offthescreensa

[offthescreensa]

#FilmReview: #StarWarsTheLastJedi

Back in a Galaxy Far, Far Away, and Never Better

The Last Jedi is a breath of fresh air into the franchise, which takes it in a new, exciting direction

The Story

Picking up where we left off in Star Wars: The Force Awakens, Rey (Daisy Ridley) has found Jedi Master Luke Skywalker (Mark Hamill), but instead of the stoic master she expected to find she finds a bitter old man, with no intentions of training her or helping her in any way. Meanwhile, the Rebels led by Luke’s twin sister, Leia Organa (the late Carrie Fisher) has been discovered by the first order, led by Supreme Leader Snoke (Andy Serkis), General Hux (Domhnall Gleeson) and Kylo Ren (Adam Driver). It falls on Po Dameron (Oscar Isaac), Finn (John Boyega) and new friend Rose (Kelly Marie Tran) to save what’s left of the fleet and the resistance, but can they do it in time?

The Verdict

Something magical happens when the words: Star Wars, appears on the big screen and the sound of the first few cords of the theme start. It’s like an electric jolt is sent down your spine. It fills you with hope and joy and a certain amount of expectation that you’re in store for a fabulous experience, bought to you from a galaxy far, far away. Well, The Last Jedi delivers on that expectation. I can’t go into too many details about the film, since it’s spoiler after spoiler, but I can say that it lives up to the hype of The Force Awakens, and the original trilogy, with the same thematic experience, amazing characters and intense battles we’ve come to expect from this franchise.

Ridley and Driver are great as two sides of the same coin, both searching for their place, not only in the world, but inside the Force as well. They play off each other perfectly, and their interactions are some of the most emotionally driven of the film.

Boyega is the lovable scamp, taking over from where Han Solo left off. And the addition of Rose, a scrappy, intelligent, force to be reckoned with, his story continues to add the layers. Tran plays Rose very well, making her likable and strong and a great addition to the Star Wars world.

Hamill gets the chance to really stretch his acting muscles this time around, and doesn’t disappoint. Through him we see the truth about Ren’s actions, though I won’t tell you what those are, and the reason Luke has hidden himself away. He is emotionally raw and vulnerable and awesome.

A lot of slack was thrown The Force Awakens’ way because of the similarities between it and A New Hope, the first film in the original trilogy. Personally, I liked it for that reason, feeling like it was paying homage to the original material that was so universally loved. Well, those that threw the slack are going to be pleased that The Last Jedi breaks the mould. Whatever you think you know about where the story is going, you’re wrong. The twists and turns in this film will keep you on the edge of you seats. We discover the truth of Rey’s lineage, not what you expect, the truth about Ren, not what you expect, and where the franchise is going, and, again, not what you expect. I wish I could tell you more, but that would spoil the surprise. Just go into a theatre near you now, and see where the story is heading.

With its huge effects, including some kick ass new locations including a great planet that looks like it’s bleeding, a great metaphor there, and the amazing gambling planet, and some great performances, The Last Jedi is fit to take its place among one of the most loved film franchises in film history, and blow the socks off all Star Wars fans.

[offthescreensa]

#TheatreReview: #AChristmasCarol

Christmas comes to the Studio Theatre

A classic Christmas tale done in a new and remarkable way

While I’ve seen A Christmas Carol on the big screen several times, in several incarnations, including Bill Murray’s 1988 Scrooged, Patrick Stewart’s 1984 A Christmas Carol, and even 1992’s The Muppet’s Christmas Carol, I’ve never seen it live on the stage. And, if I’m honest, A Christmas Carol at Pieter Toerien’s Studio Theatre is not what I expected. Knowing the story the way I do I expected a cast of dozens with extensive sets conveying the magic and mystery of the Christmas spirit, not the two actors and the virtually barren stage I was presented with. Of course, the smartness and mastery with which the story is conveyed makes up for any preconceptions I had, and the magic and mystery of the Christmas spirit is there, in spades.

The story remains the same. Ebenezer Scrooge, played by Jason K. Ralph, is an old, miserly gentleman who has no time for Christmas, or those that celebrate it, or anyone for that matter. He is mean and sour and just plain not nice, until one night he is visited by the ghost of his departed business partner, Jacob Marley. Marley tells him of the coming of three spirits who will lead Scrooge on a quest to regain his Christmas spirit, or else be doomed to haunt the world the way Marley is. Scrooge doesn’t believe it, at first, and tries his best to pretend none of it is real, but as one after the other of these three spirits, the spirits of Christmas past, present and future, visit him, he has no choice but to see the error of his ways and repent, which he does in fabulous style, becoming a changed man and one that carries Christmas with him every day.

Now, while Scrooge has a dedicated actor, and Ralph does a fabulous job with his humbugging and cowering against the spirits, the real props needs to go to Naret Loots, who not only plays every single other character in the production, including Scrooge’s nephew, all three of the spirits, Mr. Cratchit, Scrooge’s employee, and the poor boy Scrooge frightens half to death for the crime of singing carols at his window, she also drew the remarkable animation sequences that are projected on the back of the stage and bring the entire production to life. Both Ralph and Loots are great performers and the show is fabulous. I would love to know who did the narrator’s voice. I assume it was Ralph or Loots, but it’s not listed. It is fabulous and brings the real feel of the classic book to life.

This is one of the smartest and most inventive pieces of theatre I’ve seen in a long time. It is clever and magical and really enjoyable, but I will say that it is rather cerebral. What I mean by that is that children might start to get a little restless during the performance, since there is a lot of talking. Of course as soon as the ethereal Ghost of Christmas Part, the strangely Jamaican and vegetable looking massive head of the Ghost of Christmas Present, or the eerie, cloaked and skeletal handed Ghost of Christmas Past make their appearance, they will be entranced again.

My heartfelt congratulations to director Elizma Badenhorst, composer Wessel Odendaal and both performers on a performance of a classic I will not forget in a hurry.

A Christmas Carol is at the Pieter Toerien Studio Theatre until January 7th.

