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Reviews
Iris et les hommes (2023)
Entertaining but a bit of a letdown
Director Caroline Vignal has reunited with Cesar winning Laure Calamy for this dramedy about a woman looking to find herself sexually after she realises how stale her physical relationship has become with her husband; played here by Vincent Elbaz. I went into this film with high hopes, and whilst I enjoyed it, I was a little underwhelmed by the scripting which ultimately let down the brilliant leading lady.
I have really been enjoying Laure Calamy's evolution as an actor in recent years, and her turn as 'Antoinette' in 'My Lover, My Donkey & I' (also known as 'Antoinette in the Cevennes') won her hearts around the world, this character of 'Iris' feels like a bit of a step back. As always likable and relatable as Laure is in her movies (the actor is blessed with a warm, natural air about her), I wonder if she is a little limited range wise, as these morally fluid characters she has played several times now ('Les Cyclades' - aka 'Two Tickets To Greece' last year was another role in that vein), will get a bit thin, if the material is not sharp enough to carry her.
'Full Time' for which Laure was again Cesar nominated was terrific and she displayed a gritty and more serious side; so too 'Annie's Fire', but 'Iris & The Men' suffers from too many tonal shifts; making it hard to connect with our protagonist at times.
There is an inventive use of technology in this movie and some funny ways to convey the journey 'Iris' takes in getting to know herself sexually, but in the end, the conclusion and piece de resistance, feels somewhat contrived and therefore not earned.
But there is a lot to enjoy about Laure here. Her comedic tics and timing are well utilised. I just wish the material had been stronger, sharper and that the tone was a little more consistent. Depending on your own morality, you may like and endorse everything that 'Iris' instigates for herself. For me, I appreciated the journeys that Writer/Director Vignal and star Calamy took in the Cevennes more than the urbane Parisian ones taken here.
Smoke Between Trees (2019)
Beautifully layered meditative movie
I am proudly the first to review this little gem. Filmed in 2018/19 but delayed due to the obvious, this Australian feature I came to view as part of the AACTA screening and judging process for the 2022 awards. I wouldn't have known it was filmed three years ago and its themes are quite timeless.
All I really want to say about 'Smoke Between Trees' is that unfolds delicately but with drama, and humour as it explores subjects as resonant as prejudice, race, family, grief and loss, love, and belonging. It carefully weaves its concerns through the journey of Tiriel Mora's character and he gives a career best performance.
Known for his comedic work on 'Frontline' and 'The Castle', Tiriel Mora is transformed during this movie and whilst he displayed his character's flawed humanity, he also depicted what it is to move through adversity and emerge altered. It is a really illuminating and soulful piece of filmmaking and shot in the picturesque Blue Mountains of New South Wales.
I was intrigued by the basic description of this movie but it has so many moving parts and I mean that structurally as well as emotionally. I hope plenty of other folks seek it out.
June Again (2020)
Stretches Credulity But An Unforgettable Noni Hazelhurst performance.
2021 has certainly seen its fair share of feature films about dementia. The brilliantly staged 'The Father', the intimately moving 'Supernova'; the yet to be released Australian movie 'Ruby's Choice' and the title reviewed here: 'June Again' starring Aussie acting legend Noni Hazelhurst.
With quite the mix of tonal shifts through its duration, 'June Again' also stretches believability and does cut corners at times, but its heart is absolutely in the right place and it gives Noni her best role in decades. I gather that the Writer/Director JJ. Winlove did research into the subject matter, and a short term respite from the ravages of dementia can occur in certain cases, but as the device used here to explore family and estrangement within relationships, it felt a little at odds with the veering from gravitas to comedic sequences and be tackling dementia.
'June Again' is made most enjoyable by the leading lady and Noni Hazelhurst gives a tour de force in the title role and reaffirms why she is a national treasure. Having won a pair of AFI awards for Leading Actress in the 1980's, this film gives her the opportunity to reach into her acting toolkit and creates a wonderfully vivid and inimitable figure; one that is sure to earn the showbiz veteran another prize.
Claudia Karvan and Stephen Curry give wonderful supporting turns as 'June's' offspring and both have some terrific scenes with the star as well as with one another. Notwithstanding some of my concerns about the construct of the movie, there is much to relate to in the family dynamics. Curry is especially good here.
There are some brilliantly written and directed sequences that effectively convey what must be the indescribable experience of losing one's cognitive functions. Having marveled at Anthony Hopkins in 'The Father', Noni Hazelhurst also gives a master class in facial and vocal expression to depict the tyranny of dementia. For this, the movie excels.
So a mixed bag for me, tonally, but there is no denying the cogency of the performances by the central trio, and the fact that the condition is so pervasive in contemporary life, stories like 'June Again' even with some credulity issues, are essential viewing.
