MADE IN ITALY (2020)

 

A London artist and his estranged son try to mend their relationship as they work together to repair a dilapidated house in Italy.

Two Liam Neeson films are in the cinemas at the same time and you get to pick between the action-thriller Honest Thief or the romance-comedy Made in Italy. 

Made in Italy is the feature film directorial debut for James D'Arcy. If that name sounds familiar, it could potentially be from his role as Howard Stark's butler, Edwin Jarvis, in Avengers: Endgame and the Agent Carter television series. Whether it be because of D'Arcy's inexperience as a director, Liam Neeson in what is essentially a rom-com, or because of the confounding historical similarities that this story has Made in Italy simply falls flat, never developing its characters enough to create that bond of relatability with the audience.

I mention historical similarities because this film stars Liam Neeson and his son, Micheál Richardson, who lost their respective wife and mother, Natasha Richardson, after an unfortunate collision. Made in Italy appears to be inspired somewhat by this tragedy, putting Neeson and Richardson in a scenario where their characters are grieving the loss of their character's wife and mother respectively. Whether morbid or cathartic, it is an uncomfortable parallel that is made worse by poor acting and a lack of genuine emotional responses.

"There was an attempt" is the phrase that keeps coming to mind. The film plays with the concepts of broken families, toxic masculinity, emotional blocks, and social isolation, but never really delves into any of them in enough depth to be of worth. Liam Neeson has an opportunity to shed the expectations of masculinity that have been hoisted upon him since Taken, and yet he has the emotional range of Kristen Stewart back in the Twilight days. There was an attempt to show sincerity and to provide the actors with the opportunity to say things that maybe they could not say in real life regarding their own past, but everything comes across as being withheld. Restrained and repressed. 

The scenery is gorgeous but never comes across as a part of the story. The red tiles and clay of the villas, the vibrant greens of the shrubbery, and yet it barely registers as part of the film. It could have been set in any location with minimal changes to the storyline needed. This is a drama between Neeson and Richardson's characters, that happens to take place in Italy, and has a side plot of romance to keep the pace of the film moving. 

With middling cinematography, a meandering narrative, and mediocre acting, Made in Italy relies heavily on awkward humour and explicit language to distract the audience from how benign and middle-of-the-road the story is. There will be a few laughs, but it has little to do with the plot and is largely predictable (except for a few jump scares that elicited a few literal screams from other members of the audience). A safe watch, but not an overly entertaining one.

Made in Italy is in cinemas from November 19, 2020

Originally posted to: https://djin.nz/Kr8744

FATMAN (2020)

 

To save his declining business, Chris Cringle, also known as Santa Claus, is forced into a partnership with the U.S. military. Making matters worse, Chris gets locked into a deadly battle of wits against a highly-skilled assassin, hired by a precocious 12-year-old, after receiving a lump of coal in his stocking.

After watching The Professor And The Madman, the "thrilling" story of James Murray (Mel Gibson) trying to write the world's first dictionary, it seemed that Gibson's acting career was well and truly past its prime, and looking for a place to die in peace. It does put him in an interesting transitioning position where he can take on any role regardless of any roles he has previously been typecast in. It's a sad kind of freedom that allows an actor who has had their reputation tarnished, to create something extraordinary; a diamond in the rough, as they say.

Fatman is not the next Citizen Kane by any standard, but a surprisingly hilarious piece nonetheless. Catering to those who have a soft spot for self-deprecating humour, Fatman is the modern-day response to all of the questions and critiques that come from the fantastical stories of Santa Claus. An engaging experience that keeps you laughing despite an extremely simple plot. 

It builds and expands on the traditional magical lore that we were all brought up on; looking at how the elves have become so efficient (diet and sleep patterns), how Santa manages to fund this toy-making venture, how the behaviour of the bad boys and girls around the world affect Santa's mental health. Tastefully choosing whether it will ground itself in reality or continue using magic to explain it, Eshom and Ian Nelms's script manages to keep you guessing throughout the film as we sneak a peek behind the curtain at the North Pole. 

