Before it turned out swell, Spielberg felt like he was drowning
(M, 88 minutes, Disney+)
4 stars
Half a century ago, one film swam along and changed the film industry.
It sounds like a grand statement to make, but that really was the case with Jaws.
The seminal Steven Spielberg thriller became the first summer blockbuster (though, of course, it was winter in our hemisphere) to break all sorts of box office records and created a cultural juggernaut the size of which had never been seen before.
To mark five decades since its release, Jaws @ 50: The Definitive Inside Story on Disney+ takes you back to the famously difficult production with generous archive footage and interviews from the past and present.
The documentary, released under the National Geographic banner, is helmed by Laurent Bouzereau, a prolific film documentary and special features director who already delivered The Making of Jaws back in 1995.
If you're a cinephile or particularly die-hard fan of Jaws, there's a good chance that most of the information in Jaws @ 50 will not come as a shock.
Other documentaries over the years have delved deeply into this film, and even the most casual film fan already knows bits of trivia, like the fact the mechanical shark was named Bruce, and the film was shot on Martha's Vineyard, an island off the Massachusetts coast.
But familiarity with the content doesn't detract from the enjoyment of this film.
Bouzereau has conducted new interviews with people involved with the production, their relatives, shark experts and other filmmakers who have been inspired by Jaws.
It's always nice to see Spielberg talking about the film that really made his career.
Before Jaws came along, the young filmmaker was an up-and-comer, impressing with made-for-TV films including the influential Duel, an action-packed thrill ride about a large truck chasing a smaller car for the length of the film.
When Spielberg came across the not-yet-published galleys of Peter Benchley's novel Jaws, he thought it was just like Duel - this huge, unrelenting predator on the prowl. So he asked if he could direct the film, and when the original choice left the project, he was in.
But the production was far from smooth, and nearly everything that could go wrong with Bruce the shark, did. It was designed for freshwater instead of seawater, which wreaked havoc with the mechanics. It moved the wrong way. When it finally worked, the boat sank.
Spielberg spent the production - which was running significantly over budget and well beyond schedule - thinking he'd be fired, and still suffered traumatic panic attacks and insomnia for years after the film wrapped.
Cast members also failed to get along - Robert Shaw and Richard Dreyfuss particularly butted heads, and Shaw's persistent drinking didn't help matters.
But most of the Jaws cast was made up of locals on the island, and it's fantastic to see how much pride those remaining cast members and islanders still have in the film production.
Jaws has had a huge impact on filmmaking since its release, and industry figures like Mexican Guillermo del Toro (Oscar-winning writer-director of The Shape of Water), Jaws superfan Steven Soderbergh (Oscar-winning director of Traffic) and English actress Emily Blunt (Oscar-nominated star of Oppenheimer), who claims to have seen Jaws more than any other film, are more than happy to talk about how much the shark thriller means to them and has impacted their appreciation of cinema.
What this documentary has that the others don't is the inclusion of a fully restored Bruce to the Academy Museum of Motion Pictures in Los Angeles. If you're a lover of the film, it's a delight to see the huge creature craned into the museum, to be revered by all the visitors who walk through its doors.
While Jaws @ 50 might not be the most eye-opening documentary if you're well-versed in the history of the film, if you've never seen a doco or featurette on Jaws, it's bound to bring you joy.
Jaws @ 50: The Definitive Inside Story
(M, 88 minutes, Disney+)
4 stars
Half a century ago, one film swam along and changed the film industry.
It sounds like a grand statement to make, but that really was the case with Jaws.
The seminal Steven Spielberg thriller became the first summer blockbuster (though, of course, it was winter in our hemisphere) to break all sorts of box office records and created a cultural juggernaut the size of which had never been seen before.
To mark five decades since its release, Jaws @ 50: The Definitive Inside Story on Disney+ takes you back to the famously difficult production with generous archive footage and interviews from the past and present.
The documentary, released under the National Geographic banner, is helmed by Laurent Bouzereau, a prolific film documentary and special features director who already delivered The Making of Jaws back in 1995.
