Month: November, 2017

The Disaster Artist

disaster“I did not hit her! I did naaht! Oh, hai Mark.”—a line immortalised by Tommy Wiseau, arguably the worst director ever to helm a multi-million dollar film. The Disaster Artist tells the true story of the making of his film, The Room, which has been lauded by “fans” as the greatest bad movie ever made.  The result is like watching a clown getting shot—an uneasy mix of tragedy and comedy and if there was a bastard-child of Tim Burton’s Ed Wood biopic and Kirk Lazarus (Robert Downey Jr.) from Tropic Thunder, then this’d be it.

Read the full review for the NZ Herald here.


The Stolen

thestolenThe relatively talented cast can’t rise above the many cliches which are slathered liberally on a stale loaf of archetypal characters. And while the film takes great pains to make the most of New Zealand’s cinematic landscape, which is, yet again, quite stunning, it struggles to impress in areas that matter. Even the multi-talented Stan Walker’s small part has the unsavoury whiff of tokenism and does little more than offer cultural flavour and plot convenience.

Read the full review for the NZ Herald here.

Human Traces


In his first feature, New Zealand writer and Director Nic Gorman has crafted an impeccably paced thriller that sits well within New Zealand’s own “cinema of unease”.

Read my full review for the NZ Herald here.

Lets talk about race.


My latest rant at Witchdoctor.  Read it here.

Ingrid Goes West

ingridIt’s always a sobering experience when a film knowingly holds a mirror to modern society.  Director, Matt Spicer, has done just that with his first feature film, crafting a modern tale that is astute, cynical, and very self-aware—a cinematic selfie of our social media woes, so to speak.

Ingrid Goes West jumps boldly out of the starting gate with an opening montage of self-indulgent Instagramming, hash-tagging, duck-face selfies, foodie pics, emojis, the kind of stuff we all roll our eyes at despite ringing true for many of us. It then paints the titular Ingrid as an emotionally frail slave to the intoxicating lure of this social media landscape. It is a post-satire comedy where its characters’ outlandish behaviour is both abhorrent and yet completely believable.

Ingrid, played by Aubrey Plaza (Safety Not Guaranteed), is always on the outer and desperately craves the attention of those who are popular on social media. Unfortunately, her sociopathic tendencies hamper her ability to gauge social norms and it’s not long before she finds herself in trouble. After burning her bridges with her old friends she develops an unhealthy social media crush on Taylor Sloane (Elizabeth Olsen). Taylor, a socialite with many Instagram followers, is popular and everything Ingrid wants to be, but Ingrid finds it increasingly difficult to maintain her “perfect” life which is perpetuated by her appetite for social media.

Ingrid Goes West is nothing short of a damning comment on the ills of pretending to be someone you’re not and presents a world where perceived popularity is measured by your number of followers. As Taylor’s husband says, “it’s exhausting”.

The film descends into some fairly dark places but its exploration into the murkier waters of social media and mental illness is unfortunately met with a noncommittal ending that doesn’t do either topic justice.  Nonetheless, Ingrid Goes West confidently struts a fine line between twee and brooding and still manages to expose the dark underbelly of social media with a few chuckles along the way. #stillworthseeing.

You can see my published reviews here.


Murder on the Orient Express

motoe.jpgI’d like to have seen each of its many characters fleshed out a little more—perhaps an impossible task for a two-hour film.

Read my full review for the NZ Herald here.


detroitSet to the backdrop of the Detroit race riots, the film begins by explaining that the pointy end of the maligned racist stick is the result of historically deep-seated problems.  Certainly, Detroit and Raoul Peck’s recently released I Am Not Your Negro would make the perfect double bill.

Read my full review for the NZ Herald here.