 

Only two characters really find themselves worthy of note with respect to the casting choices and that comes in the form of the Skinnyman (played by Walter Goggins) and the Fatman (played by Mel Gibson). Gibson manages to pull off the worn and weary, disengaged personality trait with ease, portraying a man who has lost faith in his work. A kind man, that has slowly been worn down by a world turning against him. Goggins, on the other hand, is delightfully one-note. Like the love child of The Shining's Jack Nicholson with Dr Seuss' The Grinch, from his appearance to his mannerisms, Goggins puts on an awkwardly curious performance that keeps the pace consistently moving forward.

Now what really works about this film, is its acceptance of violence. Long have adults been trying to find a Christmas film that isn't part of the children's genre. Long have there been debates as to whether Die Hard is a Christmas film, and thus be suitable to watch Bruce Willis shooting terrorists on Christmas Eve. Now we have Fatman, a film that takes place around Christmas, which includes Chris Cringle and his wife, a sweatshop of elves, but more importantly, fights to the death, automatic weapons, grenades, and bombs. 

Coming in at 100 minutes running time, there is not a lot of time for complicated plots. Even so, Fatman is a great example of minimalism; a plot that could be explained with one sentence, that has no real surprises. It could be so easy to be bored by such a film, but it is self-aware enough to develop the lore to an extent that will tickle your funny bone and keep that twinkle in your eye. 

It's mediocre in story but manages enough laughs that you don't question it too much. There is a lot of potential that remains untapped, and I'm hoping that could lead to a bloodier sequel, as the ethical quandaries start to pile up.

Fatman is in cinemas from November 19, 2020

Originally posted to: https://djin.nz/Kr8745

CHARLATAN (2020)

 

The breathtaking story of a man gifted with exceptional abilities set against the background of the events of the totalitarian fifties.

As a person who has a strong belief in science, the idea of a biographical film that revolves around a man capable of diagnosing a patient from their urine, knowing only their sex and age, well, it feels absolutely preposterous. The premise alone is enough to draw an audience in, to find out whether this man was, in fact, a charlatan (i.e. a con artist), or whether he was actually knowledgeable enough to be able to detect the effects of disease and ill health on a vial of urine (not unlike what lab testing does for us today).

The third film to come from director Agnieszka Holland in the last four years (after Mr. Jones and Spoor), Charlatan brings an apparent shift towards a more mainstream Hollywood atmosphere and formula. Whilst the story and persons involved are distinctly central European, Charlatan falls in a similar vein of film genre to that of Radioactive and The Current War; happily dancing along the line of glorifying the main character to superhero status, while throwing in the odd controversial issue here and there to keep things interesting.

Charlatan is the story of Jan Mikolášek, a herbalist who literally made a living by diagnosing people by looking at their urine. Whether this was actually true or not, is not something that is ultimately covered by the film. There is no definitive answer from Marek Epstein's script. While it is certainly used as the main drawcard, the film places more significance on his apparent homosexuality (unverified), his manipulative survival instincts, and the political landscapes that he has had to navigate to provide services to as many people as he has. 

If one were to take a leap of faith and believe the unverified facts that the screenplay puts forward, Charlatan is a deeply intriguing film, about a truly gifted man who simply made enemies with the wrong people.

With that perspective of ignoring historical accuracy, and looking at the film from a purely narrative standpoint, the only real downside to the film comes from its non-linear direction, with the majority of the film taking place in extensive flashbacks. The current-day storyline is short and serves as nothing more than a narrative device for explaining the various jumps through time as we learn about how Mikolášek got to where he is. 

From a cinematography side of things, the film is well shot, in a traditional style that fits in with the period in which the film is based, but also uses clearly defined colour palettes to separate the two timelines; the present day in dreary greys and shadows, whereas the highlights of Mikolášek's life are treated as such, with plenty of light, and bright colours.