If you're a cinephile or particularly die-hard fan of Jaws, there's a good chance that most of the information in Jaws @ 50 will not come as a shock.
Other documentaries over the years have delved deeply into this film, and even the most casual film fan already knows bits of trivia, like the fact the mechanical shark was named Bruce, and the film was shot on Martha's Vineyard, an island off the Massachusetts coast.
But familiarity with the content doesn't detract from the enjoyment of this film.
Bouzereau has conducted new interviews with people involved with the production, their relatives, shark experts and other filmmakers who have been inspired by Jaws.
It's always nice to see Spielberg talking about the film that really made his career.
Before Jaws came along, the young filmmaker was an up-and-comer, impressing with made-for-TV films including the influential Duel, an action-packed thrill ride about a large truck chasing a smaller car for the length of the film.
When Spielberg came across the not-yet-published galleys of Peter Benchley's novel Jaws, he thought it was just like Duel - this huge, unrelenting predator on the prowl. So he asked if he could direct the film, and when the original choice left the project, he was in.
But the production was far from smooth, and nearly everything that could go wrong with Bruce the shark, did. It was designed for freshwater instead of seawater, which wreaked havoc with the mechanics. It moved the wrong way. When it finally worked, the boat sank.
Spielberg spent the production - which was running significantly over budget and well beyond schedule - thinking he'd be fired, and still suffered traumatic panic attacks and insomnia for years after the film wrapped.
Cast members also failed to get along - Robert Shaw and Richard Dreyfuss particularly butted heads, and Shaw's persistent drinking didn't help matters.
But most of the Jaws cast was made up of locals on the island, and it's fantastic to see how much pride those remaining cast members and islanders still have in the film production.
Jaws has had a huge impact on filmmaking since its release, and industry figures like Mexican Guillermo del Toro (Oscar-winning writer-director of The Shape of Water), Jaws superfan Steven Soderbergh (Oscar-winning director of Traffic) and English actress Emily Blunt (Oscar-nominated star of Oppenheimer), who claims to have seen Jaws more than any other film, are more than happy to talk about how much the shark thriller means to them and has impacted their appreciation of cinema.
What this documentary has that the others don't is the inclusion of a fully restored Bruce to the Academy Museum of Motion Pictures in Los Angeles. If you're a lover of the film, it's a delight to see the huge creature craned into the museum, to be revered by all the visitors who walk through its doors.
While Jaws @ 50 might not be the most eye-opening documentary if you're well-versed in the history of the film, if you've never seen a doco or featurette on Jaws, it's bound to bring you joy.
Jaws @ 50: The Definitive Inside Story
(M, 88 minutes, Disney+)
4 stars
Half a century ago, one film swam along and changed the film industry.
It sounds like a grand statement to make, but that really was the case with Jaws.
The seminal Steven Spielberg thriller became the first summer blockbuster (though, of course, it was winter in our hemisphere) to break all sorts of box office records and created a cultural juggernaut the size of which had never been seen before.
To mark five decades since its release, Jaws @ 50: The Definitive Inside Story on Disney+ takes you back to the famously difficult production with generous archive footage and interviews from the past and present.
The documentary, released under the National Geographic banner, is helmed by Laurent Bouzereau, a prolific film documentary and special features director who already delivered The Making of Jaws back in 1995.
If you're a cinephile or particularly die-hard fan of Jaws, there's a good chance that most of the information in Jaws @ 50 will not come as a shock.
Other documentaries over the years have delved deeply into this film, and even the most casual film fan already knows bits of trivia, like the fact the mechanical shark was named Bruce, and the film was shot on Martha's Vineyard, an island off the Massachusetts coast.
But familiarity with the content doesn't detract from the enjoyment of this film.
Bouzereau has conducted new interviews with people involved with the production, their relatives, shark experts and other filmmakers who have been inspired by Jaws.
It's always nice to see Spielberg talking about the film that really made his career.
Before Jaws came along, the young filmmaker was an up-and-comer, impressing with made-for-TV films including the influential Duel, an action-packed thrill ride about a large truck chasing a smaller car for the length of the film.
