Doctor Sleep (2019)

It’s been nearly forty years, but we finally have a sequel to Stanley Kubrick’s film The Shining. Based on a novel by Stephen King - itself a sequel to his novel on which Kubrick’s 1980 film was based - this film tells the continuing story of Danny Torrance, the young boy with a unique gift.

But of course, Danny is grown up now. Now an adult (Ewan McGregor), he struggles with alcoholism - as did his father, as you will know if you saw or read The Shining - and has never been able to completely move on from the horrific events of his childhood.

He still has visions of the man with whom he shared his psychic gift - what he called ‘shining’ - Dick Halloran (Carl Lumbly).

Dan Torrance (Ewan McGregor).

And he learns very early on that he is by no means the only person to still possess this gift. There is a young girl named Abra Stone (Kyliegh Curran) with whom he is able to communicate, even over incredibly long distances, and she has been having horrific visions of her own.

For decades now, across the country, young children have been going missing. These children have been the victims of a very strange cult led by a woman named Rose (Rebecca Ferguson), who promises her followers she can give them the gift of immortality. The only caveat is that to continue to live forever, they must ‘feed’ on the fear of children.

As Abra’s visions grow stronger, and her connection to Dan becomes more intense, the two of them, along with Dan’s AA sponsor, Billy (Cliff Curtis), must track down this cult and stop them before they kill again.

The screenplay - by director Mike Flanagan - is incredibly clever. For one thing, it is based quite strongly on King’s novel, but at the same time, several changes had to be made to some of the finer points of the plot to bring it in line with Kubrick’s 1980 film.

Rose (Rebecca Ferguson).

If you didn’t already realise this, there were significant departures from the source material of the original, and this film is just as much a sequel to that film as it is an adaptation of its own source material. Balancing these two things cannot have been easy, but Flanagan has made it appear effortless.

The characters are incredibly well-defined, and there are plenty of twists and turns to keep you perched on the edge of your seat right up to the incredibly intense conclusion - even if you have read the novel.

While the film contains more jump-scares than I have seen in a single film for quite some time, there is also plenty of legitimate ‘scariness’ to this film. It is even more intense than Kubrick’s film, but is the perfect follow-up (and even manages to make some sense of the ridiculousness of the original).

The Newton Brothers, who composed the film’s score, have done a reasonable job of heightening the tension through the use of music and sound. Some of the film’s early scenes feel a little over-scored at times, but overall, the music is well-placed and well-suited to the action and emotion of the plot.

Abra Stone (Kyliegh Curran).

Where this film truly shines - pun absolutely intended - is in the performances of the cast. Ewan McGregor and Rebecca Ferguson are particularly good in their roles, but it is newcomer Curran who steals the show as young Abra. The intensity of her performance, and the naturalism of her reactions at every moment, are truly breathtaking, and she no doubt will have a long and successful career ahead of her.

There is also a short-lived performance by Jacob Tremblay - who you may know from his performances in the films ‘Room’ and ‘Wonder’ - that will send chills right down your spine.

Director Mike Flanagan has made an incredible film here, one that not only pays homage to its predecessor in the most appropriate way, but also stands as a terrifyingly brilliant example of the genre in its own right. If you saw The Shining, you absolutely must see this film.

9 out of 10.

Once Were Warriors (1994)

Based on the novel by Alan Duff, this film tells the ever-increasingly tragic story of a family in crisis.

Beth Heke (Rena Owen) lives in a suburb of Auckland in low-cost housing with her husband Jake (Temuera Morrison), and their children: eldest son Nig (Julian Arahanga), daughter Grace (Mamaengaroa Kerr-Bell), son Mark (Taungaroa Emile), daughter Polly (Rachael Morris Jr.) and son Huata (Joseph Kairau).

Their lives seem very far removed from their cultural heritage (Maori). In fact, this is one of the strongest themes of the film: the negative side of assimilation. As the family live more and more in a Euro-centric culture, the more their traditions and culture are being forgotten and cast aside.

Jake Heke (Temuera Morrison).

Mark is constantly in trouble with the law, and early into the film, is taken into welfare custody by the court. Nig has recently joined a gang, desperate for something that resembles a family, as he doesn't get that at home.

Jake - recently laid off from work - has an incredibly violent temper, which usually manifests itself after he has been drinking. It is almost always Beth who bears the brunt of his violence, constantly making excuses for him and his behaviour.

Grace - caught in the middle of all of this - is desperate to break free of this cycle of violence and abuse. She often confides in her best friend, Toot (Shannon Williams), a young boy who lives in a broken-down car under a bridge. She also constantly writes in her journal, hoping to be a writer one day.

The family have a lot of friends and acquaintances around them, including 'Uncle' Bully (Cliff Curtis). I won't say too much about him here, but only to mention that he does a great job at portraying his character, as dark and chilling as it may be.

Beth Heke (Rena Owen).

Riwia Brown - who wrote the screenplay based on Duff's novel - has done an incredible job at capturing a slice of society. In fact, the most tragic thing about this film is the realisation that there are people whose lives resemble those of the Heke family. The characters are all very clearly defined, and the characters of Beth and Jake in particular are incredibly well written.

Michael Kane's production design is also brilliant. His sets and set pieces are fantastic, capturing the personality of the characters and the nuances of the environment in a beautiful way. Everything looks and feels so real, there are moments when it feels like you are watching a documentary rather than a film, which again adds not only to the realism of the story, but the greater tragedy behind it.

The original music, by Murray Grindlay & Murray McNabb, suits the film and the characters to a tee. The film opens with a simple, traditional Maori melody, that quickly transitions as the camera pans across the freeway into distorted electric guitars playing the opening theme to begin with, then moving into a different melody, in a way that perfectly mirrors the central themes of the film (as mentioned earlier).

Grace Heke (Mamaengaroa Kerr-Bell).

The performances of the entire cast are exceptional, in particular Owen and Morrison as the two parents. But an honourable mention must also go to Kerr-Bell, who plays Grace. The emotions and feelings that are shown in her eyes will haunt you long after the film is over.

Overall, this is a film about the love of a parent for their children, and the lengths a parent will go to in order to protect their children. Both Jake and Beth clearly love their children, but they show that love in incredibly different ways. Jake's demonstrations of love may be incredibly misguided, but they are nonetheless heartfelt.

Director Lee Tamahori has done well in bringing the novel to the screen, and crafting a film that quickly became a classic. It is a film that still continues to confront and challenge audiences, and is definitely not a film for the faint of heart. If you can, you should watch it, though I realise this is not a film for everyone.

7 out of 10.