The Irish Times - Friday - The Ticket - - SEVEN DAYS | FILM - Di­rected by Stephanie Spray, Pa­cho Velez DC DC TB DC DC TB TB DC DC DC DC DC

in­gly loud, but, alas, it is a mess at the level of the script. The sci­ence is screwy. The meta­physics – now Dar­winian, now new age – are all over the place. The di­a­logue is weighed down with te­dious ex­po­si­tion. A pulp ad­ven­ture with ideas way above its lowly sta­tion. 12A, gen re­lease, 168 min NEW RE­LEASE KON TIKI See re­view, page 11


The folk from the Sen­sory Ethnog­ra­phy Lab at Har­vard Univer­sity set a static cam­era within a cable car trans­port­ing pil­grims to a Hindu tem­ple high in the moun­tains of Nepal. We then get 11 com­plete jour­neys ce­mented to­gether to give the il­lu­sion of one con­tin­u­ous loop. Manaka­mana works as a tone poem, a Warho­lian revel in the mun­dane, and (re­mem­ber the source) an ethno­graphic study of an iso­lated cor­ner. Aus­tere, but es­sen­tial. Light House, Dublin, 118 min MEN, WOM­E­NAND CHIL­DREN

Don­ald Clarke

What ends with a full-throt­tle My Heart Will Go On? Who, ac­cord­ing to re­cently leaked emails, was de­scribed as a “min­i­mally tal­ented spoiled brat” by a top pro­ducer? What links a gi­ant rab­bit, Mad World and a jet en­gine? In which film will you find a car­pet pat­tern sim­i­lar to that pic­tured? What links the last Stan­ley Kubrick film, Gary Vic­to­rian era. A won­der. 12A cert, lim re­lease, 149 min NA­TIV­ITY 3: DUDE, WHERE’S MY DON­KEY? They’re back. How do we go about award­ing the square root of neg­a­tive one as a star rat­ing? How else can one pos­si­bly con­vey the aw­ful­ness of this three-quel? The Na­tiv­ity se­quence has, to date, been a ram­shackle ex­pe­ri­ence, as var­i­ous re­spectable Bri­tish ac­tors have signed away their dig­nity to fea­ture at the cen­tre of a fran­chise that trades on Kids Say the Fun­ni­est Things im­prov and crummy sea­sonal tunes. This is the worst yet. G cert, gen re­lease, 109 min NEW RE­LEASE NIGHT AT THE MU­SEUM: SE­CRET OF THE TOMB See re­view, pages 10-11


A psy­chopath shoots grue­some footage for the evening news. As an LA myth from the school of Michael Mann, Nightcrawler works quite bril­liantly. Filmed both dig­i­tally and on film, the pic­ture takes place in a glassy light that em­u­lates the pro­tag­o­nist’s psy­cho­log­i­cal with­drawal. Gyl­len­haal is ter­ri­fy­ingly va­cant in the lead role OId­man’s de­but as di­rec­tor, the story of Joe Or­ton and feuds be­tween John Tra­volta and Ni­co­las Cage? and Russo is con­vinc­ingly con­flicted as his boss. How­ever, putting a lu­natic at the cen­tre does de­fang the satire a tad. 16 cert, gen re­lease, 117 min