[offthescreensa]

#TheatreReview: #CinderellaOnIce

The classic tale glides magically onto the stage

Cinderella must be one of the best known, oldest, and most copied fairy tales ever, starting in the first century BC where Cindy was a Greco-Egyptian servant, treated badly by the other servants. They went to the function, organised by the Pharaoh, leaving poor Cindy washing in the river, only to have an eagle take her rose-gilded sandal to the Pharaoh, and when he discovered who the sandal belonged to he fell madly in love with her. The tale has remained, mostly, the same, along with the theme of the bowed down heroine, the evil person making her life a misery, and the handsome Prince who meets her, without knowing who she really is, and then has to search for her when she leaves him without an explanation. The same story is told this time, only in a Russian Town and on ice.

This time around Cindy, played by Olga Sharutenko, is a young girl who dreams of being a ballerina. Her mother passed away when she was young, and her father, played by Sergei Lisev, married a, not very nice, woman, played by Maria Mukhortova, who bought along her two daughters, played by Alina Saprykina and Elena Shurakova. To make matters worse Cindy’s new step-mother is the ballet mistress at the school Cindy attends, and she thinks her daughters should be the prima’s of school, and Cindy shouldn’t be there at all. During a class, the Mayor’s son, played by Bogdan Berezenko, comes to visit, and while the step-mother tries to push her daughters on the unsuspecting suiter, he only has eyes for Cindy. Unfortunately, her step-mother makes sure that Cindy and the boy don’t meet. He gets another chance, though, when he decides to throw a party for his birthday. He invites everyone in the Town, including Cindy, but her step-mother steals her invitation, making it impossible for her to see the boy again. Thankfully, the Town’s people love Cindy, and they, led by the Gypsy Fortune Teller, played by South Africa’s own Fiona Kirk, who was a friend of Cindy’s mother, and the Dressmaker, played by Volodymyr Khodakivskyy, all come together to get her a new dress and get her to the ball.

At the ball Cindy and her prince dance the night away, much to the annoyance of her step-mother, but when the clock strikes 12, Cindy’s time is over and she mysteriously disappears, leaving behind a shoe. The next day the Mayor’s son is searching for the mystery girl he danced with, and while he tries the shoe on every person in the Town, it’s not until he tries it on Cindy does he find the girl he’s searching for. They fall madly in love and live happily ever after.

Now, I’m no ice skating expert, and I’m sure that someone with the intrinsic knowledge of the sport would be able to tell you more, or point out any mistakes that were made, but I don’t think that’s the point. It’s the same way that someone without a deep knowledge of Irish clogging can enjoy Lord of the Dance, or someone without a background in ballet can love the Nutcracker, this show is all about the enjoyment of what is being performed on stage, so much so that it enthrals and amazes with the sheer performance of it all. This show can stand up to any dance show that I’ve seen in its sheer entertainment value, which is very high.

Starting in act one with the Town Square scene, the “Corp de Ice Skating” is amazing. Each and every single person on the stage has the presence and ability to enthral the audience with a mixture of amazing skating, like flying across the stage, and entertaining performances. Sharutenko is everything you could want from a prima. She is graceful and has a beautiful stage presence and just owns the stage. The same can be said of Berezenko who is confident and charming and every bit the Prince Charming on the stage. The duet between them in the Town Square, ala Singing in the Rain, is beautiful, matched by great music, and the grand duet during the ball matches any Grand Pas de Deux in any great ballet production. Mukhortova, Saprykina and Shurakova are glorious in their spitefulness and malice against the poor Cindy, and really seem to have fun on the stage. A special shout-out needs to go to Stanislav Pertsov and Dmitrii Ivanov who played Cindy’s father’s assistants. They have incredible dynamics on the stage and really wowed the crowd. I also want to say that Scene 5: the Clock Strike Thirteen, is enthralling, chilling and a pleasure to watch, and the aerial work is astounding, working seamlessly with the skating. All in all, this is just a fabulous show.

If you’re looking for something to take the kids to, or if you’re just looking for an enjoyable night out, then Cinderella on Ice should be at the top of your list. It’s magical and enjoyable and simply a great night at the theatre.

Cinderella on Ice is at the Teatro at Montecasino until January 6 then moves to Cape Town's Artscape from January 10-28.

[offthescreensa]

#TheatreReview: Evita

Portrait of an Argentinian Icon

Full disclosure. Evita is not one of my favourite musicals. Some of the songs are amazing, like Another Suitcase in Another Hall; High Flying Adored; On This Night of a Thousand Dreams; You Must Love Me and, of course, Don’t Cry for me Argentina, but the other songs I don’t really enjoy. I think it’s the odd timing of Buenos Aires, or the sheer craziness of some of the other songs, but it’s never really hit the emotional core of Phantom of the Opera, or Cats, or Jesus Christ Superstar, or the other musicals by Andrew Lloyd Webber, for me at least.

That said, the performance of Evita, happening right now at the Teatro at Montecasino, is completely amazing. I’m often astounded by the level of talent in musical theatre in South Africa and this show is no different.

Before I look at the on stage mastery, let’s look at the story of Evita.

Starting at the point of her death and then going back, Evita tells the tale of Eva Duarte, played by Emma Kingston, a young, impoverished girl, living in a small town in Argentina, with plans of much more. She manages to make her way to Buenos Aires, with the help of the reluctant performer Magaldi, played by Anton Luitingh, and starts making a name for herself. Of course, the way she does that is by sleeping with and manipulating any man that can increase her profile and standing. This culminates in a meeting with Juan Peron, played by Robert Finlayson, a Lieutenant General in the Argentinian Army who, with the help of Eva, rises to become president of the country. Eva becomes the spiritual leader of the people, the poor and disenfranchised, who look at her like she’s a saint, however, the upper class of Argentina are less favourable of the actress that has become the first lady of their country. This creates tension between them and the president, as well as the people, and while she seems to be doing everything for the people and Argentina, it soon becomes apparent that she’s looking out for number one, and as cruel and ruthless as the people she ousted in taking power. Nevertheless, she is loved by the people, and when she passes away it’s a massive loss for the country.

It’s an interesting exploration into the old parable of power corrupting, but, if you look more closely at the storyline, you can see that Evita was corrupted long before she ever took power. It’s more an investigation into a woman that would, and did, do anything to achieve her goal of a better life, no matter what the cost. Kingston plays her beautifully. It’s a difficult role, playing this girl coming from nothing, a wide eyed, naïve girl, into a manipulative woman, doing whatever it takes to ascend, into the states woman, cool and confident, into the woman that is dying and trying to cling to the life she fought so hard for. Kingston has one of the best voices I’ve heard on stage, and the way it changes throughout the performance, to show the declining strength of the character, is great. Of course, it would have been nice to have a South African in the role, but Kingston is so good that I’m glad I got the chance to see her perform it.

