T H U R S D A Y   2 0   J U L Y -
W E D N E S D A Y   2 6   J U L Y 2 0 1 7
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The Wellington Film Society, Paramount, Monday 24 July, 6.15pm,
(Kenneth Loach, UK 1969).
Ken Loach's film perfectly illustrates the alienation, forlornness, and disillusionment of childhood. Tormented by his older brother, abused by his teachers, and harassed by his
schoolmates, a young working-class Yorkshire boy named Billy (David Bradley) finds solace in caring for a wild kestrel. Loach contrasts shots of the hawk flying freely with a grim
industrial landscape of factories and mines. Despite the overt symbolism of the bird, the film never feels contrived or hackneyed. Loach's great accomplishment is that he manages
to illicit pathos without relying on cheap sentimentality. Though the film is relentlessly bleak, there are moments of comic relief (most notably the football scene), and Billy retains
some glimmer of resilience until the very end.
- Harrison Sherrod, Cine-File.
Anyone can join in the 30 minutes before the screening. Or join anytime on line.
Nga Taonga Sound and Vision. Screening in the Main Cinema this week: Matariki: Tau Hou 2017,
further screenings of ground-breaking New Zealand films.
Check out Nga Taonga's calendar of screenings and events for details.
Film Festivals to note:
NZ International Film Festival 2017. Embassy, Paramount, etc. 28 July-13 August.
Programme booklets can be found all over the Wellington region. The schedule is also on the NZIFF website, where
bookings can now be made. In person bookings are also available from the NZIFF booking office in the Paramount foyer.
For an up-to-date list of Selling Fast and Sold Out sessions,
Click Here. You will also find a link at the bottom of any extra sessions that have been arranged.
If your festival is not listed here, please advise the Cinemaster
This site relies on the various cinemas having their own websites up to date to access their screening times.
The paragraphs describing the films starting this week are in most cases adapted from the linked reviews.
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For comments and movie news, contact the Cinemaster at firstname.lastname@example.org.
s t a r t s t h i s w e e k!
BABY DRIVER -
Edgar Wright's infectious car-chase thriller will make you believe in magic. The mechanisms at work, while calibrated with hair's-breadth precision, are nothing new. Here's what is:
the sheer glee with which the film prods around in its own clockwork to show you what spins what. It's like watching a magician perform the greatest card trick you've ever seen
while simultaneously explaining how it's done, and being stunned twice over.
Also Penthouse, Empire, Roxy, Lighthouse, Readings, Monterey and Coastlands.
This is a powerful, superbly crafted film with a story to tell, avoiding war porn in favour of something desolate and apocalyptic, a beachscape of shame, littered with soldiers
zombified with defeat, a grimly male world with hardly any women on screen. It is Christopher Nolan's best film so far. It also has Hans Zimmer's best musical score: an eerie,
keening, groaning accompaniment to a nightmare, switching finally to quasi-Elgar variations for the deliverance itself.
Also Paramount, Penthouse, Empire, Roxy, Lighthouse, Readings, Monterey, Coastlands and Shoreline.
PARIS CAN WAIT -
Sometimes beauty and charm are enough to turn a middling movie into pure ambrosia. Diane Lane has plenty of both, and she uses them wisely here,
elevating an otherwise mild and inconsequential film to unexpected heights of enchantment. It is gorgeously photographed, the dialogue is intelligent, and from Satie on the car
radio to the masterpieces on the walls of the Lumiere brothers museum in Lyon, there is always something rapturous to hear and observe from frame to frame.
Also Lighthouse and Shoreline.
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