Nitram (2021)
Difficult viewing but well told story foreshadowing an atrocity
There is no getting around the horrors of the event that 'Nitram' prepares the viewer for, but thankfully does not actually depict. Instead it creates a portrait, in fact a series of portraits of not only the notorious killer responsible for the Port Arthur massacre of 1996, but the key figures in his life.
I appreciate that the movie has received equal plaudits as well as disdain and displeasure at its very existence, but as a drama, it is a powerful one, and even 25 years on, this deep wound in the Australian psyche is evident in the way that understandably some folks have protested that it was made at all.
Casting Caleb Landry Jones in the title role was a very smart move, as he has started to make a name for himself in a short space of time and prolifically played outsiders and mostly unsavory young men. He gets to really deep dive into menace and dysfunction here and the film is cleverly shot and edited to add to that atmosphere of building tension and a foreshadowing of horror. He won the Best Actor at Cannes for this, but I sense that other award bodies may not be so generous, as this is an intensely unflattering and unsettling performance, but nevertheless intense and indelible.
It is always an occasion to watch Judy Davis, and here, the veteran actor shows why she is simply one of the world's finest; here playing the mother to the title character and giving a performance of such complexity and of some deeply disturbing elements and I don't doubt that Ms Davis will receive an AACTA nomination for the performance. Another Davis - Essie Davis (no relation) is also quite spellbinding here for different reasons as a quirky and somewhat broken individual who forms a monkey grip of a relationship with Nitram. Both eminent actresses help to show other sides to the psyche of the main character, but are that good, they offer fully formed portraits in their own right. Anthony LaPaglia as the father is also very good, and a few key scenes are also awards worthy, and are some of the most disturbing scenes in the film. The performances will not be forgotten in a hurry.
There is not a lot of new content here, as there have been many movies made chronicling the pathway of a psychotic person's road to murder, but this one, set in the picturesque innocence of an Australian town is made more cogent by that shattering of the idyllic setting, and how gun laws or lack thereof facilitated this heinous crime. Justin Kurzel the Director has made a career of portraying such horrors and whilst it is not my regular cinematic 'cup of tea' I had to view this as an essential piece of Aussie filmmaking and the chance to see some of the best in the industry tell a story, that in all honesty, we don't really want to see, nor see again into the future. The film I believe is wanting to be part of that wish that Australia never has to have its national psyche shellshocked again.
Spencer (2020)
Brave, Distinctive and Refreshing Storytelling
There has been a healthy expression of LGBT experience through film in Australia in recent years, but 'Spencer' delves into an aspect not often explored - sexuality fluidity. An often misunderstood experience in the queer realm is bisexuality or pansexuality. 'Spencer' is undoubtedly a low budget film but what it may lack in funding, it makes up for big time in its courage and distinctive voice and style to tell its story of the titular Spencer and his travails though love, romance, family and identity acceptance.
Adam Noviello is a definite star; with his striking look and impressive range as a performer, and here he also co-wrote the screenplay with its Director Martyn Park. I was unfamiliar with both of these creatives but so glad I stumbled onto this fascinating portrait. Some under-cooked performances by some of the lesser seen actors aside, 'Spencer' is beautifully realised and will be of interest to more than just a niche 'queer' audience to may see it at a festival. There is a really intoxicating mix on screen of dance and movement; words, lyrics and score and also desire, sexuality and pain and trauma. There are light moments too and the film has loads of heart and a distinctive tone and form.
I recommend 'Spencer' to anyone who craves insightful and interesting storytelling.
Never Too Late (2020)
Veterans galore, but a bit off the mark
What's not to love about a movie with a cast list that includes Oscar nominees James Cromwell, Jacki Weaver; Acting royalty of Jack Thompson, and iconic performers like Dennis Waterman and Roy Billing? Plenty to love, but not much to like. The dialogue; whilst salty and humorous at times, is laughing at old people and the infirm and those with dementia. It depicts nursing homes as prisons and the security as just thugs; whilst the nurses and doctors seem absent or incompetent.
If you leave your brain in another room, this is an enjoyable romp, but make no mistake - it is not art, nor is it a well executed buddy movie, romance or any of the other tropes it seems to be wanting to be. But how many more films will we get to see the great Jack Thompson; the very dignified James Cromwell and the eternally cute Jacki Weaver? Actually i think this is one of Weaver's better performances of late. This and 'Poms' where she gets to either play big and blowsy or quite sweet and poignant as she does here. But the dialogue lets down the group of esteemed actors who barely keep a straight face delivering it! Call me sentimental, but when veteran actors such as these pop up and get a chance to strut their stuff, it is worth checking out. But high art, it ain't. But you will get a few chuckles and maybe reflect on ageing and the elderly.
Measure for Measure (2019)
Shakespeare would be spinning in his grave!