The role of Che Guevara, an Argentinian revolutionist and the narrator of the musical, is played by our favourite South African musical star, and a stable at Montecasino, Jonathon Roxmouth. He has just the right balance of revolutionary, charmer and comedian, and catches the audience’s attention with each moment he’s on the stage. And don’t even get me started on the man’s voice. He is truly an icon in South Africa musical theatre and I’ll happily watch anything he is in.

Luitingh’s Magaldi is camp and creepy and funny, and his rendition of On This Night of a Thousand Stars, is wonderful, while Finlayson’s Peron is a statesman through and through. You get the sense that he really loved Eva, regardless of her obvious flaws, and he plays it well.

Each and every person on the stage, which was very effectively set up, with minimal sets, only some props and lighting strips which were used to great effect, are amazing singers and performers. From the kids, who looked too little to be on such a big stage, but had voices to fill it, to the dancers and singers making up the ensemble, they all did fabulous jobs. A special mention needs to be made of Isabella Jane, performing without the aid of Rosie. Her rendition of Another Suitcase in Another Hall gave me chills. She has an amazing voice and a stellar stage presence, and I think we’re going to be seeing a lot more of her in the future, hopefully in starring roles, which she will completely kill.

This is the show of the year, so go and see it while it’s running at the Teatro at Montecasino.

[offthescreensa]

International Ballet Gala 2017 Review

This truly is, Ballet Like We Like It.

 Dirk Badenhorst, ballet business guru and member of the board for the South African International Ballet Competition in Cape Town, coined a phrase a while ago: Ballet Like We Like It. I never really liked this phrase, feeling a little too slogany for my liking, but supposed that was the point. Well, the true meaning of the phrase was made apparent to me this week when I went to see the International Ballet Gala at the Mosaïek Teatro in Fairlands, and if you like ballet, at all, then this is, truly, Ballet Like We Like It.

The show was a celebration of dance, presented by some extraordinary dancers from all over the world. Part of a series of performances, including performances at the Artscape Theatre in Cape Town, the Mountain Cambridge School in Hartbeespoort and Ballet in the Bush in Limpopo, Dirk has bought together some extraordinary dancers to, not only show their great talents, but also to raise money for the plight of rhinos in South Africa. The performance at the Mosaïek Teatro was attended by Anujin Otgontugs, a ballerina from Mongolia, Javier Monier, a ballerino from Spain, Mariam Karapetyan, a ballerina from Armenia, Hassan Eltabie, a ballerino from Egypt, Dzianis Klimuk, a ballerino from Belarus, Lissi Baez, a ballerina from Cuba, and Jonhal Fernández, a ballerino from Mexico, as well as South Africa’s own Angela Malan, Andile Ndlovu and Thami Njoko.

Each of these dancers are exceptional. From the first routine, the pas de trois from Le Corsaire, danced by Otgontugs, Monier and Ndlovu, you can see that these are professional baller dancers and deserve the titles that hold. Each performance got better and better, with special mention needing to go to Rudenko and Pyzhov, who literally took my breath away with their duet: Melody. I absolutely loved the choreography for Bengingazi, provided by Adele Blank, and performed by Malan, Ndlovu, Monier and Njoko, which saw an amazing mixture of hip hop and ballet that was astounding. Njoko especially has such a presence on the stage that he blew my mind, and Ndlovu and Monier can fly, quite simply. Malan shows why she’s one of the most prolific prima ballerinas in South Africa, and still worthy of her place, especially when she returned to the stage to perform Swan Lake Act II with Klimuk. She is absolutely beautiful and wonderful to watch.

Joining these amazing professionals on the stage were a slew of young dancers, each with great promise to be professionals, and have great careers in the future. Paige McElligott, Michaela Fairon, Nehanda Péguillan, Michaela Louw, Miguel Kenneth Franco-Green and Navin Jacobs, all did themselves, and their respective teachers proud with their performances, with a special mention of Louw who was beautiful performing the repertoire from La Fille mal Gardée. I also want to mention the kids who performed the corps de ballet for Swan Lake Act II. You were all wonderful, especially the girl who fell and recovered, which shows real professionalism, and the four little girls who did the quartet, one of the hardest pieces to dance, albeit with a few unextended feet.

This is a remarkable show by remarkable dancers, but unfortunately if you missed it, you missed it. There are no more performances, but if you want to see these dancers perform, and I suggest you try and do just that, you can catch them as they conclude their run at the Legend Golf and Safari Resort in Limpopo, September 9. This is your last chance to see these dancers, and support the rhinos, so try and get out there. It is worth it.

[offthescreensa]

It’s so right that it goes wrong.

In The Play That Goes Wrong at the Pieter Toerien Theatre, everything that can go wrong, does go wrong, and it’s so funny to watch.

We all know the old adage: The show must go on. Well, the new production at the Pieter Toerien Theatre at Montecasino, The Play That Goes Wrong, takes that sentiment to a whole new level.

Written by Henry Lewis, Jonathan Sayer and Henry Shields, The Play That Goes Wrong, tells the tale of the fated production of “Murder at Haversham Manor” by the Northriding Polytechnic Drama Society. Director Chris, played by Russel Savadier, has put together a marvellous play, in his opinion anyway, and cast it with the best actors he has available. From the moment the production starts what can go wrong, does go wrong, which includes doors not opening, portions of the stage falling apart, actors ending up unconscious and with some serious concussions, I’m sure, a mishap with the drinks on stage, and a stage hand with serious delusions of grandeur. It’s a tour de force of every director’s worst nightmares, but, as the adage attests to, the show does, indeed, go on, regardless of the mayhem happening around them.

This is one of the funniest plays I’ve ever seen. Literally from the moment the curtain opens and Jonathan, who is playing Charles Haversham in the play, played by Theo Landey, is found lying dead on the couch in the middle of the stage, it had me in stitches, gasping for breath. Director Alan Committie knows all there is to know about comic timing, and it shows in his masterful crafting of this dry British madhouse. Comedy is incredibly hard to perform, especially on stage where you only get one take to get the joke right, but each and every one of the performers on the stage does a remarkable job of working well together, and with their props, to get the most out of each and every joke.

