For Good

This film fell somewhat short of the psychological thriller it promised to be but that doesn't mean it is devoid of redeeming qualities. The cinematography was predictable, yet clean and unobtrusive but it was the editing that I enjoyed the most. Clever cutting and the overlaying of images created a pleasing visual narrative even if the acting and script writing were weak in places. Miranda Harcourt was the films outstanding performer in my opinion, her portrayal of the victim's mother was well portrayed. For Good is not the sort of film you watch to be thrilled or carried along by the sheer pace of the story. it is slow and sombre but worth watching if you are a fan of New Zealand film. Not one of the best examples of the latter but an example all the same.

This is a thoughtful, surprising and challenging film which, while ultimately remaining true to its thriller genre, contains strong elements of documentary, relationship drama and humour. The strongest moments come not from any one individual scene so much as the way the changing moods of the scenes relate to one another - gentle relationship-based comedy has particular poignancy when you're still reeling from shocking images of rape/murder. This is what the film is really all about - not just the tragedy of one particular crime, but the enormous gulf which exists between the ruined lives a crime leaves in its wake, and the fragility of 'normal' life. It's beautifully acted and the direction is controlled and unobtrusive.

Cheap-jack psychological drama from New Zealand will test the patience of most film viewers. The script - surrounding a young woman's interaction with a jailed child killer in the form of taped interviews - is woefully amateurish and delivered with all the conviction of a high school acting class. The feeble attempt at social insight into the psyche of a killer and the impact on family victims is eroded away by poor acting, limp pacing and stunningly uncreative and inept direction. An excruciating bore that explodes in the final scenes with an utterly predictable burst of violence. Credit goes the composer of the gloomy soundtrack who offers the only inkling of talent here.

It is remarkable how badly a good movie can be received in its own country. Perhaps the contemplative pacing and intersecting of past and present along with the inter-splicing of two of the key characters just had too much competition from the succession of Peter Jackson blockbusters.

Contrary to many reviews from fellow New Zealanders, I found the movie atmospheric, thoughtful, compelling, and well acted. Indeed, I was startled to realise it was a local product, the 'feel' of it being more Nordic.

There is a jarring turn toward the end when it suddenly shifts gears into action-thriller. However this is soon resolved satisfactorily - and not over-predictably. One could argue it was indeed necessary to the story.

There has been some criticism to the effect this movie gives little insight into the subject of rape and murder. Yet those involved in making this film have been involved for years in working with .... rapists and murderers! One wonders what such critics expected? Is the truth of the matter just too banal for those in film-land to find 'convincing'?