Reviews

Pursued by madman (Yemm) after making a wrong turn, young secretary Hoogeveen finds herself at the mercy of the elements (and animals) in this taut Ozploitation thriller that's light on detail but entertaining nonetheless.

Virtually no dialogue is spoken, instead set design, makeup and location cinematography are the stars whilst the usually conservative Yemm (formerly one of the lead detectives from TV's 'Homicide') is cast as a backwoods tramp with just one thing on his mind (besides eating rats). TV soap star Behets also appears in the beginning as an ill-fated saddler.

Terry Bourke's first Australian theatrical film doesn't even make feature length at just under an hour head to tail, yet displays enough mindless mayhem to kickstart a career that would soon see the under appreciated horror-western 'Inn of the Damned', and then the more commercially successful 'Lady Stay Dead' for the 80s video market. Quick and dirty, but definitely worth a look.

Watts plays a formerly active mother who becomes a paraplegic after a fall, dealing with the loss of her independence and former self, learning to adapt to her situation with the aid of an orphaned magpie which has befriended her children.

Watts seems realistic in her angst and Weaver plays the well-meaning mother with her trademark working-class expression and emotion. The magpie(s) is surprisingly well disciplined, hitting its marks and delivering chirpy dialogue with deft timing. There's also a tautly choreographed magpie cockfight which panics the people into an hysterical flurry as beaks-bite and feathers-fly.

Based on a true story that's narratively simple and offers no surprises, 'Penguin Bloom' is a timid, inoffensive family drama, well-acted and scripted, with attractive scenery and a watchable pace despite a thin plot.

As other reviewers have remarked, 'Submerged' is pretty good initially at building tension as the heroine (Roberts) begins to experience shocking supernatural encounters with apparently drowned schoolgirls (are they figments of her imagination or victims of some sinister crime), but the story soon drifts off course becoming a surrealist experiment that lacks coherency. The climax - whilst still reasonably violent - opts to forego a conventional crowd-pleasing ending for something more cerebral which might not satisfy all tastes.

Semi professional acting and cinematography although some of the location work was effective, albeit the topography didn't always match e.g. In one scene there's mangroves and then a suburban-looking creek, although it was sometimes difficult to distinguish what was being imagined vs what was reality (which I also experienced during the gaol scenes near the end when McCallum is being released).

Sometimes eerie, the film creates tension but fails to deliver tangible shocks, preferring abstract visuals to on-screen violence with a couple of minor exceptions when Roberts is being pursued at the film's climax. I wasn't always certain if what I was seeing was deliberately illogical, or just the consequence of a nano-budget and under-developed plot; there was certainly some atmosphere at times, and the main character's apparent ESP abilities was an interesting premise, but overall it had the look and feel of a student film, lacking plot detail and technical polish.

Uneven but hopelessly enjoyable espionage themed action thriller in which advertising executive Moore becomes embroiled in a bizarre assassination plot involving a food-obsessed Hungarian aspiring model.

Moore is dashing and has plenty of opportunity to flex his movie muscle after years on the small screen, sharing good chemistry with Belgian siren Lange showing she's more than an attractive handbag, with an appetite to match.

Appealing international cast includes American Martha Hyer as Moore's casual love interest and chief enabler of the conspiracy, Bernard Lee her power-hungry father whilst Dudley Sutton has a minor role early-on as a creepy stagehand. Sharp eyes might also recognise Norman Eshley ('George & Mildred') as one of the militant protestors, and Dave Prowse ('Darth Vader') in a non-speaking part playing the best man at the wedding Moore & Lange crash.

Like a bigger budgeted episode of 'The Avengers', Rackoff's action-comedy-thriller contains comic-style plot, characters, props and TV production values (e.g. Lots of acting in front a rear projection screen) that's essentially nonsense though undeniably entertaining. If it weren't for the subsequent big screen fame Moore achieved, 'Crossplot' would be a long-dismissed obscurity, and whilst its thin on details it is however providing Moore with a timely audition for the coveted 007 role he would eventually own just a few years later.