Every actor does a great job with their roles. Landey’s cadaver, which keeps coming back to life. Savadier’s detective, who is trying to control things as the director, but slowly losing hope that the show might turn out okay. Robert Fridjhon’s overbearing soon to be brother-in-law, who spends a large amount of the play suspended from a falling balcony. Roberto Pompo’s butler, who has his script written up and down his arms, even though he can’t read half the words. Nicole Franco’s incredibly overacting fiancé who spends most of the time unconscious. Sive Gubangxa’s stage hand, who ends up on the stage, and enjoying it a little too much. Louis Viljoen’s other stage hand, who would rather text or listen to his Duran Duran Cd then actually do his work. They all do marvellous jobs in bringing these characters to life, but the star of show, for me, is Craig Jackson. He has, for me at least, the best character in the production. That guy that really cannot act, but just loves to be up on the stage, possibly a little too much. He is seriously funny and has a lot of the best comic moments in the show, especially his dance-a-long monologues that had the audience in complete stitches. Not to mention the dog that they couldn’t find.

The stage is also wonderful, becoming as much a part of the comedy as the actors themselves. I marvelled as things fell off the wall, then stayed on, just to fall again on que. The lift that blows up, twice. The balcony that collapses, on que, in the middle of the production, with three actors on it. It all lends to the comedy lines that the actors are performing, and really tickles the funny bone.

This play might not be for everyone, but if you’re are a fan of dry British humour, ala Monty Python, or a fan of comic greats like Charlie Chaplin, then you will find this play incredibly funny. The only problem is that you might not find out who actually killed Charles Haversham, because you’ll be laughing so much you might miss it.

[offthescreensa]

#DVDReview: #MaxSteel 6/10

Superhero comedy, not at its finest, but still pretty good

CAST: Ben Winchell, Maria Bello, Ana Villafane

DIRECTOR: Stewart Hendler

SPECIAL FEATURES: None

THE STORY

When 17 year old Max McGrath (Winchell) moves back to his home town with his mom (Bello), things start to change right away. He discovers that his body can generate an amazing kind of energy, which is pretty cool, at first, but also incredibly dangerous. Meanwhile, a techno-organic extra-terrestrial named Steel (voiced by Josh Brener), has awakened from hibernation, picking up on Max’s energy. When the two of them meet Max discovers that Steel was working with his father to protect the world from an alien threat, the Ultralinks, who are still coming. Can Max step into his father’s shoes and become the hero he has to be?

THE VERDICT

Having come to life much the same way the Teenage Mutant Ninja Turtles did, a series of TV shows and a movie to sell an action figure line, Max Steel is nowhere near as popular, or impressive as the Turtles. It’s not that it’s a bad film.

The acting is mediocre from Winchell, but I have seen far worse. Brener is pretty good at the one liner’s Steel has, which is virtually every single line he says in the film, but he sounded a little to Jesse Eisenberg for me for some reason, which was a little off putting, though I couldn’t tell you why. Bello does a good job with what she has, but her screen time, and her character, is limited, so there’s not much to go into raptures about. The same can be said about Andy Garcia, who plays Max’s dad’s business partner. He has such a 2 dimensional character that when he changes, not giving anything away, it’s not exactly a surprise, since you know very little about him anyway. The highlight for me was Villafane as the love interest, but her character isn’t exactly fleshed out either, so she’s little more than a pretty face, albeit a very pretty one.

The effects are okay. The suit is pretty cool. Steel is believable, though why he keeps turning upside down was a little beyond me. The Ultralink monster was pretty cool, and, at least, Garcia’s armour somewhat matched the TV show characters, kind of.

I think the issue here is the same issue I had with The Last Airbender, which was a far superior film. Why would you watch this pale imitation when the TV show is so much better? The characters are more rounded, the story is more fleshed out and it’s just more fun.

If you’re looking for something to keep the kids occupied for an hour and a half, this will do in a pinch, but if you were a fan of the TV show, or just want to watch something actually worth watching, rather go to Netflix and get it. You’ll just be disappointed by the film.

[offthescreensa]

#DVDReview: #Intruder 4/10

The boring hiding from the boring

CAST: Louise Linton, John Robinson, Moby

DIRECTOR: Travis Z

SPECIAL FEATURES: None

THE STORY

Elizabeth (Linton) is a professional cellist playing with the Portland philharmonic. When she learns she’s been chosen for an exchange program to play with the London Philharmonic, she decides to celebrate by spending a quiet weakened alone at home. Little does she know, she’s not alone at all. A strange person is in her house, wondering around without her knowledge and hiding from her, and he might be a serial killer.

THE VERDICT

It always amazes me when a director takes a basic concept, like a stranger terrorising a woman in her own house, and screws it up. That’s exactly what’s happened with this film.

It’s a basic concept, a girl is alone in her home and someone is in the house with her. He spies on her, he uses her stuff, he even urinates in the sink on her dirty dishes, which is more amusing than menacing, but it is interesting. The problem is that two days later he’s still wondering around, in a small one bedroom apartment, if that’s possible, and she doesn’t even know. He hasn’t terrorised her, he hasn’t tried to hurt her, he’s just watching her. And the fact of the matter is, it’s boring. Nothing happens. It’s a bit creepy, at first, but after thirty minutes of shadows moving past the camera and completely unnecessary gratuitous nudity in the shower, it’s just not worth watching anymore.

The filmmaker tried to show the danger the girl is in, opening with a murder and even killing someone in the middle of the film, but even that is too little too late, and does nothing to raise the tension. The acting doesn’t help either. Since she has no idea anyone is actually in the house, Linton has little opportunity to actually be scared, and when she is she’s not exactly shivering in her boots. The co-stars aren’t much better. They are very one dimensional, and not explored at all, especially Moby, who I think must be friends with the writer/director, otherwise why would he agree to do the film. Then there’s the ending, which annoyed me no end. I’ve sat through this boring, exploration of the dropping of water, please, at least give me some kind of pay off.

Not a movie I would watch again, or recommend to anyone else.