I could not get through this film. The dialogue and the acting were terrible. Hugo Weaving is one of our very best, but even he couldn't deliver the lines with any conviction. What I did sit through, I found this murky, unpleasant and lacking in believability. If you want to see a great Aussie film with Hugo Weaving - 'Hearts & Bones' - much under appreciated film from 2019. I am over the over supply of bleak, nihilistic Australian films that our industry produces. And don't get me started on the horror genre!
Good luck to those who actually get to the end of 'Measure for Measure'
H Is for Happiness (2019)
E is for Enjoyable, I is for Imperfect.
H is For Happiness has a lot of tonal shifts; some of which work, some don't. There is trauma and dysfunction at the base of this film, but there is a sunny disposition that might work for some kids, but the darker elements certainly won't, and likewise the adults will struggle with some of the twee and tweenie elements but appreciate the more substantial themes here of healing, redemptive love and tolerance.
Emma Booth and Richard Roxburgh make for an odd couple - both excellent actors in their own right, but the age difference immediately struck me as a problem. Joel Jackson as the brother to Roxburgh is also bizarre as there is at least 20 + years age difference between them. Nevertheless, the young child actor Daisy Axon is wonderful and truly shines in the leading role. Also impressive here is the quirky Bi National Miriam Margolyes as the very haughty and optically challenged school teacher. She is a lot of fun and quite poignant.
I am not sure that the various themes and tones of the competing narrative threads sit all that well together here, but at the end of the day, there's lots to enjoy here. Exactly who the audience is though is a conundrum as it often is for the Aussie film industry when a story as interesting as this one comes along.
Dirt Music (2019)
Plenty of Dirt, not a lot of music !
This is a strange little film- not without its merits, but another Aussie feature that relies too heavily on landscape and moodiness than on a coherent and compelling narrative. Based on a Tim Winton novel; the beauty and harshness of the West Australian coast is majestically depicted here, but the plot is muddied and muddled with flashbacks and endless super wide vistas and perturbed close ups to really hit the target.
Scottish Kelly Macdonald does a passable Australian accent and for me she is the best thing in this film. Always interesting, nay fascinating, Kelly imbues her character here with a mixture of yearning and sorrow, but the backstory for her feels shoehorned and lacks credulity. Likewise American Garret Hedlund is really fine here, but did we need both leads to be imported? A Hemsworth would have fit the bill just as well as the good looking drifter that Garrett embodies here. His flashbacks and perspectives are more front and centre, but I personally found them less successful and somewhat obtuse. Perhaps the prosaic elements of the novel made this a little unfilmable but experienced Director Gregor Jordan certainly gave it a shot. I just didn't really feel much watching this. Nice to look at; but a bit ho hum and certainly the music and the dirt were less than compelling. On the plus side, it is always a treat to see Aussie veteran Chris Haywood pop up.
Babyteeth (2019)
Strong and impressive elements but falls short of greatness
Babyteeth has a whole lot going for it; not the least is the impressive and acclaimed cast. Essie Davis and Ben Mendelsohn have both proven their versatility; with the former traversing stage and screen of the big and small; and the latter for now 5 decades being an acting force all around the world. But it is the newcomers who really shine here. Eliza Scanlen is a revelation here. and follows her breakthrough performance in Greta Gerwig's 'Little Women'. Here is a star of the future! Eliza has a wonderful presence and the camera simply loves her expressive face and ability to ellicit a myriad of often conflicting emotions in this rollercoaster of a story. Toby Wallace, who I thought was really impressive in last year's 'Acute Misfortune' is even more cogent here, as the unsettling but watchable love interest for the lead character.
Essie Davis, like her namesake Judy Davis (no relation), has a gravitas and intensity that has made her one of Australia's most impressive actors and I predict an AACTA award for this - possibly Supporting Actress if she is placed in that category. Essie has the most complex character here and she delivers big time in creating an intriguing and compelling character. I wanted more of her in this narrative. I am not a huge fan of Ben Mendelsohn but he gives another fine performance here.
A rite of passage tale; a disease of the week type storyline that could have been mawkish but isn't, is still just short of being great for me. There is something a little incomplete about the film; although the ending is a curious choice for this particular story, I did feel a little short changed. I probably need to see it again; and probably will. In a somewhat lacklustre year for Australian films, 'Babyteeth' is a quality film with some genuinely moving and impressive performances. It is always exciting to see newcomers shine and make no mistake Eliza Scanlen will scale the heights! The next generation of Blanchetts/Kidmans/Davis' are here.
I Am Woman (2019)
Worthy biopic but miscast
Helen Reddy was a most distinctive and distinguished woman and performer. It is always a tricky process to ask an audience in a work of fiction to accept an actor who looks nothing like the subject of the narrative and believe in the film itself. Like Renee Zellwegger in Judy, Tilda Cobham Hervey does a sterling job in attempting the challenge but for me neither captured enough of the spirit or physicality of the celebrity they were inhabiting. She may have won an Oscar and everything else, but Renee did not have the speaking voice or sufficient direction to rein in her tics.