When Spielberg came across the not-yet-published galleys of Peter Benchley's novel Jaws, he thought it was just like Duel - this huge, unrelenting predator on the prowl. So he asked if he could direct the film, and when the original choice left the project, he was in.
But the production was far from smooth, and nearly everything that could go wrong with Bruce the shark, did. It was designed for freshwater instead of seawater, which wreaked havoc with the mechanics. It moved the wrong way. When it finally worked, the boat sank.
Spielberg spent the production - which was running significantly over budget and well beyond schedule - thinking he'd be fired, and still suffered traumatic panic attacks and insomnia for years after the film wrapped.
Cast members also failed to get along - Robert Shaw and Richard Dreyfuss particularly butted heads, and Shaw's persistent drinking didn't help matters.
But most of the Jaws cast was made up of locals on the island, and it's fantastic to see how much pride those remaining cast members and islanders still have in the film production.
Jaws has had a huge impact on filmmaking since its release, and industry figures like Mexican Guillermo del Toro (Oscar-winning writer-director of The Shape of Water), Jaws superfan Steven Soderbergh (Oscar-winning director of Traffic) and English actress Emily Blunt (Oscar-nominated star of Oppenheimer), who claims to have seen Jaws more than any other film, are more than happy to talk about how much the shark thriller means to them and has impacted their appreciation of cinema.
What this documentary has that the others don't is the inclusion of a fully restored Bruce to the Academy Museum of Motion Pictures in Los Angeles. If you're a lover of the film, it's a delight to see the huge creature craned into the museum, to be revered by all the visitors who walk through its doors.
While Jaws @ 50 might not be the most eye-opening documentary if you're well-versed in the history of the film, if you've never seen a doco or featurette on Jaws, it's bound to bring you joy.
Jaws @ 50: The Definitive Inside Story
(M, 88 minutes, Disney+)
4 stars
Half a century ago, one film swam along and changed the film industry.
It sounds like a grand statement to make, but that really was the case with Jaws.
The seminal Steven Spielberg thriller became the first summer blockbuster (though, of course, it was winter in our hemisphere) to break all sorts of box office records and created a cultural juggernaut the size of which had never been seen before.
To mark five decades since its release, Jaws @ 50: The Definitive Inside Story on Disney+ takes you back to the famously difficult production with generous archive footage and interviews from the past and present.
The documentary, released under the National Geographic banner, is helmed by Laurent Bouzereau, a prolific film documentary and special features director who already delivered The Making of Jaws back in 1995.
If you're a cinephile or particularly die-hard fan of Jaws, there's a good chance that most of the information in Jaws @ 50 will not come as a shock.
Other documentaries over the years have delved deeply into this film, and even the most casual film fan already knows bits of trivia, like the fact the mechanical shark was named Bruce, and the film was shot on Martha's Vineyard, an island off the Massachusetts coast.
But familiarity with the content doesn't detract from the enjoyment of this film.
Bouzereau has conducted new interviews with people involved with the production, their relatives, shark experts and other filmmakers who have been inspired by Jaws.
It's always nice to see Spielberg talking about the film that really made his career.
Before Jaws came along, the young filmmaker was an up-and-comer, impressing with made-for-TV films including the influential Duel, an action-packed thrill ride about a large truck chasing a smaller car for the length of the film.
When Spielberg came across the not-yet-published galleys of Peter Benchley's novel Jaws, he thought it was just like Duel - this huge, unrelenting predator on the prowl. So he asked if he could direct the film, and when the original choice left the project, he was in.
But the production was far from smooth, and nearly everything that could go wrong with Bruce the shark, did. It was designed for freshwater instead of seawater, which wreaked havoc with the mechanics. It moved the wrong way. When it finally worked, the boat sank.
Spielberg spent the production - which was running significantly over budget and well beyond schedule - thinking he'd be fired, and still suffered traumatic panic attacks and insomnia for years after the film wrapped.
Cast members also failed to get along - Robert Shaw and Richard Dreyfuss particularly butted heads, and Shaw's persistent drinking didn't help matters.
