SAW II (2005)

A detective and his team must rescue 8 people trapped in a factory by the twisted serial killer known as Jigsaw.

The year 2005 marked the continuation of a horror phenomenon that had startled audiences just a year prior. Saw II, the follow-up to the original, brought a fresh perspective and a new layer of complexity to the grim world of Jigsaw's sadistic games. While the second instalment in the Saw franchise might not have achieved the same level of raw impact as its predecessor, it managed to deepen the series' mythology, deliver well-crafted traps, and captivate audiences with unexpected twists.

The sequel opens its doors to a new set of victims, eight strangers ensnared in a house of horrors. The stakes have been raised as Jigsaw unveils his sinister game: these individuals have been exposed to a slow-acting poison, pushing them to confront their own sins and unravel the mysteries of their captivity. Saw II shatters expectations by immediately revealing Jigsaw (Tobin Bell), dragging him out of the shadows and into a complex dance with Detective Eric Matthews (Donnie Wahlberg). The stage is set for a relentless psychological battle of wits, further delving into the twisted mind of the franchise's enigmatic antagonist.

While Saw II does benefit from a larger budget ($4 million compared to the original's $1.2 million), its success is not solely reliant on its financial resources. Director Darren Lynn Bousman injects the film with an energetic filmmaking style that keeps audiences engaged. The traps, thoughtfully nasty and rooted in relatable fears, compensate for budget limitations by tapping into the universal human instinct for self-preservation. Unlike the gratuitous violence that the term "torture porn" would later become synonymous with, Saw II crafts its brutality in a way that resonates with viewers on a visceral level, never veering into the realm of the absurd.

One of the sequel's commendable achievements is its ability to expand the mythos of the Saw universe without losing its focus. The film introduces the concept of the "gauntlet format," wherein a group of individuals must navigate a labyrinthine maze while adhering to Jigsaw's meticulous rules. Shawnee Smith reprises her role as Amanda, the rare survivor of a Jigsaw trap, and catalyzes a surprise moment that hints at the grand interconnectedness of the franchise's mythology.

Saw II begins with storylines that might seem forgettable at first, but the film's progression takes an unexpected turn as twists emerge, injecting stakes, emotions, and much-needed character development. The intertwining narratives enhance each other's impact, adding layers of complexity to the unfolding horror. Unfortunately, while the main cast delivers strong performances, not all characters are equally well-served by the script. Some are relegated to mere plot advancement or gruesome deaths, highlighting the film's occasional focus on shock value.

Bousman's direction leans heavily on quick editing and slow-motion shots, a technique that aims to convey the characters' escalating insanity within the confined setting. While these stylistic choices manage to maintain interest, they sometimes verge on overuse, detracting from the potential impact. Moreover, the film's compulsion to overexplain its twists with repeated footage from earlier scenes occasionally feels unnecessary, despite its intention to ensure viewers grasp the complexity of the narrative.

A standout element of Saw II is its portrayal of Jigsaw, portrayed by Tobin Bell. Jigsaw's vulnerability, juxtaposed with his intellectual superiority, adds an intriguing layer to his character. Bell's performance paints a complex picture of a man who orchestrates life-and-death games with a twisted sense of morality. Jigsaw's evolution into an intricate character provides a unique angle to the film, imbuing it with philosophical undertones that elevate it beyond its horror roots.

Saw II might not achieve the same technical brilliance as its predecessor, yet it succeeds in delivering a fun, guilty pleasure watch. Its inventive twists and exploration of Jigsaw's psyche infuse the film with a fascinating layer of complexity. While the sequel leans heavily on certain stylistic choices and occasionally over-relies on shock tactics, its narrative depth and memorable moments ensure it remains a compelling entry in the Saw franchise.

With Tobin Bell's captivating performance and a narrative that continues to unravel the enigma of Jigsaw, Saw II deepens the mythos while promising an engaging and suspenseful continuation of the chilling series.

Saw II was released in 2005, but Saw X will be in NZ cinemas from September 28, 2023

SAW (2004)

Two strangers awaken in a room with no recollection of how they got there, and soon discover they're pawns in a deadly game perpetrated by a notorious serial killer.