Italo-Spanish version of the Robert Louis Stevenson classic tale features a relatively small role for Orson Welles as Long John Silver his voice dubbed by Robert Reitty, much less energetic than Newton was in the role, with Burfield well-cast as young Jim Hawkins and Jean Lefebvre as shipwrecked former pirate Ben Gunn going under the radar, helping Jim secure the island's treasure. Ubiquitous Spanish villain Aldo Sambrell is also on deck as Israel Hands, second in charge of the invading pirates.

Nice location cinematography, sound, stunt-work (the chase up the ship's mast features a death defying fall) and set design, the film is rated G, but seemed more than just a shade darker than a straightforward kid's film, with violence potentially too strong for younger children.

At times I thought it more reminiscent in the tone of 'Light at the Edge of the World' than a boys own adventure, but it's enjoyable as a lower budget foreign offering, and always compelling just to see what Welles does with the role. He's more cerebral than physically imposing, cunning without being outright thuggish - his crew on the other hand are a particularly rugged and ugly-looking breed, kudos to the casting and makeup departments.

Better than I expected remake (of sorts) of 'Shaun of the Dead' starring Thayer playing an awkward but plucky camera operator trapped with her one night stand (Cassidy) after the State is overrun by a water-borne virus that turns victims into flesh eating zombies.

Ray Wise co-stars as Cassidy's connected father, partially responsible for the outbreak, and then Brister is a scene stealer as Thayer's indecorous best friend, in some ways reminiscent of Nick Frost's character in SotD. Sacca is also amusing as the sarcastic military contractor hired to prevent the virus from escaping Maine.

Despite being a loose translation of SotD for American audiences, Thayer is likeable, the pace is constant and although low budget, it's technically well-made with witty dialogue and plenty of visual gags to keep the audience amused. Low on the romcom factor, higher on the gore and better for it overall.

A pair of bogans (Nugent and Burns) dream of holidaying overseas, using money they're making selling junk they find to finance their trip. Whilst Nugent is content to settle for the trip of a lifetime seemingly unaware how long it will take to fund such an adventure, Burns on the other hand yearns for something more than his hometown has to offer, which causes conflict between the two mates.

The scene in which Burns' character picks an ill-advised stoush with a random stranger is the immortal moment in this film - the beating and its sickeningly funny aftermath galvanise the despair experienced by the character and his rather hopeless existence. Utterly down and out.

Director Spanos continues his trend of using former 'Prisoner' actors in his projects, here Elspeth Ballantyne and Reylene Pearce co-star whilst Klibingaitis plays Nugent's girlfriend, nervous about a minor ruse she's maintained claiming to be much younger than she really is, and fellow alumni Desiree Smith is Burns' sympathetic girlfriend in whom he confides his trepidations.

Not too sure how compelling the message being awkwardly conveyed by the eccentric children's clown actress (former soap star Foster, who had also appeared in 'Prisoner') to a despondent Nugent really was at the bus stop, but her offbeat cameo was memorable even it perhaps lacked the gravity it was intended to carry.

Ultra low budget independent film makes good use of its suburban location, and whilst unlikely to reach a mainstream audience, in context it's mildly entertaining if somewhat talky at times.

Violent tale of a sex slavery syndicate operating in a supposedly remote area where a couple (Epps and Patton) happen to be holidaying after she's fired from her job as a journalist.

Patton invests a lot in an apparently physically taxing role, but the movie is just formulaic, full of cliches and contains no real surprises. Pyle is also effective as the corrupt sheriff and if you turn up late, you'll miss veteran Fichtner in a small, inconsequential part playing Payton's boss early in the film.

Suspenseful at times, 'Traffik' is an average action thriller in two acts, the first is melodramatic soap opera as the couples analyse their relationships, before things turn sour when they stumble upon the slavery ring, which might've been credible had it been set more remotely, and smaller in scale. As it stands, the body count becomes hyperbolic and the film loses touch with reality, the contrived climax predictable and lacking imagination.

Robert Redford doppelgänger Wall stars as a stony faced, self-confessed misanthrope Catholic priest Father Keene sent to wind-up an underperforming parish the week before Christmas. But after meeting the mysterious local librarian (real life wife Wall) he begins to realise there's more to living than fire and brimstone. It soon becomes apparent that Father Keene is harbouring a deep secret that is fuelling his social withdrawal, but a little Christmas miracle might just be able to coax him from self-imposed emotional exile.

