Tag: Pinnacle

Rapid Review: Jobs

An indie gem gives a neat overview of the tech guru’s life, even if it is often preaching to the converted.

In the wake of Apple Inc’s co-founder, chairman and CEO Steve Jobs in 2011, words like “visionary”, “futurist” and “the master evangelist of the digital age” were bandied about with regularity. The impact that Apple and Jobs had on the personal computer and lifestyle technology over the last few has been incalculable, and director Joshua Michael Stern’s Jobs, written by Matt Whiteley, traces the journey of the man (portrayed by Ashton Kutcher, who completely embodies the guru) from garage geek to iPod icon. Together with Steve Wozniak (Josh Gad), Jobs co-created the first Apple in the 1970s, and went on to storm Silicon Valley with subsequent improved models and the financial support of venture capitalist Mike Markkula (Dermot Mulroney). The film documents his initial successes, his struggles to bring people up to speed with his creative vision, his departure from Apple over battles with the board and CEO John Sculley (Matthew Modine) and eventual successful return to launch the iMac and iPod lines.

While the film doesn’t shy away from depicting the dark and often erratic temper he had with staff and friends, including disowning his then-girlfriend (Ahna O’Reilly) and first daughter Lisa, it’s also slightly in awe of the world that Apple and Jobs have created. This results in a great deal of assumed knowledge, leaping over years and major events so that the core narrative of the titular character’s journey remains in tact. Unlike the made-for-TV Pirates of Silicon Valley (1999), it completely sidesteps the troubled but symbiotic relationship Jobs had with Microsoft founder Bill Gates (referenced only once in Jobs), as well as his contributions to cinema during his “wilderness years”, co-founding Pixar and executive producing the first Toy Story film, and eventually becoming the largest single shareholder of the company. Indeed, the film doesn’t cover any of the last decade of his life, not even acknowledging his death in a pre-credits title card. Perhaps Whiteley is simply saying that his life is more important than his well publicised demise.

Which is essentially what the film is about. It doesn’t pretend to be a documentary, and while the impressive collection of actors lend some gravitas to the production, it’s a solid tribute to the driving force of a singular vision over several decades. In many ways, the story of Jobs is the biography of our generation, taking us from a time when “personal computer” was a foreign term to a point where we carry them in our pockets. If it inspires you, even if it is just to go and learn more about the real facts behind the fiction, then it’s done its job.

Rating: ★★★½

Jobs was released in Australia on 29 August 2013 from Pinnacle Films.

September 20, 2013
Review: Hit and Run

A frenetic retro road movie that makes the most of its unlikely ensemble cast as Dax Shepard lives out his own fantasies on screen.

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Director: David Palmer, Dax Shepard

Writer: Dax Shepard

Runtime: 100 minutes

Starring: Dax Shepard, Kristen Bell, Kristin Chenoweth, Tom Arnold, Bradley Cooper

Distributor: Pinnacle Films

Country: US

Rating (?): Better Than Average Bear (★★★½)

More info

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Dax Shepard’s self-styled action vehicle is something that we’ve not seen since the heyday of the action road-trips of the 1970s, and while the lead may not be a household name, you wouldn’t know it from watching this throwback to a previously bygone era of action comedies. The star of TV’s Parenthood re-teams with his Brother’s Justice (2010) co-director David Palmer for an interesting hybrid of everything from Burt Reynolds to Quentin Tarantino, literally pouring half of its low-budget into the soundtrack.

Charlie Bronson (Dax Shepard) is a former getaway driver who has gone into the witness protection program under the watch of the inept Randy Anderson (Tom Arnold). When his girlfriend Annie Bean (Kristen Bell) is offered a job across the country, he decides to throw caution to the wind to be with the woman he loves. However, her ex Gil Rathbinn (Michael Rosenbaum) is determined to expose whatever secrets ‘Charlie’ is hiding. Enter Bronson’s former partner-in-crime Alex Dimitri (Bradley Cooper), who is just as likely to care for your dog as break your nose.

There is an unmistakable energy to Hit and Run that never loses momentum for a second. For a film that runs on its own fumes, Shepard and company overcome the generic nature of their title to deliver a vehicle-swapping caper that literally runs through the contents of Shepard’s garage. Not content to have his name on the credits as star, writer and co-director, Shepard’s collection of cars – from his classic hot rod Lincoln Continental to the insane off-road racer – are also legitimate stars in this goofy and infectiously fun road flick.