PADDING­TON For­get that aw­ful trailer. This adap­ta­tion of Michael Bond’s fa­mous sto­ries about a friendly bear is an ab­so­lute de­light. The plot is com­mend­ably sim­ple: Padding­ton is pur­sued by a wicked Cruella de Vil-style taxi­der­mist (Kid­man), who, ini­tially, is in ca­hoots with nosy neigh­bour Mr Curry (Ca­pa­lidi). Fans of Harry Pot­ter’s brand of English­ness will find plenty to savour. But the film equally seeks to cel­e­brate in­clu­siv­ity. Smaller peo­ple, in par­tic­u­lar, will love the may­hem. G cert, gen re­lease, 95min PEN­GUINS OF MADA­GAS­CAR A bunch of pen­guins take on a master-crim­i­nal in the form of a de­ranged oc­to­pus. This amus­ing fam­ily en­ter­tain­ment is a spin-off of a TV se­ries that it­self span off from the Mada­gas­car film se­ries, What’s wrong with Air­plane, Ok­la­homa, Oliver and Hello Dolly? Richard Ayoade, Akira Kuro­sawa and Richard Brooks have all adapted works by which au­thor? Whose mu­sic will you hear on five films by Claire De­nis? What links TV news, Amer­i­can foot­ball, Pres­i­den­tial pol­i­tics and looted art works? What (specif­i­cally) are Clyde, Dun­stan and Mau­rice? and it has the throw­away qual­ity of such an en­ter­prise. The an­i­ma­tion is good enough, but never re­mark­able. The story is sat­is­fac­tory, if short on imag­i­na­tion. But the jokes are mag­nif­i­cent through­out. And, yes, you read that right: The Werner Her­zog. G cert, gen re­lease, 91 min


Awards sea­son is once more upon us and so we’d like to present The Pyra­mid’s crummy CGI Anu­bis – the Jackal-headed god thingy – with a spe­cial gong for Worst Movie Mon­ster. He’s not even the weak­est link in the movie. That hon­our falls to Hin­shaw’s Nora, the sure­fire win­ner of Worst Fi­nal Girl of 2014 (and pos­si­bly ever). If ev­ery­thing else were equally ter­ri­ble, the film might, at least, qual­ify as a guilty plea­sure. But it’s mostly dull. 16 cert, gen re­lease, 88 min


A Bri­tish sol­dier seeks to es­cape West Belfast dur­ing the dark­est days of the Trou­bles. ’71 is ex­hil­a­rat­ing. O’Con­nell of­fers a per­fect por­trait of a man who, though pass­ing among work­ing­class streets very like his own, feels him­self stranded on a hos­tile planet. First-rate pur­suit thriller. 15A cert, gen re­lease, 99 min

The lat­est in the so-so, cut-price Peter Pan se­quels is among the least ter­ri­ble of the se­ries. A mem­ber of the fairy coven hap­pens upon an enor­mous hairy beast and, in the spirit of Ae­sop, ren­ders him friendly by re­mov­ing a trou­ble­some thorn. Fawn knows he’s not so fear­some as he looks. So, we shouldn’t judge a book by its cover? Did I men­tion none of the fairies is any­thing other than a size 0? Bo­gus! G cert, gen re­lease, 69 min 2001: A SPACE ODYSSEY RE­DUX

Wel­come reis­sue of a film that for all its prob­lems – that an­ti­sep­tic noth­ing­ness – still stands as among the most au­da­cious ever made. Whereas In­ter­stel­lar clat­tered chaot­i­cally from do­mes­tic drama to bad sci­ence, Kubrick man­ages the ex­tra­or­di­nary feat of im­pos­ing con­ci­sion on a story that stretches over four mil­lion years. The fi­nal hal­lu­ci­na­tory melt­down may have de­lighted con­tem­po­ra­ne­ous chem­i­cal users, but there is not a hint of groovi­ness to the sharp sur­faces and pre­cise pat­terns. G cert, lim re­lease, 142 min NEW RE­LEASE UN­BRO­KEN See re­view, page 9 WHAT WE DO IN THE SHAD­OWS Very funny, rather sad New Zealand com­edy con­cern­ing a group of squab­bling vam­pires in a run-down Wellington house. Nod­ding vig­or­ously to The Young Ones, the film has enor­mous fun ad­dress­ing mun­dane con­cerns through the vam­pires’ warped lenses. Vi­cious but sweet, the gang strug­gle to main­tain deco­rum while keep­ing the blood flow­ing. “Are you, erm, pre­de­ceased?” somebody coyly asks a still-quick ac­quain­tance. Looks great. Beau­ti­fully acted. 15A cert, lim re­lease, 85 min

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