[offthescreensa]

#DVDReview: #VirAltydFilm 8/10

Afrikaans rom com royalty Ivan Botha and DonnaLee Roberts return in this surprisingly delightful film

CAST: Laré Birk, Ivan Botha, Elize Cawood

DIRECTOR: Jaco Smit

Special Features: Trailer; The Story Behind the Story; Character Introduction: Oom Paul & Tanne Betsie, Ben & Marietjie

This is a re-post of my film review from February 12th 2016

THE STORY

When her fiancé, Retief (Stiaan Smith), leaves her at the altar, Nina (DonnaLee Roberts) decides to run away to Mauritius, where her honeymoon was supposed to take place, dragging her childhood friend, Hugo (Ivan Botha), along with her. He and her used to be together, but an accident drove them apart, and he left soon afterwards to become a photojournalist. He returns just before the ill-fated wedding, and is more than willing to help his former best friend, and love of his life, but as they spend time together in the paradise of Mauritius, those old feelings start to return as they remember the good, and the bad, times that made them the people they are today. Unfortunately, as soon as they’re ready to face those feelings, Retief returns to put a spanner in the works.

THE VERDICT

Ivan Botha and DonnaLee Roberts have been working in the South African film industry for a long time, but really rose to fame when they acted alongside each other in Pad Na Jou Hart in 2014. That film went on to become the highest grossing Afrikaans film of that year and endeared both Botha and Roberts to the South African film goer. I, on the other hand, had some serious issues with that film. I loved both Roberts and Botha and thought that they both did great jobs with their characters, but issues with the script and a few with the directing diminished my enjoyment of that film. It was with this memory that I went to see Vir Altyd, which not only stars Botha and Roberts again, but is also directed by the same man responsible for Pad Na Jou Hart, Jaco Smit. This time, however, everything works, the script, the directing, and especially the acting. So I was pleasantly surprised, and actually enjoyed the film. It’s sweet, and endearing, and has all the aspects that make romantic comedies so successful.

Roberts’s character is somewhat unhinged. She’s a book shop owner and is about to marry the, seemingly, perfect man, but it’s obvious that she hasn’t achieved the success, either in her professional or personal life, that she really wanted. She’s engaged to be married, but it seems like she’s not especially keen on him, or the wedding, or any of it. Roberts creates a character that’s conflicted within herself between what is expected of her, and what she really wants. Her confusion is increased by the surprise return of the one that got away, which complicates things even more, especially when her perfect boyfriend leaves her at the altar, literally in the middle of the service. She gives a thoughtful, controlled performance throughout and shows the confusion, and ultimate breakthrough, of a difficult character.

Botha is more decisive in what he wants. He’s a photographer, who ran away after hurting Roberts’s character, through no fault of his own. He’s torn between his love for this girl, his confusion over his own feelings, and his guilt over what he feels was the single most difficult moment in his life. Botha is likeable and charming in everything he does, and this time is no different. We really want him to end up with the girl, and are routing for him the whole way through.

The future of their lives together is illuminated by the other couples at the resort where they find themselves after running away to Mauritius. Ben and Marietjie, played by Dirk Stoltz and Illse Roos respectively, are the old married couple that have lost that spark. They are at the resort to try and save their marriage, following the advice of their therapist, but everything they do seems to annoy the other. Nina and Hugo see them as what could happen if they don’t talk to each other, or get over the event in their past that pulled them apart in the first place. Both actors play their roles well, having the audience really cheering for them to find their love again and get back together.

On the other end of the spectrum are Tannie Betsie and Oom Paul, played by Elize Cawood and Wilson Dunster respectively. They are still very much in love with each other, even after so many years, and give Nina and Hugo faith in love that lasts forever. Even if Betsie is hiding a terrible secret that will shatter both of their lives forever. Cawood and Dunster are a couple of the most prolific actors we have in South Africa and shine in these roles.

Everything works in this film, the acting, the scripting, the directing, the beautiful Mauritian scenery, and the real emotion everyone portrays. If you loved Pad Na Jou Hart you’re going to love this one even more. Roberts and Botha have established themselves as South Africa’s own rom-com couple, and I look forward to many more films with the two of them. They are lovely together.

[offthescreensa]

#DVDReview: #RoomMovie 10/10

A taut, compelling exploration into the strength of the human spirit

CAST: Brie Larson, Jacob Tremblay, Sean Bridgers

DIRECTOR: Lenny Abrahamson

Special Features: None

This is a re-post of my film review from February 26th 2016

THE STORY

When she was 17, Joy (Brie Larson) was kidnapped and placed in a sealed garden shed by a man she only knows as Old Nick (Sean Bridgers). Seven years later she is still trapped in Room, but now she has a five year old son, Jack (Jacob Tremblay). She tries to make things as normal for him as she can, but because she, and he, can never leave Room she lies to him, telling that there is no outside world, that Room is all there is. He believes her, who wouldn’t believe their mother, but as he gets older, and starts to question, her resilience also starts to falter, and she sees an opportunity to escape her capture. Through some incredible bravery by the boy, they manage to get out of Room and into the real world, but how can you deal with reality when it’s something you’ve never experienced, and how can you overcome something as traumatic as kidnapping and confinement for seven years?

THE VERDICT

I’ve seen a couple of compelling, troubling and moving films in my day, but nothing can prepare a person for the emotional rollercoaster tide that is Room. From the moment it starts you know something isn’t right about what’s happening on the screen. You don’t know quite what it is, since it’s not explained until about twenty minutes in, but you can just tell that things are not the way they should be. When you discover the truth about what’s happened to this little girl and her even littler son, it makes you sick to your stomach, and all you want to do is find a way to see them escape this hell that they’ve been sucked into. Of course, when they do, in a heart wrenching, edge of your seat scene that involves the kid playing dead, which makes the audience hold their breaths for about twenty minutes, we discover that things are not all hunky dory, like they are in other films, after you escape a situation like that. You can’t simply walk back into your old life and pretend like nothing happened. There are deep emotional scars left by something as traumatic as that, and then, to have a reminder of what happened in the form of a walking talking little boy that you actually love, that must mess with your mind immensely.

This deep emotional turmoil is explored beautifully by the two leads in the film, Larson and Tremblay.