For Tilda Cobham Hervey, the very defiant and grounded persona of Helen Reddy was not really captured, and the actress came across much less emphatically than the persona i was aware of growing up and watching Helen Reddy perform and speak in interviews. but Tilda gives a compelling performance nonetheless, but i didn't once think i was watching Helen Reddy.
The movie reduced Helen's rise to fame and her fame itself to fairly predictable scenes and only showcasing a couple of supporting characters - ably played here by Aussie actress made good internationally Danielle Macdonald; who played Rock Historian Lillian Roxon, and American Evan Peters who was spellbinding in 'American Animals' and here is the ambitious but ultimately flawed figure who managed and married the singer. The film seems more concerned about Helen's struggle between housewife and star than on her actual journey with fame and family - instead depicting record company execs all as caricatures and no reference to her family in Australia, or her period of stardom after I am Woman shot her into the stratosphere. The film jumps a decade with no real reason, and minimises the massive impact that Helen had on the pop charts as well as the Adult Contemporary chart in America, where she ruled that decade.
The timing of the release of this, about 4 weeks before Helen Reddy died in September of 2020 makes for a poignant experience, but I was still disappointed with the results. Beautifully shot by Dion Beebe (Oscar winning Aussie DOP) but despite the huge commitment to the role by the leading actress, her physicality and voice were insufficient for this viewer to really be submerged in the film. It was a bit of 'join the dots' storytelling and signposting a crisis coming or an emotional beat, rather than letting us work it out for ourselves. I am glad though that it seems that Helen and her family got to see the final cut of the movie before she died. Helen knew that she mattered. This film may reaffirm that, but it could have been a whole lot better. Enjoyable but disappointing.
Pulse (2017)
Gender & Genre Bending Movie Experience
'Pulse' is a most entertaining and at times illuminating portal into gender and sexuality exploration. It heralds the feature film debut of its extraordinary writer/co-producer/co-editor and star Daniel Monks and his long time collaborator Stevie Cruz-Martin. Daniel's 'Ollie' is impossible not to barrack for, right from the opening images taken from real life home movies of a young Daniel Monks. The rest of the narrative is a work of fiction but these affecting shots set an important scene and feeling for what is to come in 'Pulse'.
Ollie has physical disabilities and he is also trying to navigate his sexual identity and gender identity as the story moves into a most unexpected and unusual sphere, utilizing familiar tropes but still emerging with a distinct approach. Relying a great deal on the audience's connection with Monks' 'Ollie', 'Pulse' is propelled also by some outstanding performances, especially that of Caroline Brazier as Ollie's Mum; particularly a showdown towards the end of the movie which is simply electric. Brazier is a familiar voice and face in Australian film and television and it is great to see her in a leading role and providing such centre and texture to what is a meaty role., but could have, in lesser hands been two dimensional. The supporting cast of young actors are mostly fine, and Scott Lee does immensely well as Ollie's best mate.
The ending feels a little unsatisfying, but the courage and depth of all that has come before it, adds up to a very interesting and at times moving account of the awakening of this very real young person, and the at times surreal devices used to depict this rite of passage. I feel it is an important local film and encourage folks to seek it out if progressive and trans formative cinema is on your radar. Kudos to Daniel Monks and his Director Stevie Cruz-Martin for bringing us into the world of gender and sexuality exploration. Contemporary cinema needs more of it!
Ellipsis (2017)
Beautifully observed and performed piece about being in the moments
This movie had me from the get go. Knowing it was the directorial debut of award winning Aussie actor David Wenham, allowed me to rest into the fact that this would be, and was, a lovingly crafted and distinctive piece from an actor that has made his mark as a versatile and unique voice in cinema. I am biased in part of my enjoyment of 'Ellipsis' as it is set in Sydney, my hometown, and it reminded me of my youth and drifting around the city with a friend or looking for love in all the wrong places.
'Ellipsis' is very 'now'; with technology being the conduit for the two main characters (and the third; less successfully realised in my view) to serendipitously meet and connect; ironically through a smashed mobile phone. If a film with lots of action and plot turns and fast edits is your bag; then keep away from 'Ellipsis'. This is a meditative and at times dreamy meandering through what it is to be young in a bustling city and to form an unlikely bond. Emily Barclay first came to my attention in 2005 with 'In my father's den' a New Zealand feature that won her an award in her homeland. Two years later, 'Suburban Mayhem' an Australian film netted Emily the AFI for Best Actress. I have not seen much of her in the last decade; sadly, but she really shines in 'Ellipsis'. With a natural ease and presence, Emily's 'Viv' is ultimately the more fascinating of the pair for me, but that said Benedict Samuel has such a lovely screen warmth and also gives a performance lacking in self consciousness; thereby allowing the viewer to enjoy 'Jasper' at face value, but to also get some hint at his past; especially the trauma he divulges early on in the narrative.