While Charlatan brings the topic of alternative healing to the forefront, Epstein (pun not intended) attempts to balance the scales of karma by shining light on the more self-serving and manipulative facets of Mikolášek's character (if it was indeed accurate). Intentionally cruel to his family, dividing a marriage and forcing abortions to prevent attention from being taken away from him, there is a narcissistic trend that makes you hate the man, despite being in awe of his talents.

An interesting story, as are most stories of discovery in early science and medicine, but one that could have benefited from a more linear storyline, and more explanations for events (such as the kittens...). The intrigue of the first act sets a standard that the remainder of the film is unable to live up to, and you are left sitting there in your seat, wondering where the satisfying end of the film was.

A tale of manipulation, illegal homosexual activity, uncontrolled medicinal treatments, and political unrest, Charlatan is certainly better than average with respect to content, but with so much emphasis placed on the side plots, the structure and accuracy leave you wanting more.  

Charlatan is in cinemas from November 12, 2020

INTO THE DARKNESS (2020)

Karlskov is a self-made, successful owner of a large electronics factory, has a wife and five children. They live the good, privileged upper-class life on Strandvejen north of Copenhagen when the Nazis occupy Denmark in April 1940. Karl struggles to continue production at the factory, but to protect his family and employees he reluctantly begins to produce for the German market. It brings him into a controversial collaboration with the occupying power and causes painful breaks in the family.

Time and time again, films about war are one of the easiest genres to gain praise in, as they cover one of the most primal urges that a person can feel; the need to survive. Grab a bunch of people who are trying to protect a country from an invading force, and put them in situations that will endanger their lives, and you have an instant hit. Survival is something that everyone can empathise with and understand. 

It works because it is made clear who is good and who is bad. The ethics and morality of the situation are black and white. When you consider World War II and the fight against the expansion of Nazi Germany, from the outside, there is a clear differentiation between good and bad. But what if you were a neutral country that was being occupied by Nazi Germany.

This is the source of the ethical and moral quandaries that form the basis of Into the Darkness, a Danish wartime drama with a 253-minute runtime. This film does not deal with the direct fighting of the war, instead, dealing with the political and economic changes that were brought on by being occupied. 

As a business owner, do you sell to the Germans to keep your employees at work? Would you build weapons for those that have occupied your country, to keep your workers employed? If you were a soldier, and your government bowed down to an invading force, would you fight with the invading force against your own potential liberators? Can you trust your own people to act ethically, when German is pulling the strings in the background? These are the kinds of questions that are being asked of the Skov family; a family that runs a well-off manufacturing business.

The Skov family hold a privileged position, that has benefited them in the eyes of the government in the past, but now find that position in jeopardy. Being occupied, now they can only buy or sell to the Germans, and can only continue to operate with the permission of the German forces. The Skov family include a wide array of characters that hold different perspectives, all of which, Into the Darkness, wishes to display. 

Whether it be a young woman, falling in love with a soldier on the invading side, a Danish soldier, keen to fight against the Russian Bolsheviks (no matter who he is fighting besides), or a businessman who has always had a good relationship with authority and turns a blind eye to its corruption, Into the Darkness, follows this family from the start of the occupation, as they hope for a quick resolution, and continues to watch how their perspectives shift as the German occupation fails to end, and as the German ideals and control start to take precedence over the Danish way.

It raises a lot of intriguing questions but is largely in a format that doesn't work too well in non-European countries that do not remain "neutral" in the face of war. It puts forth an entire country that seems to want to turn a blind eye to the injustice going on around the world, to ensure their own profitability. All of which makes the characters in this film, largely unlikeable and unempathetic. With the number of movies and film reels that have shown the ravages of war, the idea of not only being neutral but effectively assisting the Germans economically is a bridge too far for patriotic countries. 