In the realm of horror cinema, the year 2004 saw the emergence of a film that would go on to redefine the genre's conventions and captivate audiences with its audacious storytelling and visceral intensity. Saw, directed by the then-newcomer James Wan, stands as a landmark in horror history, not merely due to its chilling atmosphere and gruesome set pieces, but primarily for its rare ability to seamlessly blend shock-inducing brutality with a compelling morality tale. Wan's directorial debut proves to be a potent concoction of suspense, horror, and twisted mystery, elevating the film far above the gory label that its franchise eventually garnered.

At its core, Saw introduces us to a high-concept premise that, despite its grim and stomach-turning nature, serves as a springboard for a deeper exploration of human psychology and morality. Two men, Dr Lawrence Gordon (Cary Elwes), a skilled physician, and Adam (Leigh Whannell), a photographer, find themselves trapped in a decrepit basement bathroom. Chained to pipes, they're presented with a macabre ultimatum: kill each other within eight hours or face certain death. Dictaphone tapes, ominously labelled with their names, provide the initial narrative breadcrumbs, leading the characters and the audience on a harrowing journey of discovery.

Wan, in his directorial debut, crafts an environment that is oppressive, bleak, and unrelenting. The majority of the film unfolds within the confines of this squalid bathroom, using its claustrophobic setting to intensify the growing tension between the two prisoners. With each passing minute, the film masterfully weaves a web of suspense and intrigue that is punctuated by vicious acts of violence and a series of grotesque torture devices. Yet, what sets Saw apart is its ability to infuse horror with a profound sense of psychological torment. The dictaphone tapes, as they recount past atrocities committed by the elusive "Jigsaw," lay the foundation for a narrative filled with moral dilemmas and character-driven conflict.

Central to the film's riveting narrative is the enigmatic Jigsaw, a character whose motivations transcend simple sadism. The genius of Saw lies in its depiction of a villain who believes himself to be an instrument of enlightenment, utilizing pain and suffering as a means to force individuals to confront their own sins and appreciate life. The intricate puzzle of the narrative unfolds as detectives, particularly the obsessed Detective Tapp (Danny Glover), chase down leads, attempting to decipher the mind of this tormentor. The film deftly employs crude flashbacks to unravel the killer's previous heinous acts, building a sense of dread and anticipation as the characters and the audience draw ever closer to the film's shocking revelations.

James Wan's directorial prowess is evident in his deft manipulation of visual elements to heighten suspense. The use of various camera techniques, including fast-motion effects and black-and-white stills, creates an unsettling atmosphere that keeps the audience disoriented and engaged. Wan expertly controls the pacing of the film, using flashbacks and nonlinear storytelling to maintain a sense of intrigue while obscuring the true nature of the narrative. Just as one begins to believe they have unravelled the puzzle, the rug is pulled from under their feet, and the plot takes another unexpected turn.

Cary Elwes delivers a compelling performance as Dr Lawrence Gordon, capturing the character's desperation and internal conflict as he grapples with the dire choice before him. Leigh Whannell, who also co-wrote the script, portrays Adam with a blend of vulnerability and survival instinct. These performances, combined with Wan's direction and the film's gritty aesthetics, contribute to the palpable sense of unease that pervades every scene.

Saw defies easy categorization, for it is not merely a horror film but also a suspenseful mystery that echoes the suspenseful stylings of Alfred Hitchcock. The film's chilling exploration of morality and the fragility of life resonates deeply, elevating it beyond the trappings of its gruesome imagery. The film's twist-laden narrative keeps audiences engaged while simultaneously forcing them to confront uncomfortable ethical dilemmas.

As the inaugural instalment of the Saw franchise, Wan's film paved the way for a series that would delve deeper into the realm of extreme violence and gore. However, it is crucial to distinguish this first entry from its subsequent sequels, which succumbed to the label of "torture porn". Saw maintains a delicate balance between its brutal visual elements and its cerebral narrative, crafting a compelling story that lingers long after the credits roll.

Despite its relatively modest budget and the passage of time, Saw continues to wield its impact. The raw and gritty nature of its presentation still effectively evokes discomfort and shock, while its era-defining twist remains a testament to Wan's storytelling acumen. As horror fans continue to revisit this cinematic milestone, its potency as a suspenseful and thought-provoking tale endures.