Larson shows incredible strength and resilience as a woman taken from her life, sealed in a room, with no hope of escape, and yet she never resigns herself to her situation, always looking for a way out, even after seven years. She’s tough and strong and a good mother, considering the circumstances. She really starts to shine after she gets out of Room. She’s back in the real world, back where she belongs, and yet she feels more locked up and set aside than she did when she was in Room. She clings to her son, never blaming him for what happened, even if some can’t look at him because he reminds them of what she went through. Soon, she realises that it’s impossible to go back, even if that’s all she wants to do. She tries to pretend Room never happened, like everything is fine and she was just on vacation for seven years, but eventually the trauma of what happened catches up to her and she tries to take extreme action to stop the pain. Larson deserves her Oscar nom for this role.

Tremblay is, in a word, sublime. Here is this little boy, no older than eight in real life, pretending to be five in the film, who has never known anything but this room that he was born in and spent his entire life in. He has no idea that there is anything else, and, to make things easier, his mother has told him there isn’t anything else. There’s no world outside the door, there is nothing but Room, no animals, no trees, no Earth, no nothing, only Room. Then imagine that everything you know is completely obliterated when you’re told it’s all a lie. Like Galileo telling the clergy that the world is round, instead of flat. It throws everything on its head and twists you around. Tremblay does an incredible job of portraying a boy to which exactly that happens. His world is pulled apart, laid bare as a complete lie. He doesn’t understand any of it, not really, but he trusts his mother implicitly, so much so that he’s willing to risk his life to make her happy. Then imagine, after knowing the world is flat, suddenly you actually see its round, with your own eyes. This little boy’s entire world is turned around by the realisation that there is more than Room, but how do you deal with that? Especially when you’re five years old. It’s one of the most compelling performances by an actor, regardless of age I have ever seen.

Larson and Tremblay shine especially when they are together. The final scene, when they visit Room again, is some of the most emotionally compelling cinema I have ever seen. Larson’s character sees Room as a prison, as the place she was held for the worst seven years of her entire life, whereas Tremblay’s character sees it as a safe place, his first home, the place where his mom always made him happy, made it fun and kept him safe. It’s an interesting juxtaposition on the different impressions of a place, depending on our perception of that place, and it makes for incredible film making.

This film is traumatic, and emotive, and disturbing, and completely wonderful. It’s the kind of film that stays with you weeks after you see it and just makes you think about your life, and be thankful that it is the way it is. If you’re a fan of good film making, and incredible acting, then Room is a film you really need to go and see. It is beautiful in its troubling-ness.

[offthescreensa]

#DVDReview: #LadyInTheVan 7/10

While Maggie Smith shines, the films just not what I expected

CAST: Maggie Smith, Alex Jennings, Dominic Cooper

DIRECTOR: Nicholas Hytner

Special Features: The Making of The Lady in the Van; The Visual Effects; Playing the Lady: Maggie Smith as Miss Shepard; Commentary with Nicholas Hytner; Deleted Scenes

This is a re-post of my film review from December 11th 2015

THE STORY

Based on the play by Alan Bennett, on a road in 1970’s London, Miss Shepard (Maggie Smith) is a woman who lives in a yellow van. She parks the van on the street and, according to squatting law in London in those days, the people around have no choice but to tolerate her. After a while, and becoming a nuisance in the road, she’s invited to park her van in the driveway of Alan Bennett (Alex Jennings), who lives in the street, just temporarily to keep everyone else safe, but what was supposed to be a three month situation, turns into a 15 year odyssey, leading to Bennett discovering the truth about this strange lady, the reason she lives in the van, and developing an unusual bond with her.

THE VERDICT

I will be completely honest, this is another case of a trailer virtually ruining a movie for me. I watched the trailer for this film and was really excited to see it. It was funny and witty and a real hoot, showing Smith in all her snarky glory delivering very dry British humour, which I love, so I really had high hopes when I sat down to watch it, only to discover that all the funny parts are in the trailer, and the film is, in fact, not a comedy at all. It is, instead, a dramatic film with a little comedy thrown in, which I’d already seen in the trailer, based on a premise that’s a little unfamiliar to me, not being up on 1970’s squatter laws in England.

If I’m completely honest I found the film boring and a little disjointed. It’s possibly because I was expecting one thing and ended up with something else, but either way, it wasn’t my cup of tea.

I did love Smith. She is a remarkable actress and really gave this odd, obviously mentally unstable woman, hiding from a crime that she’s convinced cost her, her life. She is always reliable for a good performance and this film is no exception.

Jennings was also good as the playwright who takes her in, as it were, and eventually becomes her friend, virtually like a son. I especially liked the scenes when he’s talking to himself, literally, there are two of him on the screen, showing the two different sides to his personality, the side that wants to help the old woman and do the right thing, and the side who would prefer to let her die in a ditch. Of course, the good side always wins out, but it offers some interesting conversations for the viewer.

If you’re a fan of Bennett’s work, he’s the writer who wrote the film and the play before, then I’m sure you’ll enjoy the film, and those who love Maggie Smith will also get enjoyment out of her performance, but do yourself a favour and don’t watch the trailer first, because you’ll be misled.

[offthescreensa]

#DVDReview: #SecretInTheirEyes 8/10

An epic mystery is unravelled in this taught thriller

CAST: Chiwetel Ejiofor, Nicole Kidman, Julia Roberts 

DIRECTOR: Billy Ray

Special Features: None

This is a re-post of my film review from January 8th 2016

THE STORY

Ray (Chiwetel Ejiofor) and Jess (Julia Roberts) are special investigators working for the District Attorney’s office. They are about as close as they can be, best friends and partners, but they’re torn apart when Jess’ young daughter, Carolyn (Zoe Graham) is found murdered. Jess shuts down, unable to deal with the death of her daughter and best friend, while Ray goes on a one man crusade to find the killer, which he does, only to discover the person responsible, Marzin (Joe Cole), is an informant for the very department he’s working for, and his information is more valuable to them than seeing Jess’ daughter’s killer being bought to justice.

THE VERDICT

Based on the film El Secreto De Sus Ojos by Juan José Campanella, this is a taught political thriller that reminded me of the heyday of the John Grisham thrillers. It’s exciting and thrilling and the twist at the end catches you like a sucker punch and is as shocking.

