Film Review: "Tony Robbins: I Am Not Your Guru" (2016).

"Our entire life changes in a moment." This is Tony Robbins: I Am Not Your Guru. This documentary film directed by Joe Berlinger. Average people with extraordinary problems are hoping he can change their lives. And he'll do it in just six days. Tony Robbins' clients swear by his unorthodox life coaching methods.

For those not familiar with him, Robbins is an author, philanthropist, and life coach. Robbins is known for his infomercials, seminars, and self-help books including Unlimited Power and Awaken the Giant Within. On February 29, 1960, Robbins was born as Anthony J. Mahavoric in North Hollywood, California. He is the eldest of three children. Whilst growing up in Glendora, California, he worked as a handyman to help provide for his siblings. He has said his home life was "chaotic" and "abusive". Whilst Robbins attended Glendora High School, he grew ten inches, a growth spurt later attributed to a pituitary tumor. By the age of seventeen, his parents divorced and he left home. Robbins later worked as a janitor, and did not attend college. 

Robbins began his career promoting seminars for motivational speaker and author Jim Rohn. In the early 1980s, soon after meeting Neurolinguistic Programming co-founder John Grinder, the two became partners. At this time Robbins taught NLP and Ericksonian Hypnosis. In 1988 Robbins released his first infomercial, Personal Power, produced by Guthy Renker, which helped to promote his services as a "peak performance coach". The infomercial helped Robbins gain wide exposure, selling his Personal Power self-help audiotapes. In 1997, Robbins began the Leadership Academy seminar. He is a speaker on the seminar circuit sponsored by Learning Annex. Robbins was a featured speaker at the 2007 Technology, Entertainment and Design (TED) conference. Together with Cloé Madanes, Robbins founded the Robbins-Madanes Center for Intervention, an organization that trains life skills coaches to help families and individuals deal with addiction and other issues. He was named one of the "Top 50 Business Intellectuals" by Accenture and one of the "Top 200 Business Gurus" by the Harvard Business Press, and in 2007 was ranked on the Forbes Celebrity 100. In 2015 and 2016 Robbins was listed on the Worth Magazine Power 100 list. His seminars are organized through Robbins Research International.

Throughout his writings, seminars, and speeches, Robbins espouses viewpoints, techniques, and other practices he asserts can help adherents improve their lives. He speaks about various "human needs, influences that affect people, the power of making decisions" and the need to achieve "emotional mastery". Robbins holds multiple seminars annually, most of them with a "self help" and "positive thinking" theme, with a fire walk participation, massages, a lot of audience participation and physical exercises.

Though he insists that he is "not your guru", Robbins makes for a phenomenal guru. The film and Robbins shows how to cultivate empathy for one's self. Though it seems to present itself as a straightforward documentary where a man just tells people how to live better lives, it's more or less than that, depending on the point of time in your life.

Simon says Tony Robbins: I Am Not Your Guru receives:

NZIFF Film Review: "Green Room" (2015).

"Now. Whatever you saw or did. Is no longer my concern. But let's be clear. It won't end well." This is Green Room. This horror-thriller film written and directed by Jeremy Saulnier. A punk rock band becomes trapped in a secluded venue after finding a scene of violence. For what they saw, the band themselves become targets of violence from a gang of white power skinheads who want to eliminate all evidence of the crime.

The film came from Saulnier's desire to create a thriller set in a green room, calling the idea "an obsession". Saulnier wanted to make this movie partly because as his career advanced, he knew he would not be offered the chance to make a movie as ultra-violent and bleak as this film and that no novice filmmaker would be given the chance to direct it either. He felt that after the success of Blue Ruin (2013), the time was right to take on a movie as demanding as this one. Saulnier was partly inspired by Straw Dogs (1971). In 2007, Saulnier created a short film set in one as part of a 48-hour film challenge in 2007 which involved the supernatural and according to Saulnier was "really kind of fun and hammy." However, he still wanted a chance to do his green room movie "the right way". Although the film features a large amount of violence and what Saulnier calls "full frontal gore", he has gone on record as stating that it is not "sadistic", and that every act of violence apart from the initiating incident is done with a reason. As such Saulnier made sure that there were no "gratuitous close ups" of recently deceased characters. By October 2014, Anton Yelchin, Imogen Poots, Patrick Stewart, Alia Shawkat, and Callum Turner were cast. At the same time, principal photography commenced, and took place throughout Oregon. The film marked Yelchin's last film to be released before his death, on June 19, 2016.