In retrospect, Saw is an audacious and inventive debut that marks the birth of a horror icon in James Wan. Its legacy is not just defined by its unnerving brutality, but also by its exploration of human nature under duress. As the only instalment in the franchise to weave a morality tale into its core, Saw reminds us that horror can transcend mere shock value and engage audiences on a deeper, intellectual level. 

James Wan's masterful handling of suspense, paired with standout performances and a narrative that questions the limits of human morality, cements Saw as a genre-defining classic that continues to chill and challenge audiences to this day.

Saw was released in 2004, but the latest instalment, Saw X is in NZ cinemas from September 28, 2023

BARBIE (2023)

 

Barbie and Ken are having the time of their lives in the colorful and seemingly perfect world of Barbie Land. However, when they get a chance to go to the real world, they soon discover the joys and perils of living among humans.

In a daring departure from traditional film-making, the live-action Barbie movie, directed by the talented Greta Gerwig, embarks on a journey that both celebrates and deconstructs the iconic doll's legacy. In a whirlwind of nostalgia, satire, and gender exploration, the film presents an intricate web of themes, ranging from the history of Barbie to contemporary gender dynamics. With Margot Robbie's portrayal of the titular character and Gerwig's distinctive directorial style, the movie offers a blend of social commentary, humor, and emotional depth.

The movie opens with a nod to Barbie's rich history, meticulously delving into the myriad incarnations of the doll that have adorned generations of playrooms. This trip down memory lane caters to die-hard Barbie fans, who will delight in the nostalgic fashion, accessories, and hidden references. Simultaneously, the film pokes fun at itself through irreverent jokes, engaging even those who might have been skeptics of the franchise. The juxtaposition of reverence and mockery sets the tone for an exploration of the profound cultural impact of Barbie.

Greta Gerwig, known for her exploration of female emotional journeys, brings her signature style to the movie. Through Margot Robbie's portrayal of Barbie, the film delves into a realm of emotions, self-discovery, and societal expectations. The nuanced performance by Robbie captures the essence of Barbie's stereotypical beauty, while also unearthing her internal struggles, insecurities, and desires. Gerwig's directorial choices emphasize emotions, humanizing the plastic doll and underscoring the challenges that even seemingly perfect figures face.

The movie takes a daring leap as it enters the "real world", leaving the Barbie utopia behind. The contrast between Barbie's idyllic existence and the harsh reality she confronts serves as a powerful commentary on gender dynamics. Misogynistic comments and a lack of agency reflect the struggles faced by women on a daily basis, even as Barbie and her counterparts occupy positions of power in Barbie Land. This subversion of traditional roles challenges the audience to contemplate the implications of gender norms and societal expectations.

Interestingly, the film introduces a subplot involving Ken, Barbie's counterpart, who struggles with his identity. The dynamic musical numbers toward the movie's climax emphasize his internal conflict. The subtext suggests a contemplation of male identity crisis, offering an additional layer to the narrative. While this aspect is thought-provoking, it sometimes distracts from the primary focus of the film: Barbie's journey of self-discovery and societal critique.

Gerwig's feminist perspective is evident in the movie's exploration of patriarchal norms and the empowerment of Barbie and her companions. However, despite its strong messaging, the film occasionally falls short of delivering solutions to the complex issues it addresses. The pivot from a grand-scale societal problem to a more simplistic Barbie Land issue feels like a missed opportunity. The narrative dilution leaves audiences yearning for a more substantial resolution, echoing the sentiment that the film might have been more impactful in its original, unedited form.

The live-action Barbie movie directed by Greta Gerwig ventures into uncharted territory, offering a multifaceted examination of Barbie's legacy, gender dynamics, and societal expectations. Through Margot Robbie's portrayal and Gerwig's directorial prowess, the film navigates a labyrinth of emotions, satire, and thought-provoking commentary. The exploration of Barbie's journey, both within herself and in the context of society, challenges viewers to confront preconceived notions and reflect on the complexities of gender roles.