Faith films are fine, but this was just tedious and boring. Listening to the locals audition for their Yuletide stage show is only slightly less painful than watching Wall and local pastor Brennan engage in dull, semi intellectual conflict about what the local community need to fulfil their spiritual quota. The epiphany Wall's character undergoes transforming him from supercilious razor man into a born again believer, is a decent enough plot, but it's hard work getting there.

Is it a Christmas movie, a human drama, a galvanising of moral fibres or just righteous bilge I couldn't decide. What I am confident in saying is that the relatively minor moral dilemmas it presents and the heavy-handedness with which they're dramatised made it feel more like Sunday school than supposedly modest matinee entertainment.

Heavy handed tale of a Texas, god-fearing widower (Gotzon) who must find herself, her faith and the bottom of the bottle after the sudden death of her husband, despite pleas from her father to stay and look after her young daughter on the family farm.

Bernsen plays the old salt himself recently widowed, still struggling with his own grief, whose rugged exterior hides a warm centre searching for a way to reunite his remaining family. I wasn't entirely sure of the purpose of the Lorenzo Lamas cameo, as heart-wrenching as his character's tale may be, it seemed superfluous and failed to really connect with the rest of the plot whilst Lee Benton provides much needed comic relief amid all the misery, making jelly pies and other kitchen disasters.

Reversing Gotzon and Morrison's roles at the end of the movie is sweet salvation, but the bus-ride epiphany that gets us there felt somewhat contrived. Pretentious dialogue (e.g. In reference to the man upstairs 'alI I did was give, and all he did was take') and a character spiral that's desperately cliched leave this faith-based feel-good film overbearing and underwhelming in spite of its good intentions.

If the reported $40k budget is reliable, then the makers should be immensely proud of what they've achieved on such a scant budget. Notwithstanding the budget constraints, 'Aberrant' doesn't quite live up to the simmering tension projected throughout. An existential thriller or psychological drama involving too many sub plots and elaborate backstories that are never properly addressed nor resolved.

Well-acted, Magnusson in particular plays the part of the anxious bridezilla well, whilst junior Quaid gives one of the most cringeworthy best man speeches on record. Veteran Roger Robinson plays the concerned priest presiding over the happy (?) couple's nuptials in his final film appearance, and Tibor Feldman has a cameo late in the picture playing Quaid's abusive father, but whilst their strained relationship hints at past sins, its ambiguous.

Sincere effort shows technical competence and features realistic dialogue, but disappointingly the central plot goes nowhere, leaving the audience without resolution, the fate of Quaid's character (and the complex lives of the other characters previewed) left to the imagination. It's got hooks, but ultimately lacks focus.

Simple but mildly effective thriller starring Barton as a once carefree young woman stalked by a maniac for thirteen years, struggling to adjust to society whilst her tormentor remains on the loose. Whilst the game's up prematurely, it's still fun finding out how many of those close to Barton will suffer the consequences by association.

Whilst she's perhaps better known for her off-screen exploits, Barton knows how to act and she makes it look effortless as it should; she's timid as the character would be in the circumstances, but doesn't overact the part. Lea playing the dedicated detective is reliable in support, and there's a range of would-be suspects to entice the patient viewer, although the answer isn't especially well disguised, and waiting for a red herring which never appears is disappointing.

Low budget but appropriate for a telemovie, this Canadian thriller lacks logic but achieves its aim of a few cheap thrills and is elevated by Barton's balanced performance.

Theler plays the buff single uncle taking care of his brother's kids for summer break whilst visiting land valuer Shaw is working on behalf of her big city client to cost the local library for sale and eventual redevelopment.

TV star Washington features in a supporting role as local wise-owl, green thumb and matchmaker Gus, at whose guesthouse Shaw is staying, and the surprise package is former Hollywood action lady Ticotin playing the head librarian concerned for the future of the town's beating heart.