Keeping things light is a genuine ensemble cast, ostensibly led by Shepard, who is in reality under the shadow of his star girlfriend Bell. The duo have an easy chemistry on-screen, giving star performances in a film that only had a budget of $2 million. The real surprise here is Bradley Cooper, a leading man in his own right, happily relegated to the dreadlocked thug with a heart of gold, imbued with a surprising amount of depth but an even better sense of comic timing. Even Tom Arnold, mostly seen in direct-to-video dreck these days, restrains his typically one-note stylings for a caricature that knows just how much of the spotlight he can soak up before handing it back over to the lead.

Essentially one long chase, Shepard and Palmer cleverly keep track of all the loose ends so that the ar chases, kidnapping and gunplay all make sense within this often witty and motor-mouthed script. The bastard redheaded stepchild of Doug Liman’s Go (1999) and Cannonball Run (1981), perhaps put into the foster care of a Death Proof (2007) during its formative years, Hit and Run is a loving tribute to itself – but also a slew of movies that inspired it. Shift yourself into neutral and let the film do the driving, it will be more fun that way.

Hit and Run is released on 6 September 2012 from Pinnacle Films.

September 6, 2012
Review: The King Is Dead

Rolf de Heer returns his gaze to suburban Australia, and instead of melodrama he finds a quirky, murderous and very welcome dark side.

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Director: Rolf de Heer

Writers: Rolf de Heer

Runtime: 102 minutes

Starring: Gary Waddell, Dan Wyllie, Bojana Novakovic, Luke Ford

Distributor: Pinnacle

Country: Australia

Rating (?): Better Than the Average Bear (★★★½)

More info

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For the last few decades, Australian cinema has been roughly divided between middle-class suburban angst and what can be broadly classified as ‘bogan comedy’. So it comes as little surprise that the eclectic filmmaker Rolf de Heer, best known for Bad Boy Bubby (1993) and the Cannes winning Ten Canoes (2006), traverses the genres with the same audacity that brought us the retro silent comedy Dr. Plonk (2007). The King Is Dead is as difficult to classify as anything else in de Heer’s filmography, as the Dutch-born director has long had a tradition of looking at his sunburnt home from the outside in.

De Heer’s script begins with a familiar scenario as upwardly mobile couple Max (Dan Wyllie) and Therese (the seemingly ubiquitous Bojana Novakovic) move into what appears to be an idyllic suburb. On one side, they begin to form a bond with a very relaxed couple and their young daughter. However, on the other side of their fence is the drug addled King (Gary Waddell), who allows loud parties and violent behaviour to continue to the chagrin of the neighbourhood. As a series of events engenders more spite from the street, and the police seem powerless to do anything. Max and Therese have no option but to take matters into their own hands.

Frost’s maxim of good fences making for good neighbours could never have imagined the complexity of twenty-first century Australian suburbia. In The King Is Dead, the fence provides the thinnest veneer between civility and hostility, and is a barrier than ultimately neither party respects. “We’re useless against the barbarians,” a resigned Max comments, in a role from Wyllie that plays with the darkly comic threads present in de Heer’s tale. In fact, he is mostly right, with the ‘correct’ channels of dealing with noisy neighbours not yielding any results, and actually making matters worse.

Equal parts thriller and comedy, de Heer’s script takes a darker turn somewhere in the middle following repeated attempts at home invasion. It never crosses the line into horror, but there are moments when de Heer plays with us by using familiar thriller tropes of that genre, almost encouraging our complicity in the comical violence that is to follow. This wouldn’t be possible without an impeccable cast, and everybody comes to the table in this regard. Wyllie downplays his more outgoing persona, while the flexible Novakovic effortlessly slips into paranoid suburgatory. Yet it is veteran character actor Waddell, as the titular King, who makes the surreal a stony-faced reality.

Even when de Heer somewhat frustratingly and deliberately labours the point, and the conclusion is delightfully over-the-top, The King Is Dead manages to keep audiences off-balance throughout, both through content and Ian Jones’s arresting photography. Satirically dissecting the middle-class as much as it is mocking ‘the other’, de Heer is commenting on the current climate of fear through a very funny, and sometimes quite spooky, examination of the suburbs.

