron, the film offers a fresh take on a familiar story, rich in emotion, character development, and visual spectacle. With its stunning animation, engaging storyline, and focus on the Autobots and Decepticons themselves, this film delivers a Transformers experience that fans have been waiting for. Whether you're a long-time follower of the franchise or a newcomer, Transformers One is a triumphant return to form, proving that there is still plenty of life and creativity left in this iconic series.

Transformers One will be released in cinemas on September 26, 2024

THE SUBSTANCE (2024)

 

A fading celebrity decides to use a black-market drug, a cell-replicating substance that temporarily creates a younger, better version of herself.

Coralie Fargeat’s The Substance is an audacious dive into psychological horror, blending grotesque body transformations with biting social commentary. Running at 140 minutes, this slow-burning nightmare unravels Hollywood's obsession with youth and beauty, making it a disturbingly poignant satire on the entertainment industry’s toxic standards.

The film stars Demi Moore as Elisabeth Sparkle, a once-glamorous celebrity whose entire identity is wrapped up in the admiration of men and the adoration of the public. At 62, Moore portrays Elisabeth’s desperate struggle against the inevitable effects of ageing with fearless intensity. The casting is an ironic and poignant choice, given Moore’s own history as a sex symbol in the 80s and 90s. Her performance strikes deep as she grapples with a fading relevance that reflects the reality many ageing actresses face in Hollywood.

Moore is joined by Margaret Qualley, who plays Sue, the younger version of Elisabeth. Sue is everything Elisabeth used to be—youthful, radiant, and ambitious. As the two versions of Elisabeth share the screen, the film exposes the toxic pressures women face to retain their physical allure. Moore and Qualley both deliver bold performances, with Qualley bringing an infectious energy as the seductive and ruthlessly ambitious Sue. This duality of characters creates a tense dynamic that drives the film’s unsettling narrative.

At its core, The Substance is a darkly satirical critique of Hollywood’s treatment of women. Dennis Quaid portrays Harvey, a sleazy and manipulative character whose name clearly alludes to the notorious Harvey Weinstein. His presence reinforces the film's commentary on the patriarchal system that objectifies women, valuing them solely for their appearance. The film's first half leans heavily into this satire, showing Elisabeth's slow unravelling as she struggles to keep pace with an industry that worships youth.

As the story unfolds, Elisabeth resorts to increasingly extreme measures to preserve her youthful appearance, leading to some of the most disturbing body horror scenes seen in recent cinema. Fargeat’s use of practical effects and prosthetics enhances the film’s visceral impact, crafting moments of grotesque transformation that are equal parts shocking and mesmerizing. It’s a masterclass in pushing the limits of horror without losing sight of the film’s thematic depth.

Fargeat's direction is both bold and uncompromising. The visual style of The Substance is striking, with lurid colors, surreal camera angles, and close-up shots that reveal every wrinkle and imperfection on Elisabeth’s aging body. Benjamin Kracun’s cinematography captures this duality, juxtaposing Elisabeth's fading beauty against Sue’s flawless youth. This emphasis on physical details serves as a pointed critique of the unrealistic standards imposed on women, particularly in the entertainment industry.

The horror elements reach a fever pitch in the film’s third act, where Fargeat truly lets loose. The final scenes are filled with grotesque imagery and unsettling body transformations, pushing the viewer’s tolerance to the edge. Yet, the horror is not without purpose—each shocking moment reinforces the film’s message about the dangers of idolizing youth and rejecting the natural ageing process. The relentless pursuit of perfection leads Elisabeth into a nightmarish descent, culminating in a third act that is as horrifying as it is unforgettable.

Moore’s performance is central to the film’s emotional weight. She brings a raw vulnerability to Elisabeth, drawing on her years of experience in Hollywood to deliver a performance that is deeply personal. The pain, anger, and desperation she expresses resonate far beyond the screen, making Elisabeth’s journey both tragic and relatable. Qualley’s portrayal of Sue, meanwhile, captures the darker side of ambition, embodying the youthful arrogance that comes with being the industry’s latest darling.

What makes The Substance stand out in the crowded horror genre is its willingness to tackle complex issues with a fearless approach. Fargeat doesn’t shy away from the harsh realities of aging in Hollywood, but instead confronts them head-on. Her feminist perspective offers a powerful critique of the male gaze and the impossible beauty standards that women are forced to uphold. By blending horror with social commentary, Fargeat creates a film that is as thought-provoking as it is disturbing.

The film's sound design further amplifies the discomfort, turning ordinary sounds into instruments of horror. From the nauseating squelch of medical procedures to the grotesque noises of characters devouring food, every auditory detail is designed to unsettle. The film’s oppressive atmosphere is enhanced by its synth-heavy score, which heightens the tension throughout.

Yet, despite its shocking content and disturbing visuals, The Substance offers moments of biting humour. The film’s satirical tone often veers into the absurd, poking fun at the ridiculous lengths people will go to preserve their youth. This blend of dark humour and horror makes the film an engaging, if not entirely comfortable, viewing experience.

The Substance serves as a damning indictment of Hollywood’s obsession with youth and the way it discards women who no longer fit its narrow standards of beauty. Fargeat's direction is unapologetically bold, and her critique of the entertainment industry is sharp and unrelenting. While the film’s grotesque imagery may not be for the faint-hearted, it is a powerful exploration of the pressures placed on women to conform to unrealistic ideals.

In a genre often dominated by male perspectives, The Substance stands out as a feminist body horror masterpiece. Its fearless performances, bold direction, and thought-provoking themes make it a film that will linger in the minds of viewers long after the credits roll.

The Substance is in NZ cinemas from September 19, 2024