Tag: australia

Agent Elite

  By

★★½
“Aus-tomatic weapon.”

When she was very young, the parents of Alex (Karpati) were killed by Lester Casey (Richards), on the orders of the shadowy organization for whom both he and her father worked. She was adopted by them, and brought up, trained in a variety of lethal arts, to become a perfect weapon. However, her mentor, Montgomery Lomax (Grillini), also instilled in her an unwelcome sense of right and wrong, and when he dies, she goes on the run from the organization. After defeating the agents sent to take her out, they use that moral compass to entrap Alex, and bring her back under their control. Brainwashing ensues. Whether it will stick, and the consequences if it doesn’t, are to be determined.

Initially, this isn’t bad. You have to accept the conceit that, having spent so long creating Alex as an operative, a clandestine group would simply write her off on the basis that, and I quote, “Retrieval and debriefing are time consuming.” Oh, like the seventeen years you spend training her weren’t? Similarly, despite knowing what she’s capable of, they waste further time and resources, sending operatives after her, one by one. Still, we’ll take it, since Karpati clearly knows her way around a punch, even if appreciation of her skills is hampered, rather than enhanced, by the over-active camerawork. I’d also have preferred actual blood and head-shots over the dubious, if enthusiastic, CGI we get here.

However, it keeps moving and there’s no shortage of action, so is entertaining enough. I’d not have minded seeing what else Karpati can do, but looks like she hasn’t appeared in any released feature-films over the eight years since this was completed. Seems a bit of a pity. Unfortunately, things get rather derailed after her capture, re-programming and subsequent release. This requires Karpati to act, and it almost feels as if her heart isn’t in it. She is, however, miles better in the drama department than Dane (Matheson), the guy she bumps into at the laundromat, and with whom she begins a relationship. His performance is so bad, it’s positively a distraction during ever scene in which he appears.

The plot somehow ends up with Alex being captured by some Islamic fundamentalists, albeit only temporarily and to their ultimate demise.  Though this comes about so quickly, it feels as if there was a missing reel in the picture. One minute, she’s having a chat with herself in the mirror (a scene which is actually quite nifty, in a Gollum kinda way), about the best way to dispose of someone. The next we see of her, she’s dangling like a piñata in a warehouse, supposedly in the Pakistani province of Waziristan. Wait, what? Naturally, it all ends with her facing off against Casey, after she discovers what he did to her parents. Another problem is, this finale is both obvious and its execution provides no sense of escalation, action-wise. The first half sets relatively high expectations on this front, that the second half all but abandons, and certainly doesn’t match.

Dir: James Richards
Star: Naomi Karpati, James Richards, Mirko Grillini, Chris Matheson
a.k.a. Agent Provocateur

Ride Like a Girl

  By

★★½
“Trots, when it should gallop”

This opens and closes with footage and photographs of the real Michelle Payne, who is the subject of the film. Part of me wonders if that documentary approach might have proved a more successful one, rather than the parade of sports drama cliches we get here. Admittedly, quite a lot of them are based in fact. Payne was the first woman to ride to victory in the Melbourne Cup – that’s Australia’s premier horse-race, roughly equivalent in prestige to the Kentucky Derby or Grand National in the US or UK respectively. This alone, is quite an achievement. But she did so as one of ten brothers and sisters, who largely had to bring themselves up after their mother died when Michelle was only six months old. Her father was a horse trainer, and no fewer than eight of his offspring became jockeys, including Michelle of course.

In this version, Palmer plays the heroine, with Neill the ever-tolerant father attempting to steer her career. It’s not easy, with Michelle having to deal with a racing establishment that still doubts women can be as good jockeys as men, before eventually convincing owner Darren Weir (Stapleton) to give her a chance. She also has to come back from an fall that left her with a fractured skull and bruised brain. Then, she almost lost the opportunity to ride her horse, Prince of Penzance, in the big race after being suspended for racing tactics perceived as dangerous, fairly or not. In other words: basically checking off all the obvious impediments, and the film adds little or nothing of note to them, though some of the racing footage is effective enough. [The film, probably wisely, glosses over post-Cup events. Prince of Penzance went lame and had to retire; Weir was charged with cruelty to animals; and Payne got another suspension for amphetamine abuse. Oops]

