Erebus, Cave Creek, White Island, and Pike River. In a country the size of New Zealand, where six degrees of separation is a very real construct, our national disasters are writ large upon the collective psyche.
Roofman gives Channing Tatum the opportunity to show off his acting chops as the real-life spree robber Jeffrey Manchester who relieved a succession of McDonalds franchises of their takings and hid out in a Toys are Us store.
Bruce Springsteen…the Boss? Or dross? Unfortunately this new biopic has me leaning toward the latter.
I was just nine years old when the first Tron film burst onto our screens in 1982, introducing us to Kevin Flynn, played by the great Jeff Bridges, and to The Grid a dazzling, computerised world unlike anything we’d seen before. It was visionary, strange, and way ahead of its time.
Somewhere between revolutionary satire, absurdist road movie, and a reminder that family can be whatever you choose to make it, lies Paul Thomas Anderson’s One Battle After Another—a film so strange it shouldn’t work. And yet, it might just be a masterpiece.
Eva Victor’s (Billions) directorial debut, Sorry, Baby, is an original, wrenching, and practically perfect film. It’s a quietly devastating look at female friendship and the lasting impact of trauma, all told with a wonderful balance of tenderness and humour.
On the eve of the World premiere of Life In One Chord, The 13th Floor’s Marty Duda shares his thoughts on that and other highlights from the NZIFF.
In The Great Lillian Hall, a legend of cinema plays a legend of theatre playing a Russian aristocrat in Michael Cristofer’s sensitively handled study of art imitating life.
Zach Cregger’s follow-up to Barbarian is a twisty little frog-in-hot-water number that starts out eerie and slow, then subtly turns up the heat to nerve-jangling proportions.
This little indie film feels like the defibrillator the NZ film industry didn’t know it needed – a necessary jolt to the system that reminds us what cinema made with heart, guts, and purpose can look like.