The structure of the film lacks a narrative direction. There is no big goal or destination; simply, getting by until the occupation ends. Which makes this drama feel more like a soap opera than a dramatic film. Much like Shortland Street, Coronation Street, or Emmerdale, if your first experience of the shows were to binge-watch three episodes, there may not be much appeal. The shows work long-term, with each little piece of drama eventually developing the characters and your understanding of motivations getting stronger with every episode. With only two and a half hours though, there is not enough time to get a proper feel of each character. 

While the cinematography is fine, and the shot composition is well done, it feels a bit like the early seasons of Agents of Shield, the Marvel television show that was in the same continuity as the Marvel Cinematic Universe but could not use any of the characters. Here we have constant references to the war, but we never see it, and as such, it feels very far away. Things start to get more interesting as the pacing changes in the final act of the film when the occupation starts to have a more direct effect, but otherwise, this is not 1917 or Dunkirk, neither is it The Darkest Hour or Allied. This is a melodrama that involves characters that have no effect on the war, and you will feel every single one of the 253 minutes of the film's runtime. 

Perhaps New Zealand's unofficial motto to "be kind" to others is starting to really ingrain itself in our culture because this drama about a country effectively allowing Nazi Germany safe harbour does not sit well. Occupational health and safety teaches us that doing nothing is as bad as actively hurting someone, and Denmark has shown its true colours. While the behaviours started to transition in the final act, it was too little too late and left Into The Darkness feeling incomplete.

Into The Darkness is in cinemas from November 5, 2020

Originally posted to: http://djin.nz/Kr8733

VISITORS (2020) - A Darkfield Radio Experience

Just in time for the spooky season, Australia's Realscape Productions and UK's Darkfield present a chilling new iteration of their compelling audio experiences with VISITORS. A reflection on our irrepressible desire to touch and why the dead find so little comfort in the world of the living, the VISITORS experience is a 20-minute, immersive audio encounter, completed in pairs using only the listener's own mobile device and headphones in their own living room.

After the incredibly eye-opening experience that was DOUBLE, it's safe to say that my partner and I have been looking forward to the next chapter. I was patiently waiting, unable to bring myself to uninstall the Darkfield Radio app from my phone, and she was constantly remembering how freaked out she was, and how she had been recommending all of her couple friends to purchase tickets and try it out. It should be no surprise that we were ecstatic when we found out about VISITORS, unfortunately, I can't say that it had the same effect on me this time around.

There are a few main differences that I found between this audio narrative, compared with its predecessor; the location, the setup, and the level of participation. DOUBLE was set in the kitchen, as opposed to the living room which VISITORS uses and, well, living rooms are sparse when it comes to significant unique noises. 

Where the noise of a glass being knocked across a countertop can create an almost visceral reaction, it's something that we can instantly picture in our minds. Trawling through a cutlery drawer, or switching frequencies on an old radio, these are all very unique sounds that create a strong connection and come together to form a picture in your mind our where you are. VISITORS didn't do that.

As this story had characters that were unable to physically interact with anything, it meant there was a huge lack of storytelling and the set composition was lacking these unique sounds. Where we were before asked to interact with an object before setting it aside, now we jumped straight into the story with no context and minimal direction. I wasn't visualising myself sitting in a perfectly choreographed room of Darkfield's design. I was simply sitting in my lounge. In the dark. With my eyes closed.

The final main difference I slightly touched upon was the participation levels. Prior, all of the participation and directions were given at the start, and the rest was a brilliantly composed audio piece that one enjoyed from the chair. Not so this time. Be prepared to be asked to do things. Be prepared to do them. It wasn't a huge issue for me as I picked up on most of the cues, but my partner stuck firmly to her chair and was a little confused in the process. This is definitely an area that needs some work in the future to ensure directions are received organically but are still clearly instructions.

