Heavenly Creatures

The 1950s are promised for Peter Jackson and it's a great shame that he couldn't experience them himself. They are beautifully captured in his films, and the same goes for the film that takes place directly in the 50s. That era is reflected in all of his films that are not fantasy. He is equally fascinated by murders, but in the filmmaking sense of the word. At least I hope so. "Heavenly Creatures" is not as powerful of a film for me as his others, but there are still scenes that must amaze you. Especially the final one. (25/07/2014)

This kind of work with the image in a drama (constant driving that reveals necessary information gradually, alienating effects, point of view changes, the impossibility of relying on who actually owns the scene) is the kind of thing that Spielberg then started doing almost twenty years later (after all, he and Jackson did The Adventures of Tintin together). An enlightened handling of a tabloid subject that doesn't actually care about the murder, but rather tries to make us understand the seemingly exaggerated and naive bond between two friends at the prime of their lives, besieged by an ossified, rational, and limited world, is a thing that is still awfully rare today. A beautiful reminder of a certain time in life that I would normally describe as non-transferable, which ends with a bludgeoning with a brick. (22/06/2020)

A brilliantly directed film. Almost every scene, every shot, has an incredible flair that shows Jackson's tremendous passion for the cause. With the use of sometimes very dynamic editing, "intrusive" camerawork, and unconventional musical/imaginative:))) inserts, the result is a supremely successful film, with which it is impossible (at least for me) to be bored even for a moment. In addition, the portrayal of the relationship between the two main protagonists is handled excellently. Some flaws could be found, but as I mentioned above – Jackson's sense of direction is so great that you will quickly forget any negatives. :)) (27/09/2010)

A small film that allowed Peter to develop his filmmaking skills and extraordinary flexibility of moods and different accents like no other endeavor afterwards... in a sense, it is to me the pinnacle of the New Zealand Hobbit. The wonderful transition from the pink girl's diary to the bloody edition of adolescent psychopathology is magnificent, as are the eccentric but perfectly smooth jumps between worlds. And Kate is an enchanting psychotic single poem. (06/12/2012)

If someone else had made it, it would have been a mere descriptive story, fit for prime time TV, but Peter Jackson turned it into a riveting film brimming with directorial ideas that are simply incredible. Who knows, maybe the Oscar nominations helped Jackson convinced the bosses at New Line Cinema to finance Lord of the Rings. (05/08/2002)