Based in America just after the 9/11 attack, the film investigates the lengths to which the investigators in America went to try and protect their citizens. They were willing to do and say anything, whether illegal or immoral, to get the information to stop further attacks, the most of which never even existed. That’s what we see in this film. The killer is a member of a Mosque believed to have Al Qaeda ties, but he uses his free pass, and the fact that he only found the daughter through negligence on the part of another member of the team, played by Michael Kelly, to get away with murder, literally. It’s an interesting probe into what is considered an acceptable loss in the quest to stop terrorism, something that is still very prolific today.

The film is told in two time periods, the past were the crime is committed and Ray is trying to prove Marzin is responsible, being thwarted every step of the way, and the present, fifteen years later, where Ray has resigned from the District Attorney’s office and is working as personal security for a baseball team, still trying to find Marzin, who vanished years ago, and get justice for Zoe and Jess. It’s interesting to see the way people deal with a trauma, both at the time of the trauma and years later. Ray is obsessed, convinced he is partly to blame for what happened, Jess is a complete wreck, looking like she hasn’t slept in about twenty years, while the new District Attorney, Claire, played by Nicole Kidman, who was just starting in the department at the time of the murder, looks better than ever and is flourishing. That’s not to say that she’s a bad person, just that she wasn’t as invested in it all as the others.

Ejiofor shines as the man obsessed with finding out the truth, haunted by the ghosts of his past, and shattered when he finally finds out what happened to Marzin all those years ago. He is a strong leading man and really carries the film.

Roberts looks terrible as a mother who lost everything, went on, but never got over it. She is pale and looks tired and drained and completely at loose ends. It’s a great performance from her, especially when she finds her daughter’s body, which really breaks your heart.

Kidman has more of a supporting role in this film, but her interactions with Ejiofor are some of the best of the film. Their sexual tension is palpable, even if they never act on it, and the interrogation between her, Ray and Marzin is creepy and frightening and thrilling. Cole also shines, especially in that moment when his interaction with Kidman make you want to wash your eyes out with soap.

This is a taught, thrilling film about being haunted by the past, chasing the truth and never giving up, no matter what that means. There is great acting and a great story, so if you were a fan of the John Grisham novels and films back in the nineties, then this is one you should go and see.

[offthescreensa]

#DVDReview: #TheNightBefore 6/10

A search for the greatest party ever leads to self-awakening in this comedy

CAST: Joseph Gordon-Levitt, Seth Rogen, Jillian Bell

DIRECTOR: Jonathan Levine

Special Features: Making One Epic Party: 20 Minutes of On-Set Shenanigans; Cast Gag Reel, Whale Juice: Extended Strip Club Scene; The Spirit of Christmas; Midnight Mass with Nana; Drunkest Santa on the Block

The is a re-post of my film review from December 11th 2015

THE STORY

Many year ago Ethan’s (Joseph Gordon-Levitt) parents died in a tragic car accident, so his best friends, Isaac (Seth Rogen) and Chris (Anthony Mackie) took him out on Christmas Eve to get hammered and help him get over the tragedy, until one night they were told about this epic party, the Nutcracker Ball, where they can get the best booze, drugs and girls in New York, thus begun their tradition of going out together every Christmas Eve getting smashed and looking for a way into the Nutcracker Ball. Now, 15 years later, Isaac is married and expecting his first child, while Chris is a rising NFL star who is hitting the big time. Ethan, however, hasn’t changed much, living day by day, pay check to pay check, as he stumbles around his life. This Christmas the guys have decided that it will be the last time they do their tradition, something Isaac and Chris want, but Ethan isn’t ready for, but he sees a way to make it the best time ever when he manages to get his hands on three tickets for the Nutcracker Ball, and decides to make this the best night they’ve ever had.

THE VERDICT

I’ve never been a huge fan of the stoner, gross out comedies that are so popular at the moment, and the moment I see that Seth Rogen is in the movie, I seriously question if I actually want to see the film. This film is no different. There are the gross out moments, including an MMS of a man’s genitalia and copious amounts of drug use, as well as horrible below the belt, mostly literally, comedy throughout, but I actually found this one funnier than I expected to, and with a little heart thrown in.

The heart comes from Gordon-Levitt, who is actually a great actor. He portrays the emotional vulnerability of his character with depth and feeling, especially a very moving moment right after his parents have died and his friends come over, for that first Christmas. It gives the film an emotional core that’s normally missing from this type of film.

Rogen seems to be trapped in pretty much the same role for every movie at the moment, that of a man who’s getting married, or having a baby, but is terrified of growing up and screwing up. It’s the same role I’ve seen him play in his last few films, and while he does it pretty well, especially in this film where some of his drug induced lunacy is actually pretty funny, I’d like to see him extending his range and doing something different for a change.

Mackie is better known to us now as Falcon from the Avengers movies, but he takes a step back to play a wannabe, doping football player, desperately trying to get approval from the other players, who hardly even know his name. It’s sad to watch, but Mackie actually has some acting chops, so he pulls it off well.

If you’re looking for fun Christmas fare for the family this is not the film to watch, but if you’re a fan of this type of comedy The Night Before has something to offer that will actually give you a merrier Christmas, albeit slightly.

[offthescreensa]

#DVDReview: #TheHatefulEight 7/10

Quentin Tarantino’s latest is a long, violent, difficult to watch odyssey

CAST: Samuel L. Jackson, Kurt Russell, Jennifer Jason Leigh

DIRECTOR: Quentin Tarantino

Special Features: Glorious 70mm; Hateful 8: Beyond the 8

This is a re-post of my film review from January 29th 2016

THE STORY

In the middle of a blizzard bounty hunter John Ruth (Kurt Russell) is escorting a criminal, Daisy Domergue (Jennifer Jason Leigh) to her trail. He’s joined by a second bounty hunter, Major Marquis Warren (Samuel L. Jackson), as well as the new sheriff of the town they’re heading too, Chris Mannix (Walton Goggins), but the blizzard is too strong and they need to take refuge at a way station for a few days, to wait out the storm. From the moment they arrive and meet the people at the station, an old Southern general (Bruce Dern), a rancher (Michael Madsen), the hangman for the town they’re headed for (Tim Roth) and Bob, the man sitting the station while the owners are away (Demián Bichir), they feel something isn’t right, but it’s not until they start dying that they realise that things are not what they seem, and they might not survive the storm anyway.