Regardless of its differences, VISITORS still gets the 3D audio right. How they can get such depth and range built into the audio, I don't know and doubt I could ever learn. The ability to pinpoint and place the source of a sound is immediately perplexing but impressive at the same time. The sound is coming from your headphones and nowhere else, and yet I can hear a voice whispering in my ear over my shoulder, I hear the beads as they move between my partner and me, and I can hear a visitor whispering to my partner a few metres away. 

The composition is impressive, but as it is nearly all dialogue-based, it can only be so impressive. VISITORS still managed to give the nerves a twang from time to time, and actually moving around with your eyes closed can really mess with your internal geography, but if you are willing to let yourself go and live in the moment, this is a unique experience that I have yet to experience anywhere else. For only $20 there is little reason not to try this out. At the same time though, DOUBLE is still available, so there is that option too.

VISITORS opens on Thursday 29 October 2020.

Session times: Tues, Thurs, Fri and Sat at 8pm & 10pm.

Tickets are available via the Darkfield website

Price: $20 per couple

PENANCE (2020)

 

The lives of grieving mother Rosalie and her daughter Maddie are changed forever when they meet Jed. A spark of hope for the future is rekindled within the household. But underneath, a deadly and morally corrupt triangle is taking shape.

Penance is a peculiar style of mini-series. Combining the tropes of the middle-aged woman falling for a young stud, and a mother grieving over the loss of her son, Penance is walking the tightrope between gold-digger and crime genres, touching on the thriller genre as well with only three episodes to complete all of the various arcs brought into play.

The series is adapted by Kate O'Riordan from one of her own books, so there should be no issues with the context and direction of the series being present. And this indeed is where the series excels; in its one-on-one interactions. Julie Graham takes on the role of the matriarch in this family thriller, and her engagements with the supporting cast are well done. 

Despite the number of directions her character is pulled, her emotional frame of mind is visibly fragmented as well, and it translates well into her uncertainties. When we are dealing with groups of unnamed characters then the acting is decidedly less impressive. Characters just meandering in silence around a kitchen, or lurk in the background, it feels as if nobody but the main characters was given any direction from director Maurice Sweeney.

The plot feels outlandish and does require the audience to just let things slide initially, but there are so many arcs that there is little other way to fit all of the content into a three-part series. O'Riordan would have had to either cut content out or have the budget for a five-part mini-series. Drug trafficking, deaths in Thailand, Gang infiltration, youth alcoholism, adultery in many forms, and manipulation are all fighting for their own piece of the spotlight. 

This does mean many plot points will feel out of place and undeveloped. By no means is this a well-grounded story. Each of the aforementioned elements could form its own three-part series, but combined together it creates a fast-paced highlight reel that doesn't stop.

The fast pace does work in its favour as the limited amount of time the show has on each arc does mean all of the arcs are very predictable, but the audience is never given any time to dwell on it. 

Penance comes across more than a little contrived. It gets so lost in the thriller element that there is no real space for drama, and a lot of the emotional heft and impact is non-existent due to the lack of downtime given. There are no subtleties. 

In book form, a lack of subtlety can help build an image of your characters when you can't physically see their actions, however, on-screen, subtlety is needed to keep that air of mystery alive. In a medium where a sideways glance can give away ill intentions, focusing too heavily on certain aspects has a tendency to give away your big reveal beforehand, again, reducing the impact of it.

Penance can certainly be an enjoyable watch, but it will take more than a leap of faith, it requires a plunge into the Grand Canyon of accepting poor decision-making to be a trait in every character. Fun though. 

Originally posted to: http://djin.nz/Kr8738

Penance is available on AcornTV from October 12, 2020

I AM WOMAN (2019)

 

I Am Woman tells the story of singer Helen Reddy, who wrote and sang the song "I Am Woman" which became the anthem for the women's movement in the 1970s.