Barclay and Samuel have great chemistry, and David Wenham's direction; combined with what I read was considerable improvisation (and the fact that the two leads are credited as co-writers) shows a great affection for the actors and in broader terms; a love of life and the power to be in the moment(s) as our two leads find themselves. The secondary plot line feels less successful as a technician at a phone store is given several sequences which peek behind his initial austere approach to Viv, showing a sensitive and decent human being. There is a lot of decency in this film. That is not a criticism. In a year where our local industry is making multiple horror and trauma stories; it is refreshing to spend 83 minutes in the company of ordinary folk; enjoying spontaneity and forming a richly textured connection, as a result of their wandering around the city of Sydney for the better part of 24 hours.
I loved Megan Washington's simple but elegant score, which added to the romantic tinge of 'Ellipsis'. I had wistful feelings through parts of this experience, and enjoyed seeing where are two heroes found themselves from one moment to the next. Some of the sequences felt more natural than others, and the geography had me a little baffled at times; but that's because i've spent my entire life on foot in this fabulous city. Small quibbles aside, I am really impressed with Wenham's first outing as a director; and delighted to see the great Emily Barclay demonstrate the immense promise she displayed over a decade ago. 'Ellipsis' may not win AACTA awards; but I do hope it finds an audience. It is a beautifully observed piece both visually and textually. I'm really excited as to what Mr Wenham will do next....
What If It Works? (2017)
Compassionate story if not a little too mannered
There's much to admire about 'What if it works'. Romi Trower has written and directed a very personal and at times confronting drama which has a few lighter moments to humanise and ease the pain that is being depicted so beautifully by her actors. Essentially this is a two hander, even though it has a welcome comeback for Kaarin Fairfax (a terrific and all too absent actor from our screens) and features several supporting and incidental characters.
An unlikely pairing of an OCD with a Multiple Personality Disorder makes for an interesting set of quirks and traumas alike, with Luke Ford and Anna Samson truly inhabiting their challenging roles. Luke Ford is a terrific actor (an award winner for 'Black Balloon' nearly a decade ago, and Anna Samson is a revelation for me here, as I was unfamiliar with her work. There is something intrinsically likable about Luke; he seems to be drawn to damaged or challenged figures, but he brings huge warmth and heart to 'Adrian'. It is to be sure, an overly mannered performance, and depending on whether a viewer can appreciate both the condition that the actor is portraying as well as the fact that he is an actor bringing the script to life, this may be too heightened a performance, but he won me over.
Anna Samson has an equally difficult challenge; set of challenges with multiple personalities to explore and portray with a point of difference for each one. Her range is impressive and I look forward to seeing more major films for this actress.
There is a sweetness to 'What if it works' that kept me connected; even when I was a little distanced by the self conscious style of a number of the performances. It is not an easy tightrope to walk in bringing mental illness and conditions as debilitating as these, yet still making a narrative that is palatable for audiences. I hope this film finds an audience, as it is very hope-filled and sincere in its wish to take some stigma out of illness, and replace it with life and love and positivity.
Killing Ground (2016)
Atmospheric but another violent and pointless Aussie film
Having watched three violent and at times brutal Australian movies back to back; I'm very concerned about what passes as entertainment and why these films are being funded and backed! Berlin Syndrome (well directed but just without any real purpose); Hounds of Love (just nasty and brutal) and now Killing Ground. Classic Aussie flicks like Picnic at Hanging Rock, Wake in Fright, even Road Games and Dead Calm, used the landscape or the road or the sea to evoke and create menace. These current films bludgeon (pardon the terribly violent pun) the audience and its often hapless characters with overt brutality and sadism, rather than finding more nuanced and creative ways to build a thriller or a horror movie; as the aforementioned classics achieved.
Killing Ground has a picturesque but ultimately menacing surrounds for its narrative to unfold. Using an interesting plot device of non linear sequences, the audience is edgy and unsure where it all is going; but once it gets there, it is simply unapologetic murder and torture. Why? I am most proud of the wonderful technicians and crafts men and women that the Australian industry has cultivated and continues to engender, but why so many filmmakers are drawn to this bleak content, escapes me. With so few local films making any money, more of these pointless schlock horror pieces, and there will be no industry to speak of!
OK, having got that off my chest, Killing Ground boasts an impressive female lead in Harriet Dyer (I first discovered her in Reuben Guthrie a couple of years ago). Harriet has great screen presence and I hope she continues to get some good roles. Although he plays an execrable loser, Aaron Glenane is very convincing and gives some real layer to this otherwise psychotic creep. The rest of the cast is fine, but really the cinematography and the clever editing make this film the tense and at times interesting visual experience that it is, but enough with torture and murder!
Hounds of Love (2016)
Powerfully acted, but do we need another brutal film like this?