THE VERDICT

I was keen to see this film, being a fan of Tarantino, but from the moment the opening credits started, and lasted ten minutes, staring at a statue of Jesus on the cross, while a stagecoach moves through the snow in the distance, I knew I was in a for a long film, and that’s exactly what I got. A long, self-indulgent, odyssey of a film that would have been rather good, if the director wasn’t quite so in love with his own legend. There is no way that you need close to thirty minutes of watching stagecoaches ride through storms, let alone the amount of superfluous dialogue, and overwrought violence. It gets a little much after a while. I probably would have really enjoyed it if it had been streamlined and been under two hours, but the fact that it’s over three, is a little much.

That said, the story is interesting, albeit simple, and the performances are alright. Jason Leigh shines as the killer in sheep’s clothing, but even her performance was tainted for me by the unnecessarily extensive use of the N word. Yes, the film is based in the 1800’s, and yes, I’m sure they spoke like that, but I don’t need to see it. If I see a film set in ancient Egypt I don’t need them to speak ancient Egyptian to enjoy it. It actually started to hurt my ears after a while, especially since every time it was said it was a racial slur. It’s one thing to hear the NWA saying it in Straight Outa Compton, and something else to hear everyone saying it to Samuel L. Jackson. It becomes a little too much after the three hundredth or so time.

If you’re a fan of Tarantino I’m sure you’ll like the film, and enjoy the style and feel of it, but this film is not for everyone. Be warned.

[offthescreensa]

#FilmReview: #BastilleDay 7/10

This action adventure is fun, but not mind blowing

CAST: Idris Elba, Richard Madden, Kelly Reilly

DIRECTOR: James Watkins

THE STORY

When a young pick pocket, Michael (Richard Madden), steals a worthless bag from a woman with a teddy bear in it, he drops it in the trash, thinking nothing of it. Moments later it explodes, killing several people and starting a chain of events. CIA agent Briar (Idris Elba), a bit of a loose cannon, working in Paris, is caught up in the chase for the suspected terrorist, but when he catches up to the man he realises that he’s not what they think, and that there’s a deeper conspiracy at work. They team up to find the real culprits to the bombing and end up embroiled in an elaborate crime caper they need to stop.

THE VERDICT

I’m a fan of these buddy cop type films. They are filled with funny one-liners, witty comments and a good dollop of action thrown in. This film is no different. Madden is the one that offers the witty comments and funny one-liners, while Elba is responsible for the action the whole way through.

I liked Madden. He’s handsome and charming and funny and carries the role of the thief with the heart of gold very well.

I’ve loved pretty much everything Elba’s done, but he really didn’t have much to work with here. He’s very good at kicking butt, but as for acting, without an actual script to work with he can only do so much.

If you’re a fan of explosions and buddy cop genre films then you’ll enjoy Bastille Day, but if you want to see a good spy-stopping-a-terrorist-in-Paris film you should probably rather watch From Paris with Love. It’s better, funnier and full of more action, but, Bastille Day is not a bad second choice.

[offthescreensa]

#FilmReview: #AliceThroughTheLookingGlass 8/10

Alice’s adventures continue in the sequel to the 2010 hit

CAST: Mia Wasikowska, Johnny Depp, Helena Bonham Carter

DIRECTOR: James Bobin

THE STORY

Following on from where Alice in Wonderland left off, Alice (Mia Wasikowska) returns to England after her adventures in the Far East to discover things are not as she left them. Her business partner has died and his son, Hamish (Leo Bill), who she refused to marry in Alice in Wonderland, now owns the company, her mother’s (Lindsay Duncan) house, and her father’s ship, The Wonder. Alice is faced with a difficult decision as the young man tries to force her into a deal with him. Meanwhile in Wonderland, the Hatter (Johnny Depp) finds something that makes him believe that his family, believed to have been killed by the Jabberwocky many years before, are still alive, but no one will believe him. As with other hokey things in Wonderland, this is leading to Hatter’s death. To save him Alive decides to travel back in time, to save his family, and make his belief true, hence saving his life, but to do that she needs to “borrow” a device called the Chronosphere from Time (Sacha Baron Cohen) himself, but doing so could end the world forever.

THE VERDICT

I was a fan of Alice in Wonderland 6 years ago. I found it was a fascinating reimagining of a well-known story, and the update in Alice’s story that I had been waiting for. Of course, I pretty much love anything that Tim Burton does, loving his style of directing. This time around Burton was producer, and not director, handing the reins to Bobin, but he has done just as good a job as Burton would have done, having a very similar vision and style to the man himself.

Alice Through the Looking Glass is a continuation of the first film and continues with the wonder and amazement that made me enjoy the first one so much. It is fantastical and amusing and wonderful, filled with imagination and craziness.

This time around Alice is a far different girl. She is self-assured and strong and willing to do anything for her friend, even risk destroying the world. Wasikowska is wonderful yet again as the titular heroine. She’s tough and fun, but at the same time often out of her depth. Wasikowska brings a sort of naïve sincerity to Alice. You really believe this girl just wants to do what’s right, no matter the consequences, for her or her family, but when faced with those consequences she realises that sometimes a person has to do what’s expected, instead of simply what they want. It’s a hard lesson to learn, and Wasikowska brings it across on screen beautifully.

Depp is wonderful again as the Hatter, and he has several different time periods to work with, bringing us the Hatter at different points in his life. This lets us see into the inner workings of this crazy character, giving him unforeseen depths, which was great. I especially liked the explanation as to why it’s always one minute until tea time, until he meets Alice, that is.

The showstopper for me was Baron Cohen as Time. He is funny and creepy and egocentric and completely hilarious, with the oddest accent I’ve heard in a while.

I loved this film. It gives us an insight into the past, the history of the characters we learned to love in the original book, and then in the 2010 film all over again, especially the Red Queen, played again with much glee by Helena Bonham Carter. This leads to us caring about the characters even more, which led to enjoying the movie even more. It will make you want to go back and watch the first one all over again.

If you were a fan of Burton’s Alice in Wonderland then Alice Through the Looking Glass will really work for you as much as it worked for me.

[offthescreensa]

Star Trek Beyond Trailer #2 (2016) - Paramount Pictures