But most of the Jaws cast was made up of locals on the island, and it's fantastic to see how much pride those remaining cast members and islanders still have in the film production.
Jaws has had a huge impact on filmmaking since its release, and industry figures like Mexican Guillermo del Toro (Oscar-winning writer-director of The Shape of Water), Jaws superfan Steven Soderbergh (Oscar-winning director of Traffic) and English actress Emily Blunt (Oscar-nominated star of Oppenheimer), who claims to have seen Jaws more than any other film, are more than happy to talk about how much the shark thriller means to them and has impacted their appreciation of cinema.
What this documentary has that the others don't is the inclusion of a fully restored Bruce to the Academy Museum of Motion Pictures in Los Angeles. If you're a lover of the film, it's a delight to see the huge creature craned into the museum, to be revered by all the visitors who walk through its doors.
While Jaws @ 50 might not be the most eye-opening documentary if you're well-versed in the history of the film, if you've never seen a doco or featurette on Jaws, it's bound to bring you joy.
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The Advertiser
4 hours ago
- The Advertiser
Bambi in the public domain: A smart and bloody take on a childhood favourite
There's been an exciting trend in low-budget horror movies recently when iconic intellectual property, usually the ones associated with sweetness, hits that magic number where it enters into the public domain. Like the 2023 film Winnie the Pooh: Blood and Honey, where Christopher Robin has neglected his animal friends after leaving for college and so they go on a killing rampage. These twisted Winnie films - there's been a bunch of spin-offs and also-rans in the past two years - arrived on the scene just as AA Milne's original book, published in 1926, passed the 95-year mark required for the US public domain. The juggernaut that is Disney couldn't stop enterprising filmmakers jumping on this adaptation bandwagon when Steamboat Willie, the first on-screen appearance of Mickey Mouse, entered public domain in 2014, with recent horror films like Mickey's Slayhouse and Mouseboat Massacre hitting - well, they're not hitting cinemas, they're mostly appearing on horror streaming services like Shudder. Even my childhood favourite TV show characters The Banana Splits went on a malfunctioning animatronic killing spree in 2019's The Banana Splits Movie. Bambi: The Reckoning takes, yes, your sweet childhood memory, though for legal reasons, it draws from author Felix Salten's 1923 novel Bambi: A Life in the Woods, and not the Disney adaptation that they still very much hold all rights for. Director Dan Allen starts the film with a rustic animation that certainly nods towards the Disney drawings, showing over the title credits a young fawn losing his mother and growing up into a giant buck. Except this deer, with his enormous antlers, lives in a woods being poisoned by men dumping green carcinogens in the water, the same men running over the buck and his mate with their trucks as they leave. We'll come back to that buck in a moment, but in Rhys Warrington's screenplay, we also have a young mum caring for her child. It is Xana (Roxanne McKee), mum to the bookish Benji (Tom Mulheron), who has just been let down once again by Benji's dad Simon (Alex Cooke), who had promised to take his son to a weekend with Simon's relatives in the country. Rather than disappointing her son, Xana packs Benji into a taxi and head off into the deep forrest home that grandmother Mary (Nicola Wright) lives in. It seems that Simon isn't the only disappointment in the family, as granny's home is full of Benji's awful relatives, like his obnoxious cousin Harrison (Joseph Greenwood) and Harrison's uncaring step-mother Harriet (Samira Mighty). But, as in all good fairy tales, the taxi ride to Granny's house is interrupted, not by a wolf, but by an enormous set of antlers smashing into the taxi head-on. The taxi driver is killed as the giant deer, feral with razor sharp teeth that drip blood, stomps the car's cabin, and Xana and Benji escape, running to Granny's house. But Granny has dementia and in her vague moments, seems to be psychically linked to the deer, and it turns out there's a strong family link to the beast and the reason it is haunting the woods and the humans, any humans, it sees as being destroyers. Dan Allen and Rhys Warrington's film is fun, if you like horror, but it's not the tongue-in-cheek horror that usually hits the multiplex cinemas. Bambi