The King Is Dead was released in Australian cinemas on 12 July 2012 from Pinnacle Films.

July 13, 2012
Review: Sione’s 2: Unfinished Business

The boys are back with a brand new mission from god, bringing their distinctive Kiwi charms that are five years older, not much wiser, but still just as funny.

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Director: Simon Bennett

Writer(s): James Griffin, Oscar Knightley

Runtime: 85 minutes

Starring: Oscar Knightley, Shimpal Lelisi, Robbie Magasiva, Iaheto Ah Hi, Dave Fane, Teuila Blakely, Madeleine Sami, Nathaniel Lees

Distributor: Pinnacle Films

Country: New Zealand

Rating: Worth A Look (?)

More info

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Sione’s Wedding, known as Samoan Wedding around the world, was a 2006 comedy charmer that doubled its modest $2 million budget at the New Zealand box office, an impressive feat for a film that boldly explored the misadventures of four inner-city Samoan “boys” who were struggling to come to terms with adulthood. It was also the subject of a high profile copyright case in New Zealand, successfully alleging that a pirate causes a $500,000 loss in box office dollars, with the guilty employee of the post-production company forced to do 300 hours of community service. Undeterred, writers James Griffin and co-star Oscar Kightley bring us another chapter in the lives of this loveable crew.

In the first film, each of the boys – with a hard won reputation for causing trouble at weddings, parties and anything – had to find girlfriends before the titular wedding so that they would behave themselves or else be banned. Now they are all partially estranged, with the sensible Albert (Oscar Knightley) and Tania (Madeleine Sami) happily married, but struggling to have children. The usually argumentative Sefa (Shimpal Lelisi) and Leilani (Teuila Blakely) have got two kids, but Sefa won’t commit to marriage. Stanley (Iaheto Ah Hi) is training to be a Deacon, and Michael (Robbie Magasiva) has moved to Australia. However, when Sione dies, the Minister (Nathaniel Lees) once again summons them all together to find Bolo (Dave Fane), who blames himself for Sione’s death.

Comedy troupe The Naked Samoans are a bit of a national treasure in New Zealand, with the original members being the creators of bro’Town, an animated adult comedy that ran for 5 years and satirised the boys’ culture of New Zealand. The original Sione’s Wedding did this as well, effectively moving Kiwi comedy to the inner city suburbs of Auckland and showing New Zealand/Polynesian culture in a hyperrealistic comedic light. While the first film, like Sione’s 2: Unfinished Business, is lightly plotted, what it excelled at was in creating an endearing group of characters. As such, the real joy of this follow-up is getting to revisit the characters several years on.

In many ways, Sione’s 2: Unfinished Business surpasses the first film, with much tighter plotting, better characterisation and a higher hit-rate of laughs. The girls get more time in front of the camera, but this is still the boys’ film, but with the core group now the outsiders looking at the other groups of boys with the same satirical eye the first film viewed them with. Making a real effort to move the boys on in their character arc, the film sometimes plays like a page out of the Auckland tourist handbook, but does so with a sense of joy and high-spirits that makes it impossible not to walk away with a silly smile slapped across your face.

[stextbox id=”custom”]Sione’s 2: Unfinished Business is a cool summer breeze of a comedy that knows how to tread the fine line between comedy and pathos.[/stextbox]

Sione’s 2: Unfinished Business was released in Australia on 1 March 2012 from Pinnacle Films.

March 4, 2012
Australian Poster and Trailer for Sione’s 2: Unfinished Business

Pinnacle Films has sent over a trailer and poster for New Zealand’s Sione’s 2: Unfinished Business, the long awaited sequel to 2006’s Sione’s Wedding.

Five years ago our heroes the Duckrockers thought they had figured it all out – they had found themselves girlfriends to take to Siones wedding and the future was looking bright. Fast-forward five years and things havent quite gone as the boys might have planned: Albert is now married to Tania and they are living in suburbia, both working in insurance and also trying (unsuccessfully) to have a baby; Sefa and Leilani are still together and now have two kids although despite Sefas proposal, theyre still not married. And while Sefas business is falling apart, Leilani seems to be living life to the full; Stanley is now a trainee Deacon in the Future Church; Michael has moved to Australia but the boys dont hear from him often; and Bolo has thrown in his job with Sefa and taken up work with Sione, Michaels younger brother.

