Father Geek here with Latauro and the newest edition of our regular weekly report from Australia and New Zealand...
Float like leaf on river of life... and kill old lady.
AICN-DOWNUNDER
AICN-DOWNUNDER
Meanwhile, back in New Zealand...
The Society For the Protection of Community Standards saw its IRREVERSIBLE appeal reviewed by the High Court. The Judge said that two of the five grounds for judicial review that the SPCS put forward made the film eligible for reconsideration by the New Zealand Board of Review:
1. The President of the Film & Literature Board of Review has applied an incorrect test in considering whether there was an arguable (or obvious) error (of law or otherwise) in the decision of the OFLC;
2. The President has applied an incorrect test in regarding as relevant the high threshold applicable to a restriction on publication pending resolution of litigation in defamation and similar cases.
The High Court did not uphold the request to prevent any further screenings of the film. Wouldn't have made much of a difference anyway, as the film's theatrical run has finished up. Despite this, the Board's decision will have an impact on the DVD rating.
The Board will meet on October 21st to review the film's rating based on the two points mentioned above. In a little under two months, we'll let you know what their final decision is.
NEWS
Geoffrey Rush has signed onto EUCALPYTUS, playing the father of a young woman pursued by Russell Crowe. That's pursued in the romantic sense, not the Tommy Lee Jones chasing Harrison Ford sense. The search is still on for an unknown to play the romantic interest, aged about twenty-four in the film. Directed Jocelyn Moorehouse (PROOF) has previously worked with Crowe on the 1991 film PROOF.
* Paramount is considering shooting its remake of CHARLOTTE'S WEB in Melbourne in early 2005. Looking to use the new Docklands Studios, the film will be directed by Gary Winick (SUDDENLY 30), and looks like it will be live action.
* Geoffrey Wright (ROMPER STOMPER, CHERRY FALLS) may also be shooting his next film, LADY MACBETH, in Melbourne.
* Ernest Hemingway biopic PAPA will lens in Queensland soon. Starring Anthony Hopkins as Hemingway and Meg Ryan as Mary Hemingway, the film has already shot a large portion in Portugal.
AWARDS AND FESTIVALS
GREEK FILM FESTIVAL (MELBOURNE)
Kicking off next weekend, there's plenty to see if you're a Melbournite like myself. I can't recommend TOUCH OF SPICE enough, but that will be on general release at the end of the month so try to catch some of the more obscure stuff if you have the chance.
BOX OFFICE
No surprise in BOURNE SUPREMECY taking top spot across Australia. LADYKILLERS, which had a surprisingly good opening week dropped down to tenth, whilst THE LIFE AND DEATH OF PETER SELLERS debuted at seventh position.
And the boxoffice winners are...
- 1. THE BOURNE SUPREMECY
- 2. HELLBOY
- 3. AROUND THE WORLD IN EIGHTY DAYS
- 4. WHITE CHICKS
- 5. GIRL NEXT DOOR
RELEASED THIS WEEK
A documentary fails to raise the controversy of Michael Moore's effort, a documentary fails to raise the controversy of Michael Moore's effort, Monica Bellucci ensures there's no way we *won't* remember her, Elektra does BIG, M. Night Shyamalan makes a film with a "twist", and Beat Takeshi mistakes the subtitle "The Blind Swordsman" as "The Blonde Swordsman".
Soooo Here are the New Flicks down here...
- CONTROL ROOM
- THE CORPORATION
- REMEMBER ME
- SUDDENLY THIRTY
- THE VILLAGE
- ZATOICHI
REVIEWS
I've been doing a lot of film catch-up lately, seeing JERSEY GIRL, THE LIFE AND DEATH OF PETER SELLERS plus a double-bill of TRIPLETS OF BELLEVILLE and FOG OF WAR in addition to those reviewed below. At some point soon I'll catch BOURNE SUPREMECY and ZATOICHI, but until then...