doesn't throw off witty one-liners as he despatches his prey, it is kill-and-move-on. The film's technical team is a small crew, the end credits were mercifully short, but they achieve good believable work with their CGI, keeping their scenes dark, only revealing the horror creatures when they need to. Perhaps the small tech crew and judicious withholding is the secret to good CGI, I thought as I recalled how many thousands of names were in the technical credits to the second Wonder Woman or The Flash movies, and remember how butchered and rushed those film's CGI looked. There's been an exciting trend in low-budget horror movies recently when iconic intellectual property, usually the ones associated with sweetness, hits that magic number where it enters into the public domain. Like the 2023 film Winnie the Pooh: Blood and Honey, where Christopher Robin has neglected his animal friends after leaving for college and so they go on a killing rampage. These twisted Winnie films - there's been a bunch of spin-offs and also-rans in the past two years - arrived on the scene just as AA Milne's original book, published in 1926, passed the 95-year mark required for the US public domain. The juggernaut that is Disney couldn't stop enterprising filmmakers jumping on this adaptation bandwagon when Steamboat Willie, the first on-screen appearance of Mickey Mouse, entered public domain in 2014, with recent horror films like Mickey's Slayhouse and Mouseboat Massacre hitting - well, they're not hitting cinemas, they're mostly appearing on horror streaming services like Shudder. Even my childhood favourite TV show characters The Banana Splits went on a malfunctioning animatronic killing spree in 2019's The Banana Splits Movie. Bambi: The Reckoning takes, yes, your sweet childhood memory, though for legal reasons, it draws from author Felix Salten's 1923 novel Bambi: A Life in the Woods, and not the Disney adaptation that they still very much hold all rights for. Director Dan Allen starts the film with a rustic animation that certainly nods towards the Disney drawings, showing over the title credits a young fawn losing his mother and growing up into a giant buck. Except this deer, with his enormous antlers, lives in a woods being poisoned by men dumping green carcinogens in the water, the same men running over the buck and his mate with their trucks as they leave. We'll come back to that buck in a moment, but in Rhys Warrington's screenplay, we also have a young mum caring for her child. It is Xana (Roxanne McKee), mum to the bookish Benji (Tom Mulheron), who has just been let down once again by Benji's dad Simon (Alex Cooke), who had promised to take his son to a weekend with Simon's relatives in the country. Rather than disappointing her son, Xana packs Benji into a taxi and head off into the deep forrest home that grandmother Mary (Nicola Wright) lives in. It seems that Simon isn't the only disappointment in the family, as granny's home is full of Benji's awful relatives, like his obnoxious cousin Harrison (Joseph Greenwood) and Harrison's uncaring step-mother Harriet (Samira Mighty). But, as in all good fairy tales, the taxi ride to Granny's house is interrupted, not by a wolf, but by an enormous set of antlers smashing into the taxi head-on. The taxi driver is killed as the giant deer, feral with razor sharp teeth that drip blood, stomps the car's cabin, and Xana and Benji escape, running to Granny's house. But Granny has dementia and in her vague moments, seems to be psychically linked to the deer, and it turns out there's a strong family link to the beast and the reason it is haunting the woods and the humans, any humans, it sees as being destroyers. Dan Allen and Rhys Warrington's film is fun, if you like horror, but it's not the tongue-in-cheek horror that usually hits the multiplex cinemas. Bambi doesn't throw off witty one-liners as he despatches his prey, it is kill-and-move-on. The film's technical team is a small crew, the end credits were mercifully short, but they achieve good believable work with their CGI, keeping their scenes dark, only revealing the horror creatures when they need to. Perhaps the small tech crew and judicious withholding is the secret to good CGI, I thought as I recalled how many thousands of names were in the technical credits to the second Wonder Woman or The Flash movies, and remember how butchered and rushed those film's CGI looked. There's been an exciting trend in low-budget horror movies recently when iconic intellectual property, usually the ones associated with sweetness, hits that magic number