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Entries in Sam Neill (10)

Tuesday
Feb252020

Dino's Might

by Jason Adams

If I've said it once I've said it a million times (I've definitely said it a million times) -- Jurassic Park is my Star Wars. Lil' Jason saw the original film in the theater thirteen times when it hit in 1993, a record that stood tall until Call Me By Your Name struck fancy twenty-five years later. I was obsessed, and locked myself in for life on seeing all of the sequels no matter what.

Which has become a lot of "no matter what" since every single sequel's been more of a disappointment than the one before. Well, I maybe liked Fallen Kingdom a smidge more than the first Jurassic World, but we're splitting dino-hairs here...

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Friday
Dec062019

Jennifer Kent makes history at the AACTAs with "The Nightingale"

by Travis Cragg

Magnolia Maymuru from The Nightingale wins Best Supporting Actress

The Australian Academy of Cinema and Television Arts (AACTA) gave out their awards at two functions this week: one was an industry luncheon where they did the technical and supporting awards, the other was a glitzy evening televised on delay with many of the gongs awarded in the ad breaks (mostly, it seemed, to people who weren’t present and therefore wouldn’t give the viewers the requisite spontaneity that ratings prefer). The two biggest Australian box office hits of the year, Top End Wedding and Ride Like A Girl, went home empty-handed, but the wealth was spread out amongst the other (limited bunch of) nominees with The Nightingale leading the pack...

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Thursday
Apr122018

Months of Meryl: A Cry in the Dark (1988)

John and Matthew are watching every single live-action film starring Meryl Streep. 

 #15 — Lindy Chamberlain, a New Zealand matriarch wrongfully convicted of her child’s murder.

MATTHEWOne evening in August 1980, Azaria Chamberlain, the two month-old daughter of New Zealander couple Michael and Lindy Chamberlain, was taken while the family was camping near Ayers Rock. She was never found again. Seconds before Azaria disappeared, Lindy claimed to have seen a dingo rummaging through the tent where her daughter lay sleeping, putting forth the soon-to-be-infamous story that a dingo had taken and perhaps eaten her baby. A seedy, sensationalist media frenzy ensued, with the Chamberlains’ faces splashed across the covers of obsessive tabloids and speculative segments of nightly news programs as many, including the Australian high court, viciously questioned the veracity of the family’s explanation.

None of Meryl Streep’s vehicles have entered the cultural lexicon with quite the same measure of gleefully ubiquitous parody that has surrounded and even overshadowed Fred Schepisi’s 1988 docudrama A Cry in the Dark, also titled — and released in Australia and New Zealand as — Evil Angels after the John Bryson true-crime bestseller that first chronicled the Chamberlain family’s legal ordeal. A Cry in the Dark’s devolution into little more than a widely-known (though often misquoted) punchline has proven to be both admittedly hilarious but also fairly odd, especially considering the gruesome events from which this gag originates...

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Friday
Apr222016

Wilding Out at Tribeca

Team Experience is at the Tribeca Film Festival. Here's Jason on "Hunt For the Wilderpeople".

About a year ago director Taika Waititi showed us the homier side of Nosferatu & Co with the vampire comedy What We Do in the Shadows... and the very next thing I knew he was being hired to direct the third Thor movie for Marvel. I always felt like a step was missing in there, and sure enough here's Hunt for the Wilderpeople, the adorable little rainbow bridge he took on over to the big leagues.

An adaptation of the well-loved 1986 novel Wild Pork and Watercress by New Zealand's favorite author slash adventurer Barry Crump, Wilderpeople feels more like a proper Movie than Shadows did - whereas that was a collection of funny bits hung together by silly string, this time out there's a more novelistic approach, with explicit chapter titles and also things like a beginning, a middle, and an end. An emotional journey, if you will! One that doesn't skimp on the giant pig monsters (which okay let's be honest, those are probably what got him Thor 3).

City slicker, street urchin, and roundly rejected foster kid Ricky (Julian Dennison) shows up to his latest familial assignment with a boar-sized chip on his shoulder, which Aunt Bella (a sweetly no-nonsense Rima Te Wiata) immediately sets about slaughtering. Uncle Hec (don't call him Uncle), played by Sam Neill with a beard it takes you a few minutes to find a face under, doesn't want any part of Ricky's rigamarole, but cue the heart strings as they're eventually forced to work together against the odds and find common ground, the music swells, a hug in front of a sunset in slow-motion.

Hold up though - thankfully the film is aware of those smarmy cinematic precedents (smarmy classics like the Stallone arm-wrestling epic Over the Top come to mind) and without being cutesy about it demolishes the cliches through good old fashioned hard-fought and battle-fatigued excellence. It's funny and true and a fine wilderness adventure to boot, snuffling out all emotional beats at its own pace, when it damn well feels like it, to the tune of its own drummer and the toot of its own horn section. It's like Rushmore in the bush - yes, it's Bushmore. Straight up magestical, people. Grade: B+

Monday
Apr212014

April Showers: The Piano

The evening waterworks continue. Here's Andrew on a particularly gloomy shower.

The Piano is a moody movie. Moody as in unpredictable and volatile, and moody as in suggesting melancholy and mystery. Even before the story really gets underway the film's atmosphere is one of unease. And it's because it's not just the story that's moody but visually, too. As Stuart Dryburgh's camera observes the rough, muddy ranches of New Zealand the harsh exteremities of the terrain seem to be not just incidental but direct representations of the similarly implacable characters.

This is but one of the numerous ways in which the Gothic influence on The Piano shines through, where landscape informs elements of plot and characters. The Piano checks off a number of the prerequisites for Gothic drama: impulsive, sometimes tyrannical men, women in distress, heightened emotion, a mysterious atmosphere, a somewhat isolated locale, stormy weather and muddy terrains. 

Of the influence of the Gothic in the film, Jane confesses...

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