Hounds of love is a brutal, needlessly revolting exploration of the minds and deeds of psychopaths. No spoiler needed there. It is brilliantly acted, but as I sat and gave nearly 2 hours of my time to it, i wondered why it was made? With 'Snowtown' a few years back, and an endless number of overseas films dealing with this content, the Australian film industry is not going to stay afloat with horrific scenes as ones captured in this film. I''m not sure I am ever going to be able to laugh at Stephen Curry again; he plays the truly evil lead character here. Emma Booth who came to prominence a decade ago in the industry is impressive here; no doubt; it is guttural and devastating her performance. Ashleigh Cummings as the poor teenager violated by the couple is scaringly believable. The film recreates the look and feel of Western Australia in late 1987 and is creatively shot, edited and directed, but again I ask - why? This is not entertainment. It is torture porn. It is based on real life serial killers as was Snowtown but it has no real purpose.
I am viewing it as part of the 2017 AACTA screening process for the Australian film awards. Certainly Cummings and Booth deserve nods for their work, and Susie Porter is always sturdy and believable; here in a supporting role. Judging by the several pages of reviews already submitted for this film, my entry is probably not required, but this viewer is obviously not impressed by such horror and torture. No matter how brilliantly acted.
Berlin Syndrome (2017)
Brilliant direction, but no real point to the story.
I love Cate Shortland's previous films: Somersault and Lore. I really like how the director evokes mood and stages her sequences, but this at times brutal film has little point. Girl is trapped. Girl does everything she can to survive. Nearly 2 hours of watching Teresa Palmer endure her captivity in 'Berlin Syndrome' was pretty gruelling. I don't see or feel a journey as I did with the female protagonists in Cate's earlier work.
There is such talent in front of and behind the camera here, but it feels like a step backwards. I get there must be an audience for this type of content, and I rate it still pretty highly because of my respect for the director, but it isn't a patch on her first 2.
Don't Tell (2017)
Powerful and significant movie
I really liked 'Don't Tell' and I'll tell you why! The film is an important documenting of a shift in the legal system in Australia. It brings to light cogent stories of abuse and neglect in religious schools and systems. With loads of great actors: Aden Young has never been better (and he was feted some 25 years ago as the next big thing) as the lawyer who fights the good fight for justice. The iconic Jack Thompson is suitably pompous and majestic as the QC representing the young girl's case in court. Susie Porter is indelibly moving as the guilt ridden mother of the girl at the centre of the story. Sara West is a revelation as the aforementioned victim. Her bluster and trauma are never far from the surface and it is an often guttural portrayal - so believable and crucial to the film's success.
With 3 writers adapting the story to the screen; Director Tori Garrett efficiently but prosaically delivers the journey; at times procedural but also very realistically and emotionally. Rachel Griffiths and Jacqueline McKenzie (two international stars and award winners in their own right) give supporting turns; the former a little too mannered for my liking here, and the latter a little arch in her performance, but it is great to see such terrific actors lend some heft to this production. It shines such an important light on an all too common issue but until recently not discussed widely as it should. 'Don't Tell' tells an essential yarn and does it with dignity.
The Death and Life of Otto Bloom (2016)
Is it too smart for its own good? I'm undecided
I enjoyed this film, but am left with lots of thoughts; but few feelings! I wonder if the script by first time director Cris Jones is a little too smart for its own good. There's lots of exposition that is delivered from some luminary Australian actors such as John Gaden and Jacek Koman, and the film is very cleverly cast with Rachel Ward and her real life offspring Matilda Brown playing the same character at different life stages, but there is a coldness to this film that I can't get past. There's a disconnect; an aloofness that keeps the material esoteric and for this viewer a bit of a mind f#@K
Xavier Samuel (is he the only young Australian actor getting the good roles?), plays the ubiquitous title role and there is certainly a sense of mystery but also blankness from this good looking, but not especially dynamic actor. The narrative's reliance on so much explanation means that although the viewer is given opportunity to grapple with the film's construct, it spends too much of its already economic running time in the head, and not the heart. As a man who has a particularly odd and perplexing condition, Otto Bloom's life and death are pondered more than they are illustrated here.
There are some lovely sequences involving graphics and creative use of photographs and mock headlines and news bulletins, and the film does evoke an odd sense of reality and heightened reality, but at the end, I am still pondering if I have been overly conned or really challenged as a viewer. I can live with the latter but perhaps not the former. It is great to see Rachel Ward in such a substantial role on screen, and whilst it may seem as if all her scenes are just pieces to camera, her narrative link and physical presence are essential to the film's success in belief (the disbelief comes more from whether the basic conceit is as watertight as the writer/director would have us believe).
This is an original work in so many ways, but it falls short of greatness for me; in part as I was not overly moved by it; and also as I am left with those nagging quibbles about the story itself. But I applaud the clever use of the medium and the grand vision being explored.