The film stars Yelchin, Poots, Stewart, Shawkat, and Turner. Yelchin and Stewart are not the kind of actors who usually gets to anchor a motion picture, let alone a violent revenge picture, and that's part of what makes the movie work.

Smart, stripped-down, and thrillingly grim, Green Room proves that a well-told revenge story can still leave its audience on the edge of their seat. It is not a truly organic story in terms of originality, but its brutal take on revenge and Yelchin and Stewart's performances makes it one of the year's best films that no-one will have heard of. Saulnier has created a very brutal, raw image of the revenge thriller. He takes it out of the ridiculousness of Hollywood and how big budget films treat the sub-genre. Despite a plot hole in the otherwise well-plotted and enticing thriller, it's an ace calling card for its director and actors. The film marks Saulnier out as an exciting filmmaker to watch - it's just a shame that the film can't fully shake off the weight of its influences.

Simon says Green Room receives:

Also, see my NZIFF review for Suburra.

NZIFF Film Review: "Suburra" (2015).

"Rome will fall" in Suburra. This Italian neo-noir mafia crime film directed by Stefano Sollima, adapted by Stefano Rulli, Sandro Petraglia, Carlo Bonini, and Giancarlo De Cataldo, and based on the 2013 novel of the same name by Carlo Bonini and Giancarlo De Cataldo. Inspired by true events from the Mafia Capitale, a gangster known as "Samurai" wants to turn the waterfront of Rome into a new Las Vegas. All the local mob bosses have agreed to work for this common goal. But peace is not to last long.

The crime organization, the Mafia Capitale, and its subsequent investigation of its criminal activities involving the government of Rome, in which members stole money destined for city services and carried out other criminal activities such as racketeering, conspiracy, loan-sharking, extortion, drug trafficking, fraud, money laundering, illegal works, bribery. It operated in the city of Rome and the region of Lazio. A police investigation by Rome's chief prosecutor Giuseppe Pignatone, revealed a network of corrupt relationships between some politicians and criminals in the Italian capital. The criminal actions took advantage of the recent influx of immigrants to Italy, gaining public contracts to manage migrant reception centres. The criminal organization also used its connections to secure lucrative public contracts, before accepting payments for substandard or, sometimes, non-existent services. Among those investigated are former mayor Gianni Alemanno and the bosses Salvatore Buzzi and Massimo Carminati, a member of the Banda della Magliana, as well as members of the 'Ndrangheta. A twelve-hundred-page arrest warrant was issued in December 2014, and was followed by dozens of arrests. Among those investigated and arrested of the government of the city were the president of Rome's city council, the head of the city's public-housing division, and the former president of Ostia. In mid December 2015, Alemanno was indicted for corruption and illicit financing. According to the accusation, Alemanno received €125,000 euros from the cooperatives' boss Salvatore Buzzi. In early February 2017, the allegation of an external cooperation in a mafia association was filed, including the allegations of corruption and illicit funding. In late July 2017, Carminati was sentenced to twenty years in jail, along with other various sentences of his associates. In early September 2018, on appeal, Carminati was sentenced to fourteen years and six months, with Buzzi sentenced to eighteen years and four months.

The film stars Pierfrancesco Favino, Elio Germano, Claudio Amendola, Alessandro Borghi, Greta Scarano, and Giulia Elettra Gorietti. The cast themselves body and soul to characters that are not easy to interpret, and even if they do sometimes fall into stereotypical and archetypal territory.