While the movie's ambition to dismantle patriarchal structures is commendable, its occasional shift from the central narrative and lack of concrete solutions hinder its potential impact. The film's strength lies in its ability to convey poignant messages without resorting to didacticism, invoking empathy and compassion. In the end, the live-action Barbie movie serves as a noteworthy entry into the realm of modern cinema, a testament to both the enduring legacy of the iconic doll and the power of film to provoke reflection and inspire change.

Barbie is in NZ cinemas from July 20, 2023

INSIDIOUS: THE RED DOOR (2023)

 

Josh Lambert heads east to drop his son, Dalton, off at school. However, Dalton's college dream soon becomes a living nightmare when the repressed demons of his past suddenly return to haunt them both.

Ghosts have always held a chilling grip on our collective fears, but what truly terrifies us is the idea that these spectral entities could harm those closest to us. James Wan's supernatural horror franchises, The Conjuring and Insidious, have expertly tapped into this primal fear, delivering spine-tingling experiences that linger long after the credits roll. Insidious: The Red Door, directed by franchise star Patrick Wilson in his feature debut, is the fifth instalment in the series and brings audiences back to the haunting world of the Lambert family. While it revisits familiar themes and terrains, it offers a worthy finale that digs deep into familial ties and psychological unease.

The Insidious films have earned their reputation for cleverly using PG-13 ratings to evoke fear without relying on excessive gore. The Red Door follows suit, drawing on creepy atmospheres, unsettling visuals, and well-timed jump scares to deliver its frights. The film thrives on the lingering dread that comes from unseen terrors, building tension through moments that stretch out, allowing anticipation to gnaw at the audience's nerves.

For those well-versed in the series, the shared cast and interconnected stories can sometimes blur together. Hence, distinguishing between Patrick Wilson's roles as a haunted sleepwalker and a paranormal investigator is crucial. Wilson's presence as both actor and director in The Red Door brings an interesting meta-dimension to the film. It's a testament to his versatility that he seamlessly transitions between these roles. His directorial debut maintains the franchise's signature style, while also injecting a fresh perspective.

Understanding the franchise's backstory is essential, particularly the events of the first two films, to fully grasp the intricacies of The Red Door. These movies have always centred around a young boy's unique ability to enter a realm of lost souls during sleep, while his father also possesses a similar ability tainted by possession. Past traumas and resolutions play a significant role in shaping the current narrative. Even for those unfamiliar with the series, the film provides essential exposition, especially regarding Josh Lambert's (Patrick Wilson) own memory issues, which drive the plot forward.

With the backstory established, The Red Door introduces us to an adult Dalton, whose parents have since separated. Dalton's transformation into a tormented artist serves as a narrative vehicle to unlock his suppressed memories, pulling him back into the terrifying dimension known as "The Further". The film briefly touches on themes of mental illness and alienation but unfortunately doesn't explore them fully, leaving potentially intriguing avenues unexplored.

Surprisingly, the film takes its time before fully immersing the audience into its supernatural realm. Instead of diving straight into traditional apparitions, the story unfolds as a meditation on shame, regret, and familial bonds. Josh's struggle to connect with his estranged son and confront his own traumas drives the emotional core of the film. This shift from outright horror to psychological exploration gives The Red Door a unique flavour within the franchise, showcasing its willingness to evolve. For dedicated fans, The Red Door serves up nostalgic references, familiar faces, and nods that underscore its position as a fitting conclusion. Visually, the film's muted colour palette and shadowy backgrounds enhance the sinister nature of the narrative, making the titular red door stand out like an ominous beacon in the darkness.

Scott Teems' script leans more towards jump scares than profound terror, and Wilson's portrayal of Josh is marked by a poignant blend of familial pity and sadness rather than sheer fright. This departure from overt scares might divide audiences, but it aligns with the franchise's gradual shift from conventional horror to psychological introspection.

As a culmination of the Insidious series, The Red Door effectively returns to its roots, echoing themes and motifs that have resonated throughout. This journey does tread on familiar territory, especially in its final act, which navigates through a fog of well-worn scares. While the film doesn't necessarily break new ground, it delivers a satisfying conclusion that encapsulates the series' essence.