Sage femme (2017)
Beautiful performances from Catherine(s) The Greats
I really enjoyed this movie; in part as it starred my favorite actress from 2016: Catherine Frot, and her exquisite performance as 'Marguerite'. Frot has such stillness and poise on screen, but can also command great presence with minimal effort. Here, as the titular 'Midwife, Catherine Frot is delivered a role that gives her a chance to really shine. From the opening scenes her 'Claire' is a good woman; a skilled professional but lacking a personal life or much hope it seems. Blessed with a son she only sees fleetingly, her life is turned upside down when Beatrice played by Catherine Deneuve re-enters her radius after vanishing more than 3 decades before and causing Claire's father (one time lover of Beatrice) irreparable damage and an indelible imprint for young Claire. It is a fascinating dance that these two characters create through their often awkward scenes together.
The film is only a success because of the chemistry between these two marvellous actresses. The narrative ambles all over the place, messily edited and at times a little predictable, but seeing these two share the screen is pure magic, and compensates for where the film is otherwise lacking. Beneath the choppy script lies some rich fabric about life and death; life changes and the power of forgiveness and redemption: always soulful pursuits for the big screen. I wanted this to be perfection; of course it is not. Catherine Deneuve deserves an Oscar nomination for this; she is unafraid to show her age; her flaws and creates a memorable screen character, a former good time gal, whose life is slipping away from her, as she clings to the joie devivre that had sustained her. It is a privilege to watch a screen icon; still beautiful, but displaying how beauty can fade. There is much dignity here from both Catherine the Greats!
Joe Cinque's Consolation (2016)
A star is born! Maggie Naouri is amazing. Very unsettling and provocative movie
For some reason my first review written several weeks ago has not been published. Take 2 (And every writer knows to back up their work. Um...) See this movie, as it is a very interesting tale of dysfunction, illness and responsibility. It is moody and unsettling as all good art should be. Provocative and challenging on a visceral level, 'Joe Cinque's Consolation' (not my favourite movie title this year), is based on Helen Garner's non fiction treatment of a murder trial. The movie is in many ways a prequel to the source material, but nevertheless is a fascinating exploration of a human descent into madness and murder. Make no mistake, Maggie Naouri is a star! With small screen credits behind her, this film heralds the arrival of a bona fide star. Even whilst her character is plotting and carrying out a diabolical sequence of events, the actress imbues her with such intensity and vulnerability that the viewer remains fixated on the narrative and although can't condone her actions; can understand them; such is the skill and depth of the performance. Not easy viewing but a movie to chat about long after the credits roll.
Boys in the Trees (2016)
Inventive and Evocative. Rite of Passage Gothic Style
I enjoyed most of the running time of 'Boys in the trees' but most probably this movie wasn't aimed at me or my generation. Set in the late 90's the narrative is concerned with one young man on the precipices of change and facing his young adulthood. Holding some traumatic experiences and feelings from when he was a child, 'Corey' played convincingly by Toby Wallace is part of a gang of skating dudes with lots of attitude but he doesn't fully commit to their behaviours or sensibilities. He shares a secret with another boy played quixotically by Gulliver McGrath who is carving out quite the career both in Australia and around the world. Most of the film's luxuriant running time is a 'journey home' series of set pieces where the two lads are faced with real and imagined demons: both from within and out.
There is a stylish and inventive use of the medium here, but I did find some of the stream of consciousness elements a little obscure and self referential. The performances are mostly fine, and for folks now thirty somethings and younger will most probably get something out of the ideas and excellent production design from the earlier era. It has alternately a dreamy/nightmarish quality to the execution and for Halloween freaks and lovers of different cinema, this is for you. But sadly not for me. Still a solid 7 out of 10 for distinctive approach and new voice in local cinema. Writer director Nicholas Verso will undoubtedly make his mark with 'Boys in the trees'
Tanna (2015)
Beautiful and visceral cinema. Degree of difficulty = 9 out of 10
'Tanna' is what cinema is all about. Storytelling using the visual medium to illuminate and transport the viewer into another world. Collaborators Bentley Dean and Martin Butler have long histories in journalism and magazine current affairs and have achieved success with their documentaries, but this is their first feature film. They have intrepidly ventured into the picturesque locale of the Vanuatu island of Tanna and its indigenous folk for this tale of star crossed lovers.