Sione’s 2: Unfinished Business is released in Australia on 1 March 2012 from Pinnacle Films.

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February 18, 2012
Review: Drive

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Director: Nicolas Winding Refn

Runtime: 100 minutes

Starring: Ryan Gosling, Carey Mulligan, Albert Brooks, Bryan Cranston, Ron Perlman

Distributor: Pinnacle

Country: US

Rating: Certified Bitstastic (?)

More info [/stextbox]

Like many a pimped out ride that has come before it, Danish director Nicolas Winding Refn’s Drive pulls up alongside the curb as if towed by vehicle fueled purely by hype. Since putting himself on the map with his trilogy of Pusher films, Refn has been steadily building a profile as an often brutal yet stylish filmmaker, and his most recent efforts of Bronson and Valhalla Rising have only solidified this reputation. Hitching his testosterone injected motifs to the incredible wave of swooning happening around star Ryan Gosling, the man you wish your man could be, Drive has already won the outspoken Refn the Best Director Award at the Cannes Film Festival, and shows no signs of slowing down by the time it hits our cinema lights.

The Driver (Ryan Gosling, Crazy, Stupid, Love) works as a mechanic and a stunt driver, eking out a living between professional jobs as a getaway driver. From an early stage, we see the Driver’s skills, not only as a fast and skilled driver, but as a tactical one as well. Shannon (Bryan Cranston, TV’s Breaking Bad) employs the Driver for his repair skills, but banks on his strength behind the wheel when he asks mobster Bernie Rose (Albert Brooks, The Simpsons Movie) and his thuggish business partner Nino (Ron Perlman) for a $300,000 loan to start a racing venture. Meanwhile, the Driver gets to know his neighbour Irene (Carey Mulligan, Never Let Me Go) and her son, spending time with them even after her husband Standard (Oscar Isaac) comes home from prison. However, when a job goes wrong, the Driver’s attempts to put things right lands everyone he knows in jeopardy.

While it may share some characteristics with the 1978 Walter Hill film The Driver, with Drive Refn has created one of the first truly original crime dramas in decades. Like that film, it unquestionably draws influences from Jean-Pierre Melville’s films, and in particular Le Samouraï. The Driver is a solitary creature, rarely allowing himself the indulgence of possessions or romantic entanglements, for these are the weaknesses that ultimately lead to the troubles he lands himself in. For the first half of the film, few pieces of dialogue escape from the taciturn Gosling, and he remains in the retro-jacketed uniform he has fashioned for himself, much as Alain Delon’s iconic trenchcoat served as a emotional barrier between his actions and their consequences.

Gosling solidifies his reputation as a master of duality, switching between extremes as he has done before in Blue Valentine, Lars and the Real Girl and even Crazy, Stupid, Love. Mulligan is effortlessly graceful and fragile, and will undoubtedly break any hearts that haven’t already fallen to a massive crush (or man crush) for Gosling himself. The real surprise here, although it shouldn’t be given his veteran status in the industry, is the non-comic turn of Albert Brooks, actually managing to a powerful enough force to intimidate even the bulldozer of a man that is Ron Perlman.

It would be unreasonable to expect Drive to be a Fast and Furious-style caper, as one litigious Michigan citizen did, but Refn’s sense of style makes this a much slicker affair than his previous efforts. The film is brutally violent in places, and unlike its bigger budget cousins, Drive wants to shock you each and every time, and audiences are never numbed to the visceral outbursts that the Driver has lurking under his skin. Yet there is a retro coolness to the film that even the most bloody of face-stompings can’t deny, drawing as much from Bullit and its kin as the artier pieces the lengthy close-ups often indicate. A cracking soundtrack, largely by Cliff Martinez (The Lincoln Lawyer, Contagion) and peppered with pop pieces such as Kavinsky’s distinctive “Nightcall” and Desire’s “Under Your Spell”, helps shape Refn’s distinctive vision into the singular experience that it is.