Though less subversive than other films of the genre, Suburra succeeds as a stylish, dynamic thriller—even if its amoral machismo makes for grim viewing. The film was tense, tough, and shockingly ruthless at times. The film emerges as a dynamic action drama in its own right. Solima, who has primarily worked in Italian crime thrillers, brings a run-and-gun humanity to this, suggesting complexities of Italian society where the first film defaulted to moody hellscapery.

Simon says Suburra receives:

Also, see my NZIFF review for Miss Europe (Prix de beauté).

Film Review: "The BFG" (2016).

"From the human beans that created E.T. and the author of Charlie and the Chocolate Factory and Matilda" comes The BFG. This fantasy adventure film directed by Steven Spielberg, written by Melissa Mathison and based on the 1982 novel of the same name by Roald Dahl. The film tells the imaginative story of a young girl named Sophie and the Giant, the BFG, who introduces her to the wonders and perils of Giant Country.

Producers Kathleen Kennedy and Frank Marshall began development on an adaptation of The BFG in 1991. Various screenwriters, including Robin Swicord, Nicholas Kazan, Terry Jones and Ed Solomon, were hired to work on the screenplay in the subsequent years before it lingered in development hell. In September 2011, DreamWorks acquired the screen rights to Dahl's book. Ultimately, Spielberg's E.T. scribe Mathison was brought on to pen the script. This marked the second collaboration between Spielberg and Mathison in thirty years, and it also marked the final script written by Mathison who passed away in late 2015. In April 2014, Spielberg was announced as director. Spielberg had always wanted to direct The BFG, ever since he first read the novel. He commented: "I think it was kind of genius of Roald Dahl to be able to empower the children. It was very, very brave of him to introduce that combination of darkness and light... being able to do scary, but also be redemptive at the same time and teach a lesson, an enduring lesson, to everyone... and it was one of the things that attracted me to want to direct this Dahl book." In October 2014, Mark Rylance was cast in the title role. By April 2015, Ruby Barnhill, Penelope Wilton, Rebecca Hall, Jermaine Clement and Bill Hader were cast. Principal photography commenced in March 2015 and concluded in June 2015.

The film stars Mark Rylance, Ruby Barnhill, Penelope Wilton, Jemaine Clement, Rebecca Hall, Rafe Spall and Bill Hader. The cast gave terrific performances, but most of the kudos goes to Ryance and Barnhill. Rylance as the BFG may be another typical example of motion capture trickery, but his second collaboration with Spielberg has solidified him as one of Spielberg's go-to-actors, like Tom Hanks and Richard Dreyfuss. Barnhill, who provided the film's heart, is a gifted young newcomer whose performance is sincere, deep and unforced in a way that's rare in a child actor.

The closest to Spielberg's past family fantasy flicks, The BFG is for people who loved E.T. and Hook. Rylance and Spielberg may have leapt too high on the vapors of Dream Country, but it's hard to not get hooked on something this charming. Adults and kids alike will take delight in the eye-dropping visuals of Giant Country. Spielberg and company made this classic tale into something that fits the Spielberg canon. But alas, the film unfortunately conjures up a predictably magical scenery, a somewhat cliched story and an ending that's anything but original. It may be one of the best family films in a while, however it is not up there among Spielberg's best.

Simon says The BFG receives:

Also, see my review for Bridge of Spies.

Film Review: "Sing Street" (2016).

"Boy meets girl. Girl unimpressed. Boy starts band." This is Sing Street. This musical coming-of-age comedy-drama film written and directed by John Carney. With the recession hitting people hard in Dublin during the 80s, Conor is moved from his private school to a tough inner-city alternative. As he tries to adjust to a new way of life, he decides to start his own band.

In February 2014, it was announced that Carney would be directing a film about a boy starting a band in order to impress a girl. In a July 2014 interview, Carney announced he would be casting unknown actors in the film. By September, Ferdia Walsh-Peelo, Lucy Boynton, Jack Reynor, Aidan Gillen, and Maria Doyle Kennedy were cast. At the same time, principal photography commenced, and wrapped in late October. Filming took place around Dublin, Ireland.