Whilst using an age old narrative theme, the conflict at the centre of 'Tanna' is whether to go with your heart or your head (here represented by tradition and tribal custom), the filmmakers have beautifully photographed and captured the daily life and tribulations of this somewhat cloistered population. Plucked from the very villages they were born and raised in, the performances are really fine; having been well cast to handle the daunting task of acting in a movie. Of particular note for me was the wonderful Marcelline Rofit as the younger sibling of the betrothed lead, played by Marie Wawa. Her eyes taking in everything around her and affected by the changes are really fascinating to observe through her perspective. Mungau Dain plays the forbidden object of desire for Wawa, and according to the filmmakers he was chosen for the leading role as he was the most handsome in his tribe. He has a perfect mix of sensitivity and strapping masculinity. The two leads work very well together. 'Tanna' makes filmmaking look easy, but the degree of difficulty cannot be underestimated here. With a remote location, a cast that had never seen a movie, let alone acted in one; the cultural respect and fascination of Dean & Butler is evident in their sensitive and at times majestic portrayal of the peoples of Tanna. Bentley Dean's evocative cinematography and Antony Partos' effective score add to the atmospheric feel of the look and sound of the film. There is some tart dialogue that injects some needed humour and humanity into what might have been a conventional story. For me, seeing filmmakers explore unchartered terrain; both cinematically and culturally engenders more enthusiasm for contemporary film. There are plenty of formulaic directors and writers perpetuating the same notions of mores and perspectives, so it is refreshing to spend a couple of hours with other peoples and other customs. And it is a most affecting and enriching experience.
Early Winter (2015)
Cold, but necessarily so! Textured and Thoughtful.
As a companion piece to another movie made in 2015: '45 Years', 'Early Winter' is concerned with the relationship between a husband and a wife. In this Canadian/Australian Co-production, the pair are considerably younger than Tom Courtenay/Charlotte Rampling from the British film, but are likewise dealing with a subtle but incredibly powerful shift in their union.
I was greatly excited at the prospect of seeing this movie as it stars one of my favourite new women in world cinema: Suzanne Clement. Her astounding performance in Xavier Dolan's transgender love story 'Laurence Anyways' and her compelling supporting turn in Dolan's 'Mommy' have given me a sense of the versatility and undeniable power to her screen presence. Clement does not disappoint here in a very different role; bringing at times a seething frustration and world weariness which is painful to observe. Paul Doucet is wonderful in the bigger role and the more sympathetic of the couple. His tenderness in his work scenes are beautifully contrasted with the often fractious ones in his home.
Australian born director Michael Rowe keeps the audience at a distance emotionally and spacially thanks to the litany of long, wide and two shot coverage he uses in his final edit. There are many scenes where very little is uttered, but as with '45 Years', there is texturally so much being conveyed and felt. The often bleak and icy street scenes and late at night hospital/nursing home sequences contribute much to the 'Early winter' being portrayed thematically and realistically. It doesn't really cover any new ground, but what is really special about 'Early Winter' is the exploration of a universal quest by humanity - connection. It is found often where it is least expected. The story is slow and at times slight (focusing on little details of daily family life) and then touching on some very sobering and heartbreaking ones, but I respect the filmmaker's choices as he steadily builds a portrait of the increasingly divergent journeys of its leading characters. See it for Suzanne Clement and Paul Doucet; see it for its honesty and its sensitivity.
Broke (2016)
Mixed bag of ingredients but a worthwhile exploration of fallen heroes.
There's much to admire in writer/director Heath Davis' fallen hero trope 'Broke'. Some gritty realism, robust performances and a compelling 'anti' hero's journey on offer. But there are elements of contrivance with at times clunky dialogue which risks neutralizing the positives. Steve Le Marquand is perfectly cast as 'BK' the former rugby great; now a shell of a man who resorts to petty crime and worse to survive. The towering and at times imposing protagonist is matched by the determined but gentle goodness of the great Max Cullen's 'Cec' who for a myriad of reasons decides to give 'BK' a helping hand. Aided by his lovely daughter (BK's biggest fan) played by Claire Van der Boom, 'Cec' makes it his mission to help the one time great find his reason for being again, and hopefully make him a better man. To enjoy and believe 'Broke' the viewer must accept this conceit and find credulity where occasionally it simply isn't there.
As great an actress as Van Der Boom is, her 'Terri' is just too glamorous and implausibly attracted to the indigent 'BK' even if he once was a 'big spunk' and a national hero. There is a forced colloquial layer to the performances and dialogue that removed this viewer from being connected to the characters and the story, and the shrill performances of the usually brilliant Brendan Cowell and Justin Rozniak are too broad and noisy to add much to the narrative.
Max Cullen really is a national treasure and it is great so see him back on the screen in such a substantial role. There is an interesting story to be told here; about role models and the incessant pedestal placing of sports stars and the turning a blind eye to their abhorrent and excessive behaviour. There is an unnecessary proliferation of homophobic comments that seem jarring, but at other times the realism of the anger and the violence that swirls around these characters is refreshing, so I am in a bit of a bind as to how best and fairly to recommend this movie.
It is great that this film was financed by crowd funding and sporting groups and that it has been doing a tour of smaller centres around Australia. I just wished that the performances had been reined in a little, as the believability factor is the difference between a film being OK, and great. However, back to the positives; deconstructing the mythic and iconic nature of our male sport stars is certainly a good reason to make a film like 'Broke'. And redemption tales are always worth checking out.