[stextbox id=”custom”]An amazing cast and a distinctive aesthetic elevates the pulp fiction of Drive to one of the undeniable classics of 2011, and sure to be a favourite for years to come.[/stextbox]

Drive is released in Australia on 27 October 2011 from Pinnacle Films.

October 27, 2011
Review: Snow Flower and the Secret Fan

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Director: Wayne Wang

Runtime: 120 minutes

Starring: Bingbing Li, Gianna Jun, Vivian Wu, Hugh Jackman

Distributor: Pinnacle

Country: US/China

Rating: Worth a Look (?)

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Remember Wayne Wang? That Wayne Wang who made the indie darlings Eat a Bowl of Tea and Life Is Cheap… But Toilet Paper Is Expensive. The success of those films served as a springboard into the hearts and minds of book clubs and talk shows everywhere with his 1993 adaptation of Amy Tan’s The Joy Luck Club. He solidified his reputation for ensemble pieces with the more male-centric Smoke and Blue in the Face films, before we lost that Wayne Wang somewhere in a sea of forgettable rom-coms like The Last Holiday and the J-Lo vehicle Maid in Manhattan. Really? Had it come to that?

So after a few years lost in the wilderness, Wang returns with another story about women spanning distinct cultures and generations. Based on the novel by Lisa See, the film juxtaposes parallel stories set in 19th century China and present day Shanghai. In the earlier time frame, two girls named Snow Flower (Gianna Jun) and Lily (Li Bing Bing) are paired as laotong or “old sames”, a union that bonds them for life. As their lives move in different directions, they continue to communicate via their own language and writing on a secret fan. In the modern time frame, their descendants Sophia and Nina (played by the same actresses) strain to maintain their own laotong friendship by attempting to uncover the past.

With Snow Flower and the Secret Fan, Wang falls back on the sisterly love motif that has served him so well in the past. It’s a good thing too, as he is quite adept at it. Richard Wong’s photography is lush and detailed, and the same could be said of the narrative. It is grand and interwoven with numerous strands of complex femininity, and this sometimes serves as far too complicated a construct for what is essentially a simple story of enduring friendship. Although the film takes itself incredibly seriously, and the bonds of friendship feel weighty, there is also a sense of joy behind the sorrows. Both of the leads perform in dual roles, skillfully navigating the emotional changes of four women over the course of two generations. A small and well crafted role from Hugh Jackman as a modern-day boyfriend gives a much-needed outsider’s perspective. Dealing with the often horrifying act of “foot-binding”, “secret women’s business” and the historic subjugation of women that those with a Y-chromosome may suffer guilt over, audiences would be wise to keep a box of tissues handy at all times.

[stextbox id=”custom” caption=”The Reel Bits”]A weighty and sometimes overwrought film that is nevertheless well acted and beautifully shot, marking a return to form from a master of the weepy.[/stextbox]

Snow Flower and the Secret Fan was released in Australia on 15 September 2011 from Pinnacle.

September 15, 2011
Larry Crowne

Tom Hanks has worn many hats over the years, not least of which are the animated ones his doppelgänger Woody wore in the successful series of Toy Story films. Beginning his film career in comedy, early successes with Splash and Big, Hanks solidified his reputation as a comedic actor, although a string of flops (The ‘Burbs, Joe Versus the Volcano and The Bonfire of the Vanities) led Hanks to more dramatic performances. The move proved to be a winning one for Hanks, becoming only the second actor (following Spencer Tracey) to win back-to-back Best Actor Oscars for Philadelphia and Forrest Gump. Since then, Hanks has balanced him comedic and dramatic roles more carefully, from major ensembles The Green Mile and Saving Private Ryan, one-man show Cast Away and major blockbusters such as The Da Vinci Code. With Larry Crowne, Hanks not only re-teams with Charlie Wilson’s War co-star Julia Roberts, but puts his director’s cap back on for the first time since 1996’s That Thing You Do.

Larry Crowne (Hanks) is a middle-aged Navy veteran who is fired from his job at a large retail store when the company decides that his lack of education hinders his chances of promotion. Broke and depressed, Larry takes the advice of his neighbour (Cedric the Entertainer, Madagascar) and sells off most of his possessions to enrol in college for the first time. Making friends with the college kids, Larry begins to fall for cynical educator Mercedes (Julia Roberts, Eat Pray Love).