Insidious: The Red Door solidifies its place within the franchise as a thoughtful, if somewhat predictable, finale. It captures the essence of familial ties and psychological torment, delivering scares through tension and well-crafted jump scares. Patrick Wilson's directorial debut maintains the series' signature style, while also exploring new emotional dimensions. Although it might not be the most terrifying instalment in the franchise, it leaves a lingering sense of unease—a testament to the power of fear lurking within the shadows of memory and family. 

Insidious: The Red Door is in NZ cinemas from July 6, 2023 

ELEMENTAL (2023)

 

In a city where fire, water, land, and air residents live together, a fiery young woman and a go-with-the-flow guy discover something elemental: how much they actually have in common.

Pixar's latest offering, Elemental, once again proves the studio's remarkable ability to infuse its animations with profound emotional depth. With each film, Pixar manages to tap into unexplored corners of our hearts, making us ponder subjects we've never considered before. Elemental follows suit, cleverly using its heartwarming rom-com veneer to delve into an array of significant issues including cultural clashes, systemic racism, classism, segregation, and immigrant experiences, all while maintaining a universal charm that leaves a lasting impact.

Directed by Peter Sohn, who draws from his personal background as the child of Korean immigrants and his own cross-cultural marriage, the film reflects a mosaic of inspirations from his life. This infusion of real-world experiences and cultural perspectives enhances the authenticity of the story, making it more than just an animated tale but a resonant exploration of societal nuances.

Inevitably, Elemental finds itself measured against the backdrop of Pixar's remarkable filmography. With its energetic visual style and emotional resonance, the movie rises to the challenge of surpassing initial expectations, successfully navigating through a slower exposition-laden first act. Drawing tonal parallels with acclaimed works like Inside Out and Zootropolis, the film capitalizes on its vibrant energy to craft an engaging narrative that captivates from start to finish.

Central to the film's thematic richness is the juxtaposition of the fire people and the water people. The fire people, brought to life with a fusion of Asian, Middle Eastern, North African, and Eastern European influences, stand as symbolic outcasts, marginalized due to their potentially destructive nature. In contrast, the water people, emblematic of privilege, enjoy the freedom to express their emotions without judgment. This dynamic serves as a potent vehicle for exploring themes of racism, classism, and societal prejudices.

Elemental paints a vivid picture of Element City, a high-concept metropolis where fire, water, earth, and air elements coexist despite their supposed incompatibility. This juxtaposition serves as a clever metaphor for the persistence of racism and discrimination in a diverse society. The fire family's journey as outcasts finding a home in this diverse city is both touching and poignant, highlighting the resilience and strength that marginalized communities often demonstrate.

While the narrative's stakes initially centre around seemingly mundane elements like plumbing, permits, and maintenance, these elements merely serve as a backdrop to a burgeoning romance that anchors the film. The elemental beings, with their unique challenges and emotions, are masterfully humanized, transcending their fantastical origins to become deeply relatable characters. The film's clever wordplay, infused with fire and water terminology, strikes a delicate balance between humour and significance, culminating in a beautifully nuanced portrayal of love's complexities between seemingly opposing forces.

Visually stunning, Elemental enchants audiences with its lush colours and entrancing imagery. The acoustic original score by Thomas Newman enhances the emotional resonance, underscoring both the film's poignant and lighthearted moments. Despite the narrative's eventual predictability, the film's thematic depth and genuine character portrayals ensure a powerful and memorable viewing experience.

In the end, Elemental emerges as more than just a predictable rom-com; it's a poignant exploration of identity, love, and society. As is often the case with Pixar's works, the film prompts a range of emotions from laughter to empathy, and even to tears. Its gradual pacing, akin to a slow burn, contributes to its ability to deeply resonate with viewers. By the film's conclusion, the emotional journey of its characters becomes ours, leaving an enduring imprint.

Pixar's Elemental might adhere to a familiar storytelling structure, yet its thematic complexity, emotional resonance, and endearing characters elevate it to something truly remarkable. Amidst its vivid imagery and masterful storytelling, the film encapsulates the studio's magical touch—crafting stories that entertain, provoke thought, and ultimately resonate on a deeply human level.