It's bland and cheesy with a threadbare plot that's little more than an outline of tired cliches, everything from the inhospitable local cafe that only does one type of coffee to Theler's backstory as the black sheep who chose writing over the family business, offering no shocks, surprises nor suspense. The only surprise is how Washington and Ticotin ended up in this dull, superficial romcom.

Showed promise, but lost its way after the first twenty or so minutes as a photographer is holed up in his modest suburban home along with a mysterious female intruder when her alleged attackers appear outside demanding her release. The violence escalates much too quickly and without sufficient justification, whilst the obvious plot holes attempting to explain why they can't escape become more incredulous by the minute.

Little wonder the title needed to be 'No Through Road', to try and persuade the audience there was really no escape - despite occupied houses and people being visibly nearby throughout the entire ordeal.

The goons who show up to torment the duo aren't nearly intimidating enough to be convincing, looking more like drunken bogans than psychopaths capable of the sadistic crimes they would soon commit which go way over the top.

Amateurish acting and hard to hear dialogue only adds to the woes, as we learn our passive hero harbours a secret anxiety for conflict, yet he's armed to the teeth with samurai sword at the ready, when the thugs eventually decide they've had enough waiting and storm the house. The film then descends into a gory 'Home Alone' farce before labouring into an aimless torture chamber exhibition which defies logic.

There's technical elements which work well, but the plot needed more development to be convincing, and the overall result is disappointing.

Small scale Australian drama concerning telemarketer Ruby (co-writer Traicos) abused as a child being shown how to confront her past by former childhood friend James (Doran). Ultra low budget psychological drama is more like a telemovie in scale and production values, but displays plenty of emotional depth as the pair rekindle their affection amid Ruby's ongoing struggle to reconcile her torrid past.

James has his own demons with which to contend, and when she's not lost in a fantasy world talking to invisible friends, Ruby is ruffling feathers at the local business where a kindly Korean businessman has taken her under his wing (much to the chagrin of his niece who views her colleague's behaviour as detrimental to business growth).

Lack of lighting and shadowy cinematography is sometimes an unwelcome distraction and the makeup applied to Traicos is unusual, but technical issues aside, the story is coherent with a watchable, offbeat performance from Traicos.

1958 colouring of the Paulette Goddard 1949 vehicle tells the story of an outcast daughter of an African-American extended family lured back into their dysfunctional orbit as a potential suitor to a well-to-do visitor, so the greedy children and their spouses can take advantage of his wealth.

Californian counter-culture collides with conservative Southern attitudes as Kitt (hired for her acting, not singing here) stars as the promiscuous, free-spirited but emotionally aloof Anna, Davis plays her sea-faring sometime boyfriend and Ingram plays the often delirious patriarch reluctant to let his wayward daughter back into the home, for the shame it will bring to the family. Amongst the rest of the capable cast, O'Neal stands out as the antique-dealing, metaphor-mixing architect of the scheme, whilst Cooley is notable as the responsible daughter-in-law whose moral barometer rises above the antics of her money hungry in-laws.

Sharp, witty dialogue is regularly laugh out loud funny (e.g. 'you'd only be cheapening yourself' met by 'I'm not too expensive anyway') delivered by a tight ensemble of seasoned stage performers who ply their trade with immaculate timing and precision. Sometimes difficult to tell if it's a dark comedy or true tragedy, but the bittersweet ending balances out any dramatic unevenness, leaving a memorable, lasting impression.

Surrealist adaptation of Arthur Miller's famed play about ageing travelling salesman Willy (Hoffman) struggling to come to grips with generational change, who feels betrayed by his sons who've failed to live up to the unrealistic expectations he has for them as captains of industry.

Malkovich is the highlight playing Biff an underachiever desperate to find his own path, Lang too is effective as his less assertive brother Happy, and veteran Canadian actress Reid excels playing Willy's long suffering wife trying to keep her fragile family from falling apart, loyal to her husband's anachronistic ways and also her children who are starting to embrace more contemporary lifestyles. Linda Kozlowski also appears in a small role as a restaurant patron, holding her own in little more than five minutes of screen time.

Makeup and props gets Hoffman into the role, but unlike Lee J. Cobb who was in his late-30s when he originated the role, he still seemed too young to transform into Willy Loman, his movement stilted and appearing unnatural, the light in his eyes defying the rigours of a tired life now coming to an ignominious end. I was glad to see him tackle a more dramatic role considering his move away from more serious themes by the mid-80s, notwithstanding, he's not right for this part.

