Film Review: Elinye Ithuba

♦  ♦  ♦  ♦  /  –

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Τhere is a moment in Elinye Ithuba wherein Dumisani (Blondie Makhene) and Hlengiwe (Slindile Nodangala)are reminiscing about the past and laments the time that Dumisani missed while he was in jail and music is playing in the background. Jovially he asks her who is the musician playing this good music and Hlengiwe responds that it is Blondie, surprisingly Dumisani exclaims that who would’ve thought that Blondie would still be singing after all these years

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Film Review: The Ring

There are works that simply repeat what we have seen before by just changing the context within which their narratives are rooted and then push the narratives towards us. One, supposedly a discerning viewer, can forgive such narratives for their repetitive swing if they are adorned with strong points in their construction. If the work is revisionist in its take of the subject matter concerned then the discerning viewer is in for a treat. If there is a lack in this regard but the work makes up for it in its actors performances or its production design which may represent a strong center point in the delivery of the narrative, the viewer – discerning or lay, may be forgiving as far as the failure of the work to advance story telling is concerned. The Ring, which falls in the latter spectrum is rescued by an ensemble of its actors as it tries to impress

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Film Review: Ilizwi

♦  ♦  ♦  / – –

The story of paranormal activity with a twist of traditional African beliefs has been told before. In any case it would seem quite weird but not impossible for a protagonist to be inserted in a story set in South Africa wherein they are mysteriously blessed with telepathic prowess without attributing their power to some ancestral lineage. Imagine if there was such a film? Contextually speaking the creatives involved will have to push the imaginary envelope where no one has gone before. That place does exist. It is outside of the box

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Film Review: Sugar & Spice

(♦♦♦−−)

{f} there is anything that can disappoint one with films is when a film ends and you as the viewer feel it did not give its all, when it feels short or even hurried. When you feel there are a lot of knots left undone. A sort of uncrossed t’s that begs crossing. If a film is minimal as a work of art it should established such an idea right at the opening scenes. Its detail to economy will demand that it is judged on that merit. However even such work will wrestle with its closing final scenes if it is to be accomplished by way of its consistency in order for us to regard it as a finished piece albeit minimal. Sugar & Spice leaves us with a bitter sweet taste because it fails to round of its rich discourse, instead, it erects questions right about the end of its crux narrative and that is its only flaw.

Mzansi Bioskop

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Film Review: The Haunted Wardrobe!

(♦♦♦−−)

{HERE} are moments in this film where the viewer may be jolted out of their stupor if not a comfortable couch. This is a paranormal outing and the film has a few surprises up its sleeve. What are the chances of two studs ending up sharing a house with a gorgeous roommate when they need a third tenant to split the rent with? Unfortunately a hideous wardrobe will see to it that there is no peace and harmony in the ‘big house’. You can think of the wardrobe as a fourth tenant because besides it being at the center of the story it is a catalyst that leads to catastrophic events as the motion picture narrative unfolds.

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Film Review: Kwaito or Nothing

(♦♦♦−−)

{I} could not help it but think of Zulu Boy while watching this flick. Menzi Biyela cuts his teeth deeper into a fully fledged film. Unlike the Capfin advertisements he is synonymous known for here his acting talent surfaces. He stars as Mondli the taxi driver from Umlazi. He is brought to Gauteng by Baba Tshabalala a.k.a Mshengo (Emmanuel Nkosi) to work for him in the city with the last of his taxi’s

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Film Review: My Brother’s Keeper

Nomelezi V. Ntshimba as Tshepo and Miranda Mokhele as Dimakatso in Lehlohonolo ‘Shaft’ Moropane's My Brother's Keeper (2014)

Nomelezi V. Ntshimba as Tshepo and Miranda Mokhele Ntshangase as Dimakatso in Lehlohonolo ‘Shaft’ Moropane’s My Brother’s Keeper (2014)

{If} you are going to make a film about a narrative whose juice has been exhaustively squeezed to the point of dry bone snap you will be a miracle worker to find anything new to say. Lehlohonolo ‘Shaft’ Moropane’s My Brother’s Keeper (2014) is one such a film. It’s a love tragedy. Is there anything that anyone can do with this theme? This is an attempt. I invite you to be the judge

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Film Review: The Gift

Thembi Seete as Bontle Shona Ferguson as Thabiso in The Gift. Image source, http://citizen.co.za/wp-content/uploads/sites/18/2014/11/Page1A_2-599x400.jpg

Thembi Seete as Bontle Shona Ferguson as Thabiso in The Gift. Image source, http://citizen.co.za/wp-content/uploads/sites/18/2014/11/Page1A_2-599×400.jpg

FOR the most part, our society, through the family as its nucleus, pretends that everything is ok while secretly suppressing the nature of reality as is. The family is caught up by a yearning for opulence as a mark of prestige and progress or the wish itself to have more, by far and large the in-escapable feature of modernity. Often awesomely this situation, the acquisition of material comfort that is, is erected to the ire of those closer to home, our family members. If it does not breed jealousy that drives a wedge between siblings it draws us together artificially due to the material benefit boons it heralds

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Film Review: For Love And Broken Bones

Lerato Mvelase (as Refilwe) and Mduduzi Mabaso (as Motheo) in For Love and Broken Bones. Image source: http://cdn.dstv.com/mms.dstv.com/Content/Images/DStv/Mzansi/Promo/mz_promo_for_love_and_broken_bones.jpg

Lerato Mvelase (as Refilwe) and Mduduzi Mabaso (as Motheo) in For Love And Broken Bones. Image source: http://cdn.dstv.com/mms.dstv.com/Content/Images/DStv/Mzansi/Promo/mz_promo_for_love_and_broken_bones.jpg

IN the face of modernity any society that sees opulence in abundance is bound to have victims that fall prey to a misunderstanding that opulence is the birthright of everyone. From the urban centers of our globe to the hinter yards of our miserable townships both the immigrant, rural or foreign, and the city slicker fall victim to this perception. On the other hand the inevitable movement towards the city robs those dear to the immigrant of a precious time. It is bound to leave their family bitter. Throw abuse into the quack mire of the migrant sojourner’s time at home during the holidays you’ve got a family whose scars runs deep. And somewhere in the shadows of this played out theatre an unscrupulous puppeteer gingerly, a mashonisa (creditor) to be clear, jolts the situation to their favor to rake out some money here and there with unreasonable interest.

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Film Review: Ingoma

There is clearly nothing remarkable about the plot of Ingoma, the new Mzansi Magic’s (DStv Channel 161) Original Film which premiered on 1 February. However it is the musical originality in treatment of its plot, as a performance text, in the hands of talented lead actors that foregrounds its nuanced message. Ingoma is a story about a talented young woman, Constance Dladla (Zola Nombona) an ardent Uhadi – a musical bow – player, who wants to break it into the music industry by auditioning for a lead backing Vocalist gig for an established musician. Raised by her single father Reverend Dladla (Timmy Kwebulana), following her mother’s passing, she has to perform house chores first before she ventures into the world.

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