where it enters into the public domain. Like the 2023 film Winnie the Pooh: Blood and Honey, where Christopher Robin has neglected his animal friends after leaving for college and so they go on a killing rampage. These twisted Winnie films - there's been a bunch of spin-offs and also-rans in the past two years - arrived on the scene just as AA Milne's original book, published in 1926, passed the 95-year mark required for the US public domain. The juggernaut that is Disney couldn't stop enterprising filmmakers jumping on this adaptation bandwagon when Steamboat Willie, the first on-screen appearance of Mickey Mouse, entered public domain in 2014, with recent horror films like Mickey's Slayhouse and Mouseboat Massacre hitting - well, they're not hitting cinemas, they're mostly appearing on horror streaming services like Shudder. Even my childhood favourite TV show characters The Banana Splits went on a malfunctioning animatronic killing spree in 2019's The Banana Splits Movie. Bambi: The Reckoning takes, yes, your sweet childhood memory, though for legal reasons, it draws from author Felix Salten's 1923 novel Bambi: A Life in the Woods, and not the Disney adaptation that they still very much hold all rights for. Director Dan Allen starts the film with a rustic animation that certainly nods towards the Disney drawings, showing over the title credits a young fawn losing his mother and growing up into a giant buck. Except this deer, with his enormous antlers, lives in a woods being poisoned by men dumping green carcinogens in the water, the same men running over the buck and his mate with their trucks as they leave. We'll come back to that buck in a moment, but in Rhys Warrington's screenplay, we also have a young mum caring for her child. It is Xana (Roxanne McKee), mum to the bookish Benji (Tom Mulheron), who has just been let down once again by Benji's dad Simon (Alex Cooke), who had promised to take his son to a weekend with Simon's relatives in the country. Rather than disappointing her son, Xana packs Benji into a taxi and head off into the deep forrest home that grandmother Mary (Nicola Wright) lives in. It seems that Simon isn't the only disappointment in the family, as granny's home is full of Benji's awful relatives, like his obnoxious cousin Harrison (Joseph Greenwood) and Harrison's uncaring step-mother Harriet (Samira Mighty). But, as in all good fairy tales, the taxi ride to Granny's house is interrupted, not by a wolf, but by an enormous set of antlers smashing into the taxi head-on. The taxi driver is killed as the giant deer, feral with razor sharp teeth that drip blood, stomps the car's cabin, and Xana and Benji escape, running to Granny's house. But Granny has dementia and in her vague moments, seems to be psychically linked to the deer, and it turns out there's a strong family link to the beast and the reason it is haunting the woods and the humans, any humans, it sees as being destroyers. Dan Allen and Rhys Warrington's film is fun, if you like horror, but it's not the tongue-in-cheek horror that usually hits the multiplex cinemas. Bambi doesn't throw off witty one-liners as he despatches his prey, it is kill-and-move-on. The film's technical team is a small crew, the end credits were mercifully short, but they achieve good believable work with their CGI, keeping their scenes dark, only revealing the horror creatures when they need to. Perhaps the small tech crew and judicious withholding is the secret to good CGI, I thought as I recalled how many thousands of names were in the technical credits to the second Wonder Woman or The Flash movies, and remember how butchered and rushed those film's CGI looked. There's been an exciting trend in low-budget horror movies recently when iconic intellectual property, usually the ones associated with sweetness, hits that magic number where it enters into the public domain. Like the 2023 film Winnie the Pooh: Blood and Honey, where Christopher Robin has neglected his animal friends after leaving for college and so they go on a killing rampage. These twisted Winnie films - there's been a bunch of spin-offs and also-rans in the past two years - arrived on the scene just as AA Milne's original book, published in 1926, passed the 95-year mark required for the US public domain. The juggernaut that is Disney couldn't stop enterprising filmmakers jumping on this adaptation bandwagon when Steamboat Willie, the first on-screen appearance of Mickey Mouse, entered public domain in 2014, with recent horror films like Mickey's Slayhouse and Mouseboat Massacre hitting - well, they're not