An ensemble effort to translate the 1949 stage for the 1985 screen and still manage to captivate an audience, but certainly not the best of its breed.

Going by the title 'Eyewitness' when I saw the movie (which isn't as ungainly as the alternative 'Trapped by my Father's Killer'), is this sometimes suspenseful though frequently predictable Canuck crime-thriller concerning an escaped prisoner seeking revenge for his supposed wrongful incarceration on a double murder rap. Unfortunately most sleuths will find the answer to the mystery is telegraphed too boldly in one particular scene, but it's still somewhat fun getting there, even if the eventual climax becomes a little repetitive.

The central characters played by Booth and Olejnik are a bit uneven but that seems to be more a functional fault of the plot which is too contrived and simplistic, the turning point in the story attributable to a fairly significant oversight which defies logic. Similarly weak is the time pressure Olejnik's character is under to solve the mystery before his daughter is adopted, but it at least gives Booth's character a reason to feel some sympathy for his plight.

Technically it's fine for a telemovie (Canadian, shot on location) although some of the supporting performances are a little stilted and there's unnecessary padding used to beef up the runtime in the absence of a more elaborate plot. Occasionally tense yet very predictable desktop mystery might leave you feeling a little short changed with the all too neatly wrapped conclusion, and so overall it's an average TV movie time filler.

Ultra-light feel-good romcom stars Cor as the whimsical, easygoing manager of a garden nursery who talks to plants, drives a cool mustang and tries to make his new boss (Newbrough) see the human side of the business as they stage a garden makeover competition ostensibly to cover an oversupply error.

Whilst touching, the dementia sub-plot could've been handled more tactfully and still evoked the sympathy it was seeking, but at least the tone is consistent. For her part, Newbrough is effective playing a conflicted corporate protege dedicated to making her insensitive business-obsessed mother (Kruper) proud, but begins to lose her ambitious resolve when she becomes emotionally - then romantically - invested in Cor and his more balanced, family-first attitude.

Everyone acquits their roles with confidence, and the simple story hums along at a brisk pace although it sometimes feels like a corporate HR leadership video with a script and budget to match. Overall it's hopelessly cliched but likeable Canadian-made matinee, with a distinct Hallmark vibe.

Cave is a twisted girl-stalker whose obsession with lawyer Davis turns deadly. Creepy is an understatement as the diminutive Cave craves the lifestyle of the successful legal eagle, becoming increasingly unhinged but despite the sinister intentions, this Canadian TV psychological thriller is threadbare on plot.

Although imitative of 'Single White Female', there's only so many times a stalker hiding behind trees, peering forlornly through windows and maniacally stabbing pillows can be tolerated before it wears thin. Cave is scarily believable but her character needed better dialogue, whilst the storyline was cheated by a weak climax that lacked imagination.

Economical, brisk-paced telemovie is too superficial and lacking logic to be truly effective, but still possesses enough structure and suspense to be a passable matinee thriller.

Junior Van Dien joins the Asylum in this San Andreas for kids, with Mariska Hargitay lookalike Castles starring as seismologist and university academic who's discovered a way to predict earthquakes, but her previous record makes her the girl who cried wolf. That is of course until her predictions become a grim reality, prompting a mercy dash to reach her stranded daughter (Van Dien who appears to be impersonating Avril Lavigne) who's now trapped in an old hotel.

Hints of 'Earthquake', 'Hanging by a Thread' and 'The Towering Inferno' sprinkled with some occasional light humour but as per usual most the action takes place behind the wheel of a car as the central characters find their path blocked at almost every turn - the most absurd obstacle being an angry hippopotamus that's escaped from the city zoo. The CGI effects are typically terrible, the dramatic tone uneven, whilst the plot is so contrived it's laughable.

Puerile dialogue doesn't help matters, but in truth somehow its not as insufferable as many of these B-grade disaster movies have been in recent times, mostly thanks to the acting ability of Castles on whom the weight of this film rests. She runs, jumps, commando rolls, coughs, cries and does just about everything an actor could possibly do and whilst it's still nowhere near enough to resurrect this nonsense, she at least makes it vaguely watchable.