Elemental was released in NZ cinemas on June 22, 2023

DRACULA: VOYAGE OF THE DEMETER (2023)

 

Based on a single chilling chapter from Bram Stoker’s classic novel Dracula, this movie tells the terrifying story of the merchant ship Demeter, which was chartered to carry private cargo from Carpathia to London. Strange events befall the crew as they are stalked each night by a merciless presence onboard the ship.

Based on a couple of pages of content, there was always the risk of Voyage of Demeter being another The Hobbit, something dragged out, far beyond its means. To an extent, it is, on the other hand, Demeter is only restricted by a single story point; reaching London. This provides screenwriters Bragi F. Schut and Zak Olkewicz carte blanche to do whatever they wanted with this well-known character.

To fully enjoy this film, you need to remove everything that you remember of Dracula. There is no sophisticated European white man mesmerizing his victims, and no transforming into tiny bats. Prior knowledge will actually be the audience's downfall as you start to overanalyze how the impending victims are (or aren't) reacting to this vampiric threat. Had the film avoided the name Dracula in the title, and left its foreshadowing to the end of the film, it would have been able to avoid the baggage that comes with the expansive franchise.

Because in reality, Voyage of the Demeter is a chilling nautical period horror. The vampire genre has been heavily romanticized and diluted in the entertainment industry (just look at Twilight, True Blood, Vampire Diaries, or Buffy) and it is refreshing to have a shift in the character, to bring a more animalistic, instinctual, and savage creature to this feature.

Narratively, Voyage of Demeter is quite weak, but it doesn't really need to be strong. Its own cast of characters largely are undeveloped and have the role of simple cannon fodder. Realistically it's more appealing this way, as the characters that are developed, feel forced and unnecessarily bringing racism, sexism, and classism into this horror flick. The creature feature succeeds on its creature; the power it has, the kills it makes, and the escapes of its victims. 

Demeter has a great creature. With a heavy focus on practical make-up and effects, there is a grounded and real feel to our creature antagonist. The dedication to practical effects contributes significantly to the film's eerie atmosphere. It's hard not to appreciate the intricate detail that has gone into crafting the monster. In notes not dissimilar to Alien, our main creature, isn't overly present in the first two acts, instead, picking off its victims from the outskirts and stalking in the darkness. Our cast are trapped on a vessel, unable to escape, cut off from the rest of the world, fighting for survival, and it works great to build suspense and tension.

What doesn't help with the suspense and tension, is how the cast work around the nocturnal nature of the creature. The film surges and recedes as the crew cycle between attacks at night and the creature disappearing during the day. There are some ways to overcome the presence of the sun, but the writers did manage to bring some creative distractions to the issue.

In the realm of horror cinema, the key to an immersive and spine-tingling experience lies in establishing a set of rules that the audience can rely upon. Unfortunately, Demeter falls short in this crucial aspect, creating a jarring disconnect that significantly diminishes viewer engagement. There are some unnecessary and illogical choices made by all parties for the sake of aesthetics, and it leads to the film feeling inconsistent. The disregard for consistent rules often leads to a disjointed narrative progression. Scenes that should have created heart-pounding terror instead bring head-scratching confusion due to the lack of coherence in the established horror elements. 

Where the film starts to fall short is in putting all these ingredients together into a single narrative, complete with individual character arcs and a believable payoff. Sometimes the plot holds together while at other times the characters, including Dracula, simply make choices because the film decided they should, or because it would be creepy for something to happen despite an apparent flimsiness to the rules the film has established.

Dracula: Voyage of Demeter displayed a promising and innovative approach to the Dracula mythos, offering a breath of fresh air to the genre. Unfortunately, the film's own anticipation to label itself a Dracula movie and its decision to reveal the threat from the start thread through early foreshadowing, hindered its journey towards greatness. This reimagining had the potential to captivate audiences with its savage perspective, but the upfront reveal robbed viewers of the suspenseful intrigue that could have elevated it to new heights.

Dracula: Voyage of the Demeter is in cinemas from August 10, 2023

GRAN TURISMO (2023)

Based on the unbelievable, inspiring true story of a team of underdogs - a struggling, working-class gamer, a failed former race car driver, and an idealistic motorsport exec - who risk it all to take on the most elite sport in the world.