The film stars Walsh-Peelo, Boynton, Reynor, Gillen, and Doyle Kennedy. The cast, especially Walsh-Peelo and Boyton, delivered subtle magic and together with Carney created surreal, enchanting loveliness without being overly sentimental. The film has wonderfully natural performances from the two leads. Although musicians first and actors second, they acquit themselves well in both areas. Boyton, a largely unknown quantity alongside the well-known and either loved or loathed Walsh-Peelo, is luminous. Carney and the cast makes the point - without ever labouring it - that his protagonists are living in a changing city where the economic boom has passed them by. His keen eye for authentic locations is evident

Carney's return to musical drama isn't quite as potent as it was with Once, but thanks to charming work from its well-matched leads, Sing Street is difficult to resist. Though there are a few faultless moments, the film's flaw lies in the fact that there's not nearly enough narrative for the runtime; it's more musical montage than movie. It ultimately passes the authenticity test with flying colors, however, due to strong, heartfelt performances and well-written tunes that dovetail perfectly into and out of Carney's script. It's a friendly little indie displaying some fine performances and a clever storytelling style, even if its musical tastes are far more conventional than they should be for the characters. Everyone in this movie seems to be a little bit in love, and never more so than when they're recording on a rooftop in the city, going gorgeously against the grain of how things are supposedly supposed to be done. Decidedly different from super-budget, superhero fare, this one is sometimes sappy but mostly engaging and definitely driven by music. I suppose my biggest road block was the fact that I didn't like the music as much as I did with the music of Once. The film isn't perfect and it certainly isn't wrapped up in a tight little bow, but all in all, it's a captivating film. It hits the sweet spot of love's tortures and love's ability to heal with overly cutesy situations and its fair share of laughs.

Simon says Sing Street receives:

Film Review: "The Legend of Tarzan" (2016).

"A new threat awaits" in The Legend of Tarzan. This adventure film directed by David Yates, written by Adam Cozad and Craig Brewer, and based on the eponymous character created by Edgar Rice Burroughs. When Jane is abducted by the Belgian envoy Leon Rom while investigating the government's activities in the Congo, John must revert to his former self as Tarzan if he is to save his beloved wife.

Since 2003, an updated version of Edgar Rice Burroughs' iconic character had been in development with John August penning a script. However, in 2008, a different version was in development, co-written by Stephen Sommers and Stuart Beatle. In 2011, Brewer wrote a new version, and was even set to direct. None of these versions came to fruition. In 2012, Cozard was set to rewrite Brewer's script, and Yates was hired to direct, after Susanna White and Gary Ross were considered. For the role of the Lord of the Apes, producer Jerry Weintraub initially wanted swimmer Michael Phelps to play the title role, like Johnny Weissmuller, the actor who had famously played Tarzan, and who was also a prominent competitive swimmer. Henry Cavill, Tom Hardy, and Charlie Hunnam were also considered. In mid November 14, 2012, Alexander Skarsgård was ultimately cast in the title role. In early March 2013, it was reported that Yates wanted Jessica Chastain to play the female lead role, Jane Porter. In April, due to budgetary concerns, the production was temporarily suspended. The studio eyed Emma Stone, Emma Watson (who worked with Yates on the last four Harry Potter films), Sarah Bolger, Georgina Haig, Lucy Hale, Lyndsy Fonseca, Eleanor Tomlinson, Gabriella Wilde, Lucy Boynton and Cressida Bonas were all considered for the part. In late January 2014, Margot Robbie was ultimately cast as Jane. By late June, Christoph Waltz, Samuel L. Jackson, Djimon Hounsou, Jim Broadbent, Ben Chaplin, and Genevieve O'Reilly rounded out the film's cast. At the same time, principal photography commenced, and wrapped in early October. Filming took place at Warner Bros. Leavesden Studios in Leavesden, Hertfordshire, England.