THE LADYKILLERS
I have to confess, THE LADYKILLERS has my favourite trailer of the year. Some people have had a problem with Tom Hanks hamming it up a southern gentleman, but I find him hilarious. His blinking when he says he plays church music, the widening of the eyes when he asks if she has a root cellar... given we're overrun with heist films that show us thieves who are (supposedly) at the top of their game, I just loved seeing a "criminal mastermind" who is such a blatantly awful liar being so over-the-top. I watched it hundreds of times, it absolutely killed me.
In many ways, though, that messes with your experience. Whenever you come up to a bit you saw in the trailer, you're inadvertently comparing it, seeing what is changed, what timing is different. It's even worse if it's a remake. You'll be looking at what worked in the original and didn't work in the remake; when a plot turn arrives, you can't look at it objectively, only in relation to what the original did.
Despite all these self-imposed obstacles, I loved this flick. Sure it's flawed, but I didn't have as many problems with it as others seemed to. Is it a classic Coen Brothers film? No. Not really. When they create an original piece, like BIG LEBOWSKI or even the technically-an-adaptation O BROTHER, you can tell from the first frame that you're in a world of their creation. With the still-enjoyable INTOLERABLE CRUELTY, it felt like someone else's world; possibly because the script had originated with other writers. LADYKILLERS is somewhere in-between.
You have to like Hanks's schtick though. If you haven't raised a smile at the trailers, chances are you're not going to in the film. Also, it's nice to see that Marlon Wayans can actually be funny when he's not doing his and his brothers' material. Bottom line: the film is a worthy remake of the original, and almost nearly a return to form for the Coens.
THE VILLAGE
(mega-spoilers ahoy)
Oh boy, did I hate this film when it finished. I've mellowed a bit since then and now feel fifty-fifty on it, but goddamn it pissed me off. No, I didn't read the script or have it spoiled for me. Yes, I was one of those who picked the twist from the trailer. And that's the biggest problem here. Shyamalan has become so predictable in his story construction that EVERYBODY is trying to figure it out from word go. He told us there would be no twist in SIGNS. Well, he's right, there wasn't, but he did his best to present the end as if it was a gigantic revelation. That's why so many people had a problem with it: they felt they'd been duped.
Now, having watched the film I can tell you that it's not that hard to pick. If you're looking for the most obvious thing, you'll probably figure out where he's headed. And hopefully it won't taint your enjoyment of the film, because there are some damn good set pieces.
Let's forget about Shyamalan The Writer for a moment. Shyamalan The Writer believes his own hype, doesn't trust enough people to look over his work and give notes, thinks that he's smarter than his audience. Shyamalan The Director is insanely talented, trusts his actors in long takes, creates genuine terror better than most mainstream filmmakers working today. The set piece with Richie's daughter in the woods is truly brilliant. The performances from the three leads (Bryce Dallas Howard, Joaquin Phoenix, Adrian Brody) are phenomenal, and easily the best performances in an M. Night film since SIXTH SENSE.
The problems with the twist is that it negates so much. Rather than leaving things up to our imagination, it just leaves them hanging. Why is red dangerous but yellow not? Why speak in a ridiculously outmoded manner? Why strip the skin from the animals and then say it couldn't possibly be the Creatures, it must be something else? Because the Elders felt like it? Give me a break.
So what would have been better? I spoke to a lot of people who were hoping for an all-out war between the people and Those Who May Not Be Interesting. You know what? That should have been the film. Screw the twist. Have some balls and set it in the 1800s. Don't bother explaining the origins of the bastards, just have them pissed off at something Joaquin did and leave it at that. Make it a genuine supernatural story.
As it stands, I feel like I've had one put over on me. From Night's ridiculously self-conscious cameo at the end to the lazy way the twists were revealed, I think that Shyamalan needs to start surrounding himself with people who will tell him when his ideas suck... because I don't think he's going to survive another script like this one.
NEXT WEEK
- Steven Spielberg signs on Dakota Fanning to play Indiana Jones's daughter
- Peter Jackson promises King Kong will beat up the GINO Godzilla, but denies a Tom Welling cameo
- With rumours circulating of a "trilogy of trilogy of trilogies", Lucasfilm representatives deny any movement on STAR WARS Episodes VII-through-XXVII