Whilst I was unfamiliar with the 'Subspecies' franchise, I found it wasn't an impediment to understanding the straightforward plot of this supernatural vampire trope which unfortunately focusses too much on blood (gallons of it) and severed heads over storyline and logic.

Whilst the Romanian location photography is gothic and eldritch, the familiar bitey behaviour of the voracious undead who populate the city's underworld society isn't enough to hold the attention. Despite their attractiveness, there's only so many half-naked women having their necks (and other anatomy) gnawed which can be borne before it becomes dull and repetitive.

Aesthetically it's accomplished, the sinister set design, ghoulish makeup (check out those Nosferatu-esque talons on Hove's character) and excessive gore effects are all technically first rate, but unless you're a vampire devotee, this is unlikely to keep you entertained.

Gruesome yet elegant, if it were enough to succeed at just the audio-visual elements, then this film would be a minor achievement, but the plot is thin and cliched (e.g. The jerry can and matches which just happen to be laying around the tomb) leaving an overall hollow impression of a picture made exclusively for style over substance.

Well-acted drama finds an aspiring boxer working as a parking valet, trying to provide for his teenage brother and himself despite encountering great hardships. When his part-time job as a bouncer ends badly, the aftermath sets off a chain of events that eventually lead both himself and the other main character (who's paradoxically trying to escape the trappings of his family's wealth and father's influence over his life) into ruin.

The outlook for the characters is bleak, and the film depicts a life of diametrical extremes with privilege and corruption bearing down on entrenched disadvantage and cultural discrimination, which offers no meaningful relief.

A few major plot holes aren't total deal breakers but they do leave more than a few unanswered questions that diminish the overall satisfaction with the film.

Well photographed, acted and technically competent, there's a seed of a decent film which just needed another twenty minutes and some deeper storylines to achieve success. Otherwise it's a grim but compelling short film which shows great promise for the future of Kazakh filmmaking.

Paramount quickie stars MacMurray and Lombard in another pairing as lovebirds whose young marriage is threatened by MacMurray's success as a master band trumpeter, and the reappearance of smouldering former flame Lamour.

What begins as a light romantic comedy shifts gear becoming a tragedy in which the fragile union is put under immense strain by MacMurray's neglect. Whilst Lombard's character preserves her dignity, MacMurray imbibes his way to ruin becoming a wasted mess who loses the confidence to play.

Tense and suspenseful when it needs to be with sincere performances (including the exotic, confident Lamour in only her third picture) only the 'blow your horn' climax and corny embrace is a little dubious, albeit well-intentioned. Pay attention and you'll see a young Anthony Quinn playing the young thug who accosts MacMurray in the bar early in the picture.

Overall this modest melodrama deals with its subject more sensitively than most for its era, but it's still no brass virtuoso.

Picturesque and attractively designed, but ultimately superficial and illogical, 'The Last Time I Saw Paris' is a melodramatic tear-jerker that revolves around Johnson's struggles as a writer at the end of WWII, and the toll it takes upon his formerly fun-loving wife played by young Taylor.

In her early career, Taylor regularly played characters well beyond her years, and this performance is no different cultivating a character who ages around eight years, transforming from youthful free-spirit to depressed wife and mother as the chronically inebriated Johnson laments his lack of success.

Pidgeon co-stars as Taylor's father who's easy-going philosophical nature feeds their lavish, carefree lifestyle but the excess ultimately proves destructive. Central to the plot is Donna Reed's character as Taylor's older, more rigid sister, scorned by Johnson, years later still unwilling to forgive him for his neglect, and Roger Moore also has a prominent supporting role as a tennis gigolo in his first credited Hollywood role.

Intense subject matter is treated much too casually whilst the climax is too convenient to be plausible, nevermind how endless Johnson's empty gaze and damp eyes might try to convince you otherwise. So too the rushed conclusion that neatly reconciles loose ends, panders to audience approval but does nothing to redeem an already vapid storyline that's lost touch with reality. Attractive but disappointingly trivial.