The film stars Skarsgård, in the title role, Robbie, Waltz, Jackson, Hounsou, Broadbent, Chaplin, and O'Reilly. Despite the cast's best efforts, the characters don't do anything interesting and Tarzan is a jungle man who stays the same through the movie.

The Legend of Tarzan brings impressive special effects to bear on the darker side of its classic source material, but loses track of the story's heart along the way. Too dark for kids, too tame for adults. Stunning effects, occasionally wretched motion-capture. The technology may be there, but that doesn't mean it's been utilized to its full, feeling powers. It's a coming-of-age story unable to push forward in all the ways that really matter. It's not exactly an original take on Edgar Rice Burrough's stories any more than the Disney version was, but it's a refreshing change for anyone hungry for a change of pace from Disney's monopoly. In the end, Serkis and company somewhat failed to see the jungle for the trees.

Simon says The Legend of Tarzan receives:

Also, see my review for Harry Potter and the Deathly Hallows – Part 2.

Film Review: "Ice Age: Collision Course" (2016).

"They're going out with a bang" in Ice Age: Collision Course. This computer-animated comic science fiction film directed by Mike Thurmeier and Galen Tan Chu, written by Michael J. Wilson, Michael Berg and Yoni Brenner, and produced by produced by Blue Sky Studios. It is the sequel to Ice Age: Continental Drift (2012), and the fifth installment in the Ice Age film series. Scrat's epic pursuit of the elusive acorn catapults him into the universe where he accidentally sets off a series of cosmic events that transform and threaten the Ice Age World. To save themselves, Sid, Manny, Diego, and the rest of the herd must leave their home and embark on a quest full of comedy and adventure, traveling to exotic new lands and encountering a host of colourful new characters.

After the financial success of Ice Age: Continental Drift, the creative team at Blue Sky Studios went back to the previous films to search for possible inspiration for the next installment. Inspired by the first and third Ice Age films, they conceived the concept for Collision Course. Ray Romano, John Leguizamo, Denis Leary, Queen Latifah, Seann William Scott, Josh Peck, Jennifer Lopez and Simon Pegg, returned to reprise their roles, with Jesse Tyler Ferguson, Adam DeVine, Nick Offerman, Max Greenfield, Stephanie Beatriz, Melissa Rauch, Michael Strahan, Jessie J and Neil deGrasse Tyson cast as new additions. The recording sessions took place in Los Angeles, California. For the animation, the characters were first hand-drawn on animation software, complete with color and animated clips of the characters doing specific actions. They were then sent to be hand-sculpted with clay, and ultimately scanned into CGI software and animated around the model. In June 2015, the film's title was revealed. The film was originally scheduled for a July 15, 2016. However, the release was delayed to July 22, to avoid competition with Ghostbusters (2016).

The film features the voice talents of Romano, Leguizamo, Leary, Latifah, William Scott, Peck, Lopez and Pegg, reprising their roles, with Tyler Ferguson, DeVine, Offerman, Greenfield, Beatriz, Rauch, Strahan, Jessie J and deGrasse Tyson. The cast worked hard, and their characters are amusingly designed, but it's not nearly enough to shake the sense that we're watching elaborate filler.

Ice Age: Collision Course has moments of charm and witty slapstick, but it often seems content to recycle ideas from the previous films. Watching this film was a cheerless exercise for me. The characters are manic and idiotic, the dialogue is rat-a-tat chatter, the action is entirely at the service of the 3-D, and the movie depends on bright colors, lots of noise and a few songs in between the whiplash moments. It's familiar, drawn-out shtick, and the humor lacks the subtlety of the first and best Ice Age, but there are some visually inventive high points. Not only is this instalment arguably the worst in the franchise yet, it's also, a unsurprisingly, perhaps given that it's a fourth movie in a franchise, turned around on a strict cycle, turned out to be thoroughly, thoroughly boring family blockbuster.

Simon says Ice Age: Collision Course receives:

Also, see my review for The Peanuts Movie.