After the huge success of Queen's Bohemian Rhapsody and Elton John's Rocketman, it's quite safe to say that musical biopics are back in fashion. In fact, 2020 has seen a plethora of biopics released or announced; from Aretha Franklin, David Bowie, Bob Dylan, and Elvis Presley, to Celine Dion, Boy George, the Bee Gees, and Dusty Springfield. What has appeared ready for release with little commotion has been Helen Reddy's biopic, I Am Woman. 

One would expect an aggressively feminine story, if you were to look at the trailer, with this Australian woman trying to make it big in a male-dominated industry, being held back or abandoned by every man that she interacts with until she finally gains fame by penning a song that became the unofficial anthem of the second-wave of feminism and the equal rights campaign. It feels like a true underdog story that will have you cheering for Helen as she overcomes the overt sexism that had prevented her from getting a chance at turning music into a career.

I Am Woman fails to roar, however, instead, coming in with a bowed head and a whimper. Ultimately, Unjoo Moon's direction is somewhat inconsistent with the moral of the story, and Tilda Cobham-Hervey's turn as Helen Reddy lacks any kind of spark. For a woman who has been spurned by a past lover and mistrusts males, her next choice in a partner is exasperating and is so overdramatically acted by Evan Peters (from the X-Men and American Horror Story franchises). So much so, that it wouldn't be more obvious if he had tattooed "damaged" or "bad decision" on his forehead. 

It affects how you consider Reddy's character and sense of judgement. There is a cringe-worthy level of misogyny and chauvinism that would have had a greater impact if it had been handled with more subtlety.

Reddy's best friend, Lilian Roxon, has a subplot that feels far more exciting than our main arc in I Am Woman; a main arc which manages to move at such a slow pace that you would almost think that screenplay writer Emma Jensen had avoided the usual generic musical biopic formula. But alas, it's the exact same formula, only much, much slower. It hits similar points to other biopics, but it focuses on the smaller interactions and skips over the more interesting moments.

But the aspect that really lets the film down is Tilda Cobham-Hervey's portrayal. Yes, she is a stunning woman, and she does well miming to Chelsea Cullen's Helen Reddy impersonation, but as a character that supposedly gave a voice to feminists across America, her character is passive and timid, with a nice smile, but a flat range of emotions. 

The film is begging to make war with men, to bring out the frustration and anger of being held back, and dictated to, and yet, all the audience is shown, are a series of events that transition into a full song performance. There are no direct reactions to any events where Reddy's character is active. Everything she does is either directly or indirectly attributable to the men of the film. Reddy is simply along for the ride.

With such a timid and passive main character, it makes it harder to empathize and connect with who she is as a person, and the stakes are never fully developed, so the rise and fall lack the impact that they should have had. Perhaps this is simply the male way of thinking, and the character of Helen Reddy is something that many people will be able to identify with. This will no doubt receive a majority of good reviews because it talks about the effects and dynamics of sexism, but in the eyes of this reviewer, a poor representation is worse for the cause.

Women's rights need to be at the forefront at the moment as they are under threat internationally, and this film arrives at the perfect time to bring everyone together, but I Am Woman still feels like a small-scale biopic. There are no real stakes, the heights of fame don't feel real, and the fall from grace was predicted from the first moment that we saw sleazy Peters on screen.

If you already enjoy Helen Reddy's music, this will be perfectly fine. If you were brought up with this song, you'll certainly be singing and cheering along. If you are not familiar with Reddy's discography, I Am Woman is not the film that will make a Helen Reddy fan out of you. Full song performances slow the pacing of the film substantially and don't leave room for any real development of Helen Reddy's character. Her passivity means this is not a film about Helen Reddy. This is the story of the people around Reddy; her best friend and husband, Lilian Roxon and Jeff Wald, respectively

Dion Beebe's cinematography was competent and Rafael May's musical compositions were enjoyable, but there was nothing that made I Am Woman memorable, and that is the biggest disappointment of all. 

I Am Woman is in cinemas from November 5, 2020

Originally posted to: https://djin.nz/Kr8720