An amazing thing happened at this year’s NZFF: I enjoyed every film I saw. While in every other year I’ve been treated to at least one pepperspray-to-the-face “film”, this year I managed to attend a clean sweep of commendable quality. Perhaps I’m getting wiser in my young age. Despite a few films treading below my colossal expectations, they were still well worth my time and money. Here’s my over-review of the 11 films I saw at the fest, ordered from best to most best (because there were no “worsts”). And no, I didn’t see The Tree Of Life.
Space Battleship Yamato
As I’ve mentioned in my NZFF preview, I was dragged to this. Fearing an exposition-heavy, convoluted mess of space-opera cheesiness, what I got was a cheese-coated CG pump of fun, and by golly do I prefer the latter. The humour hits in all the right (and sometimes unintentional) places, the space battles erupt with the madness of a schizophrenic ADHD anime fan and the character-driven conflict occurs with the melodramatic grace of The Bold And The Beautiful (SPOILER: they make a baby during warp speed). If Independence Day and Avatar adopted a Japanese baby, it would be Space Battleship Yamato.
Jiro Dreams Of Sushi
Me and my brother made the wise decision to eat before watching this documentary about the grandmaster sensei of the best sushi you will never try. It was an interesting view into the mind and philosophy of a man with a simple, taxing goal: work at your best, be the best at your work. The film also explores the workings of his business pyramid of slave-driven workers, nicely inter-cut with some truly gorgeous speed-camera-slo-mo scenes of the raw fish artists at work. There was a noticeable drag in the middle, but it’s hard not to leave that film slightly inspired.
Troll Hunter
My biggest disappointment of the fest. Troll Hunter‘s biopic focus took me by surprise, but it works pretty well with its mockumentary vibe. It’s difficult to pull off both a straight face whilst keeping tongue-in-cheek, but this is the film’s biggest strength. Well, that, and the shit-holy massive trolls that smack the gob in both design and size. Unfortunately, by presenting itself as a rough cut, Troll Hunter’s intentional haphazard editing completely rips up the pacing. There’s still badass troll hunting action to be had, but the film would’ve benefited greatly had it shaved 15 minutes of its running time.
The Trip
Steve Coogan and Rob Brydon’s convoy of comedic conversations got me laughing from the get-go. It didn’t take long for the pair to lock themselves into battles of impersonations and mannerisms, which is really all that fuels the movie. The insights we’re given into character Coogan and character Brydon’s lives serve little more than mellow take-home messages that have about as much punch as a primary school cocktail. Despite this lack of weight, the movie provides the Wimbledon of hilarious back-and-forth banter, serving as the prime reason to watch it. The Trip provided as much as what the trailer promised.
Nosferatu
The climax to 2011’s successful NZFF will hit the age of 90 next year, and it has aged wonderfully, in a living artifact kind of way. The beautifully restored print was given a wonderfully cinematic rejuvenation by Auckland Philly’s bombastic accompaniment. Many giggled at the movie’s numerous aging techniques, an effect caused by interpretation akin to a game of Chinese whispers spanning a number of generations. Nosferatu‘s live cinema experience was a predictably great capper to the fest, filling me with laughs, intrigue and yes, even a couple of chills. Props to the middle aged couple in the Dracula outfits.
Metropolis
I had a tough time getting through the predictably slow first act of Metropolis. Luckily, my utter fascination with the ingenious effects kept my interest trucking along ’til the second act flipped my “God-DAMN!!!” switch. From then on, I was completely flawed by the production value. The miniature work, the freakishly hulk-sized set designs and the intimidating amount of extras that flood the screen all serve to sell the sci-fi world (that’s still effective to this day). Half of the previously lost footage added pretty little, but there’s no denying the fact that Metropolis is still a massive spectacle.
KNUCKLE
This well made documentary is the best conversation starter out of my list. The decade tour between two Irish bare-knuckle boxing families is a tagline most would find rather humourous, and it sort of is… at first. What starts as a typically Irish attempt at organizing chaotic grudges mutates into a gladiatorial sport fueled by pride. The competition’s popularity is negatively associated to the clarity of it’s origins, with each family claiming different causes and finger-pointing directions. As a unique cultural exploration, KNUCKLE amazes in numerously uncomfortable ways. It’s brutal. It’s fascinating. It’s something I’m never going to watch again.
Hobo With A Shotgun
Hobo With A Shotgun is the love letter to the grindhouse era that Rodriguez and Tarantino’s Grindhouse failed to send (with a shotgun). Every element is overdone to perfection: the corny acting, the gratuitous Wal-Mart-quality gore, the flamboyant lighting (with a shotgun). Obviously, the film latches its appeal to a very specific audience, leaving the rest in the dust (with a shotgun). But for what the film planned to achieve, you can’t leave without thinking that they succeeded (with a shotgun). Hobo With A Shotgun is low quality cinema of the highest quality, and with a shotgun (with a shotgun).
Arrietty
After having seen yet another beautiful Studio Ghibli film, how can one act surprised? They are master craftsmen in the field of animated storytelling, and Arrietty is just another brick in that titanic wall of justification. The film is a loose retelling of The Borrowers, using a crooked ol’ Japanese cottage as a basis for the underlying world of the little people. Beneath it’s vastly imaginative micro-world is a subtle, charming story of loneliness and friendship. If your lip shows no sign of quivering near the end, I’ll assume that your soul’s been replaced by a vacant vortex of nothingness.
13 Assassins
If you went to the same screening of 13 Assassins as I, you may have noticed a dude in a kimono and headband. I had the utmost pleasure of sitting next to this man. He introduced himself, told me a little story and once the lights dimmed, he went silent (like a considerate human being). During the first hour, he nodded in approval when the samurai lore was expressed. When shit got real, he whipped out some Jersey Shore fist-pumping action. It was then I realised something: I was sitting next to my living, breathing subconscious. Brilliant person, brilliant movie.
I Saw The Devil
Koreans know revenge; every deranged, dirty, heart-breaking aspect of it. Director Jee-woon Kim demonstrated that knowledge in this chaotic cat-and-mouse ballet of blistering violence. Byung-hun Lee’s terrific portrayal as the broken lead is flawlessly complimented by Min-sik Choi’s frightening performance. Though the brutality is relentless, they’re shot with a tasteful slickness (including an astonishing scene in a moving taxi). The final scene deflated my lungs, with a finishing shot that will remain burned into my mind for years. I Saw The Devil isn’t just my #1 film of the fest, it’s my film of the year thus far. Absolute brilliance.