I've never been a sports or racing kind of person. Regardless, I've still managed to thoroughly enjoy underdog stories and other sports or racing films (2013’s Rush or 2019’s Ford v. Ferrari are great examples of exciting racing films). So despite my apathy towards live sports, in movie form, I can still be quite the happy chappy. This is why, overall, I am disappointed in Gran Turismo. To its credit, the film does exceptionally well for a videogame movie, considering the game has zero plot or backstory. The game has inspired the events of this film, but not in such a straightforward fashion. Much like 2018's Bohemian Rhapsody, events have been omitted or moved around in an attempt to increase the tension and drama. 

The premise brings an intriguing question; how transferable are gaming skills to the real world? There has historically been quite a lot of friction around gaming and its effects, with a lot of misconceptions due to a lack of understanding from the previous generations. But as technology and the accuracy of certain games have also improved, it increasingly starts to make you wonder, how well do these hours to coordination and timing translate? Is it possible to learn a skill at a professional level through gaming?

Which is where the film starts to get a bit dismissive and vague. More time is spent ensuring that the audience's view is flooded with Sony and Nissan products than has been taken to explain how the gap between simulation and real life was bridged. We knew to expect the movie to be an advertisement for the Gran Turismo game, but with so many well-executed racing films around, it's expected that the film will still be engaging.

Gran Turismo suffers in its attempts to collect multiple underdog stories into one. Being the best to achieve the goal, then being back at the bottom and having to be the best to reach the next goal, then being back at the bottom and having to be the best to reach the next goal, rinse and repeat, over and over. Writers Jason Hall and Zach Baylin simply put so much content into the storyline that everything gets neglected. Our main protagonist Jann (played by Archie Madekwe) has no onscreen chemistry with either of his parents, or his romantic interest. Orlando Bloom has no presence or emotion in the film at all. The Nissan executives aren't even given names, they simply nod and look concerned. Everything is so overgeneralized and lacks any sense of depth, that the audience is left not really caring about the characters.

The exception to this is David Harbour. Much like his role in Stranger Things, Harbour excels at the grounded aspects of life. Understanding frustration and loss, and having a genuine personality, make his character the redeeming factor in this film. His character's relationship with the protagonist is the only relationship that has any substance. His character is the glue that holds this film together.

Director Neill Blomkamp chooses an almost Michael Bay-esque direction for the racing scenes in the film. The fast-paced editing between overhead shots, in-car shots, and CGI close-ups of mechanical goings-on make for exciting viewing if only it were followable. It is shot and filmed in such a way that we rely heavily on the Gran Turismo game overlays and insistent titling, to explain what is going on in the race, as we have no idea of the geography or progress in the races (we aren't even told who is winning most of the time). Everything is so focused on our protagonist, that the situational awareness is completely wiped out. Luckily Harbour's role allows him to narrate the situation to the audience and provide some context.

Let's be clear, this is not a bad film. Harbour salvages it, but even without Harbour, the film does have some genuine moments that stop the audience from completely dissociating. Gen Z and Millennials will understand the frustration of dealing with parents who only support the child who excels in sports or academics. The excitement and anxiety of rebelling for a chance to see and spend time with someone who gives you that warm and fuzzy feeling. The determination and confidence that come with hours of gameplay, rarely translate to social confidence. Madekwe plays that neglected teen well; he embodies the anger and frustration of the teen population that feels misunderstood and unrecognized.

With a better curation of events, Gran Turismo may have been a brilliant film. All of the elements were there. The writing and direction simply glossed over the interesting parts, and forced too many races into a single movie, at the expense of character development. If the film didn't spend so much time on the "executive-level" side of the story, trying to sell how amazing Gran Turismo is, then the audience may have had a better chance to fully experience it through an engaging film.

The racing does have an odd focus on the physicality of the sport and the risks of fatality. It's a peculiar direction that leaves you questioning why the sport is even allowed, let alone widely supported. But that's a debate for another night. It's a reasonable film, based on a true story (the real-life gamer-turned-driver acts as the stunt driver in the film). It'll never need a sequel, it'll be forgotten a few days after you've seen it, but it'll certainly provide some short-term entertainment on the day. Check it out, even if its just for Harbour, but check it out.

Gran Turismo is in NZ cinemas from August 10, 2023