Reviews

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.

'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!

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....

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.

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'

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.

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.