Nothing about Larry Crowne makes sense. From the insensitive and baffling dismissal of Larry at the start of the film, to the juvenile antics at the community college, this is not a film born of this plane of reality. That Nia Vardalos (My Big Fat Greek Wedding, My Life in Ruins) is the co-writer on this brain spasm should have been the first clue that Larry Crowne was destined for a less than spectacular end-product. Yet the extent to which this film goes to prove its own stupidity is mind-blowing. Despite being set at a community college, and going to great lengths to remind us “this is not high school”, everything else about Larry Crowne follows the motifs of the troubled school dramas. Students are petulant and uninterested in the classes they are seemingly being “forced” into, teachers chastise students for being tardy or texting in class (a fact of everyday life in a tertiary institution) and lecture theatres seem to be custom built with permanent bronze signs for the academics. Are there only two classes being taught on the campus? We could just as easily put this all down to a piece of Hollywood fancy, from two people who have not walked the same ground as us mere mortals for quite some decades, were it not for the shocking characterisation of most of the principle cast.

Hanks and Roberts have been described as America’s sweethearts, but that brings with it a certain amount of saccharine that when overdone, can lead to diabetes and the potential for losing a foot. Hanks has turned in some terrific dramatic performances under Steven Spielberg, Robert Zemeckis, Jonathan Demme, Frank Darabont, Sam Mendes and Ron Howard. Yet under the direction of himself, Hanks shows that his hapless persona can only take him so far under his own tutelage. Julia Roberts brings that role she plays to Mercedes the teacher, the same slightly bullying, loud-mouthed persona that has followed her since at least 1990’s Pretty Woman. How anybody puts up with Gugu Mbatha-Raw’s Talia, a woman who snatches phones from Larry’s hands and rearranges his furniture on a whim, without firing her from a canon is baffling. Yet the most troubling aspect of Larry Crowne is that it comes from a very real place of people dealing with the after-effects of the global financial crisis, and a great film is yet to be made on the subject. It just shouldn’t be written, directed and starring a Hollywood A-Lister for whom the financial crisis is just another opportunity to ham the camera.

[stextbox id=”custom” caption=”The Reel Bits”]Larry Crowne is not only an unfunny mess of a film, it is incredibly out of touch with the audiences who deal with the issues in the film every day. Offensive in its ineffectualness, the only people who seem to have enjoyed this are the ones in front of the camera. [/stextbox]

[stextbox id=”grey”]USA | 98 minutes | Director: Tom Hanks | Starring: Tom Hanks, Julia Roberts, Cedric the Entertainer

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Larry Crowne was released on 21 July 2011 in Australia from Pinnacle.

July 25, 2011
Trailer Watch: New Red-Band Trailer for Nicolas Winding Refn’s ‘Drive’

The hotly anticipated follow up to Nicolas Winding Refn’s Bronson, the Ryan Gosling and Carey Mulligan vehicle Drive, has the brand new Comic Con-debuting red-band trailer online thanks to IGN.

Drive is the story of a Hollywood stunt driver-by-day (Gosling), a loner by nature, who moonlights as a top-notch getaway driver-for-hire in the criminal underworld. He finds himself a target for some of LA’s most dangerous men after agreeing to aid the husband of his beautiful neighbour, Irene (Mulligan). When the job goes dangerously awry, the only way he can keep Irene and her son alive is to do what he does best—Drive!

The plot outline doesn’t do it any favours (it makes it sound like a cross between The Transporter and Fast and the Furious), but a look at this trailer, and knowledge that the director is also responsible for Pusher, Bronson and Valhalla Rising, may turn you around on this. Beautifully shot, stellar cast and the promise of all the good bits of those other ‘action’ films, without the unfortunate clever-cleverness of Quentin Tarantino’s Death Proof. Yes, any excuse to slag Death Proof.

Source: IGN

Drive will close the Melbourne International Film Festival on 6 August 2011. It will also be released on 13 October 2011 in Australia from Pinnacle.

The Reel Bits is the cinema arm of DVD Bits. Richard can be found on Twitter @DVDBits and Sarah @swardplay. The Reel Bits is also @The_ReelBits.

July 22, 2011