Snakeskin

I was not surprised when i saw the rating because i always viewed Snakeskin as a film that you have to watch multiple times in order to understand. The first time i watched it, i really liked how the story built up the characters in the first half of the movie, while the second half left me with a lot of question marks. Although, when i watched it for the third time, i really grasped the symbolism and profound thoughts presented in the third act.

Snakeskin starts off as a fun action film, but then it turns into a thriller with very suspenseful scenes in claustrophobical environments. I also liked how the director chose to have all the minor characters shown in previous scenes, reappear later on to show that everyone is heading in the same direction. The music is really well chosen, the landscapes shown in both day and night scenes are really beautiful, and the actors, especially Oliver Driver, give the film an even higher level. I definitely recommend watching it, but as i previously said, you need to watch it multiple times in order to understand it.

Kiwis have this really odd approach to our films. We automatically assume that if a film has come from the States, and if it's showing in Hoyts, then it's better than anything ever made in New Zealand, let alone the smelly ol' Mainland.

As Snakeskin aptly shows, this is damn wrong, and it's fitting that it uses the Kiwi appropriation (obsession) with the American Dream as its central theme. In fact, the characters know more about Elvis and Marrilyn ("The patron saints of America guiding us on our journey") than about the small plastic Tiki they have in their car.

It's a very clever, very well directed, *excellent* film. With a kicking soundtrack. This is very important.

I'm getting tired of NZ films like this. They have poor stories, the scripted dialogue is ridiculous and they are badly acted. Six years on and this type of NZ film is still being made. How did the Australians make the giant leap into quality film and somehow the Kiwis are still fumbling around like a High School Play Group? This film reeks of the liberal ideas and attitudes that are coming to a close in NZ. The story is desperate to attack traditional NZ culture and values, yet instead of actually telling the truth -which would do it better- they present common ignorant liberal assumptions.

There is so much kitschy rubbish throughout it: scenes constructed from what the filmmaker must imagine rural NZ is like instead of what it actually is. It gives the impression that NZ culture is stuck on top of the people like a cheap plastic toy on the dashboard of a car. If you live in NZ or are familiar with it's people you'll laugh at some of the sanitised characterisations.

Why was it even necessary to drift off into sci-fi? Is the truth really that hard to face? Or is it because the filmmaker really had nothing to say outside of proclaiming they, personally, imagine themselves to be "badass."

I loved this film so much I've seen it several times, and with each viewing am rewarded with another layer of story telling, symbolism, character development and references to Kiwiana - & NZ v USA culture.

On first viewing it's a twisty road trip with lashings of humour and a sci fi flavour, but subsequent viewings reveal a much darker story and complicated characters - once you recognise clues delivered in short sequences, or understand that throwaway lines are crucial to the story.

Cinematically it's an eye popping feast of vast landscapes and gorgeous lush scenery, but it's the dark twisty story which satisfies the most. Melanie Lynskey as Alice blew me away in her first sexy lead role rather than as the usual "suburban friend" she gets cast as; even Dean O'Gormon surprised as I'd only ever seen him acting in a soap before.

The soundtrack deserves special mention - especially the mood inducing soundscapes as the road trip progresses.

Overall this is a classic NZ film which will affect an entire generation of New Zealanders as Goodbye Pork Pie did in the 70s. Well worth a look.

Gillian Ashurst's films are generally characterised by fetishistic use of kitchy character images from sci-fi, the wild west and 1950s pin-ups. It's anchoring, but can come across as objectifying and seems to contribute to a lack of plot.

Snakeskin does not entirely diverge from the kitchy character theme but definitely has a tight plot with good momentum. The main characters are believably drawn, although they're not particularly likeable.

The acting in Snakeskin varies. Oliver Driver is brilliant in a challenging role as a skinhead. Melanie Lynskey tends to overact somewhat, and Dean O'Gorman at his best, although this is not saying much. The "comic relief" characters, the local ice-cream van drug vendors, are both annoying and extraneous to the plot.

There are some very well executed sequences and ideas, for example the grief caused to a family by a fatal car crash, the CGI section when one of the characters is tripping on LSD and a tender moment shared between a skinhead and women's underwear. These snipets in themselves give an idea as to the diverse tone of this film.

Snakeskin is an interesting development for Ashurst as a filmmaker, and worth a watch, although more in the sense of 'fun' than 'challenging'.