hitting cinemas, they're mostly appearing on horror streaming services like Shudder. Even my childhood favourite TV show characters The Banana Splits went on a malfunctioning animatronic killing spree in 2019's The Banana Splits Movie. Bambi: The Reckoning takes, yes, your sweet childhood memory, though for legal reasons, it draws from author Felix Salten's 1923 novel Bambi: A Life in the Woods, and not the Disney adaptation that they still very much hold all rights for. Director Dan Allen starts the film with a rustic animation that certainly nods towards the Disney drawings, showing over the title credits a young fawn losing his mother and growing up into a giant buck. Except this deer, with his enormous antlers, lives in a woods being poisoned by men dumping green carcinogens in the water, the same men running over the buck and his mate with their trucks as they leave. We'll come back to that buck in a moment, but in Rhys Warrington's screenplay, we also have a young mum caring for her child. It is Xana (Roxanne McKee), mum to the bookish Benji (Tom Mulheron), who has just been let down once again by Benji's dad Simon (Alex Cooke), who had promised to take his son to a weekend with Simon's relatives in the country. Rather than disappointing her son, Xana packs Benji into a taxi and head off into the deep forrest home that grandmother Mary (Nicola Wright) lives in. It seems that Simon isn't the only disappointment in the family, as granny's home is full of Benji's awful relatives, like his obnoxious cousin Harrison (Joseph Greenwood) and Harrison's uncaring step-mother Harriet (Samira Mighty). But, as in all good fairy tales, the taxi ride to Granny's house is interrupted, not by a wolf, but by an enormous set of antlers smashing into the taxi head-on. The taxi driver is killed as the giant deer, feral with razor sharp teeth that drip blood, stomps the car's cabin, and Xana and Benji escape, running to Granny's house. But Granny has dementia and in her vague moments, seems to be psychically linked to the deer, and it turns out there's a strong family link to the beast and the reason it is haunting the woods and the humans, any humans, it sees as being destroyers. Dan Allen and Rhys Warrington's film is fun, if you like horror, but it's not the tongue-in-cheek horror that usually hits the multiplex cinemas. Bambi doesn't throw off witty one-liners as he despatches his prey, it is kill-and-move-on. The film's technical team is a small crew, the end credits were mercifully short, but they achieve good believable work with their CGI, keeping their scenes dark, only revealing the horror creatures when they need to. Perhaps the small tech crew and judicious withholding is the secret to good CGI, I thought as I recalled how many thousands of names were in the technical credits to the second Wonder Woman or The Flash movies, and remember how butchered and rushed those film's CGI looked.
West Australian
a day ago
- West Australian
Disney's Beauty And The Beast touring to Crown Theatre Perth with Jayde Westaby as Mrs Potts
Disney's Beauty And The Beast touring to Crown Theatre Perth with Jayde Westaby as Mrs Potts
Perth Now
a day ago
- Perth Now
‘Timeless' Disney musical set to enchant Perth audiences
After a 30-year wait, audiences finally have the chance to see Disney's Beauty and the Beast in Perth as this musical tale as old as time is performed at Crown Theatre from Thursday night. Just as thrilled by the prospect are the stars of the Australian touring production Shubshri Kandiah and Brendan Xavier, who are set to enchant audiences of all ages in their title roles as Belle and Beast. 'It's really such a timeless tale, and the fact that Beauty and the Beast has never been to Perth before makes it so exciting,' Kandiah said. Credit: Ross Swanborough / The West Australian, Shubshri Kandiah and Brendan Xavier, the stars of Beauty and the Beast in Kings Park, Perth Xavier said Beauty and the Beast had 'everything you want and expect from a Disney musical; lavish costumes, incredible sets, high energy dance numbers, world-class music played by a live orchestra. It's steeped in nostalgia'. Perth-born and raised Kandiah arrived at her hometown in style thanks to prominent Perth designer Steph Audino, who created a custom spectacular yellow dress for the occasion. Audino spent more than a month designing and creating the contemporary homage to the famous yellow gown Belle wears when she first dances with Beast. 'I love this bespoke Steph Audino piece; the colours, textures. . . it's the perfect nod to a modern-day Belle,' Kandiah said.