It works better when it’s remaining grounded, in a way only Australians can be. Neill does a good job of that as the long-suffering father, and it’s a shame he all but vanishes from the second half of proceedings. It does offer amusing moments like watching a posse of nuns (or whatever the collective term is for them!), marching into a bookmakers on Melbourne Cup Day to bet on Payne and her pony. Much credit is also due to the film-makers for letting Payne’s real-life brother, Stevie, who has Down’s Syndrome, play himself in the movie. But it does suffer from what is likely an inevitable problem given the source material: we know how it’s going to end, and how it’s going to get there as well. Given this, taking a few more risks with the approach or the portrayals of the characters might have been warranted. Instead, Griffiths seems intent on taking the safest route she can find between plot-points which are largely obvious. The results are, as you’d expect, little more than feel-good fodder.

Dir: Rachel Griffiths
Star: Teresa Palmer, Sam Neill, Sullivan Stapleton, Stevie Payne

Tomboys

  By

★★★½
“What happens in the barn, stays in the barn…”

Dark in literally every sense of the word, this Australian film unfolds in close to real-time. Five women, fed up with the abuse of a local sexual predator, kidnap him and take him to a building on a farm owned by one of them, to teach him a lesson. However, it’s not long before their revenge begins to go off the rails. Firstly, not everyone is quite as on board as with the plan. Kat (Day) is the most gung-ho, intent on exacting the most brutal flavour of retribution. But at the other end is Imogen (Hall): barely have things got under way, and she’s already having second thoughts, as the apparent weak link. Then, after the savagery has got under way, the women get a phone-call, from their intended target. Yep, they got the wrong victim. But is anyone really innocent? Or should they just do a twofer?

This certainly doesn’t feel it was made over a decade ago; its themes are right up there with a post-#MeToo world. On that basis, it was interesting to compare this to the woeful recent Black Christmas remake, watched the same weekend. which was also (at least in its early stages) about a group of women coming to terms with “rape culture”. Tomboys adopts a much more direct approach, yet is also rather more nuanced, offering a broader spectrum of opinions, even as it’s basically five chicks in a shed for an hour and a half. Which tells you a lot about the dismal failure of Christmas, I suspect. This, however, doesn’t shy from violence: not so much in an explicit depiction as in reactions and results, which are arguably just as horrific. You wonder how Cat could possibly justify the savagery in which she indulges. Then, towards the end, you hear her story, and it’s thoroughly ugly, repellent stuff. Never mind, Cat – please continue wielding that blow-torch…

However, I was irrationally annoyed by the cinematic style, with Hill pushing the camera in too close, and also keeping the lighting at the dimmest level. I get why he opted for this approach, to create a claustrophobic intensity. It doesn’t mean I have to like it, however. For some reason, I prefer being able to see what the hell is going on when watching a film, and there are times here when I simply can’t. [The still, top, is considerably more well-illuminated than 95% of the film] Not sure we necessarily needed five female characters, either; Cat, Imogen and one other would probably be enough. Yet this remains solid where it matters most, in the story and performances. There were sufficient twists to keep me engaged, and the main roles were well-differentiated, despite the limited setting. This could very easily be a stage play, albeit one harkening back to the days of Grand Guignol. It’s a production I wouldn’t mind going to see.

Dir: Nathan Hill
Star: Candice Day, Naomi Davis, Sash Milne, Allie Hall

The Nightingale

  By

★★★
“Pack your bags, we’re going on a guilt trip!”

History is largely filled with people being unpleasant to each other, usually for belonging to a different race, religion, nationality or even species [if you want to go back to the Cro-Magnons pushing out the Neanderthals about 40,000 years ago]. It’s sad and unfortunate, but it’s not something for which I feel personal responsibility – not least because it tends to work in both directions. My ancestors may have been part of the British Empire who, for example, invented the concentration camp in the Boer War. But my ancestors were also subject to the ethnic cleansing of the Highland Clearances, forced out to make way for sheep. Attempts to make me feel guilty for the sins of my forefathers are thus largely doomed to fail.

And what we have here, is a well-crafted exercise in manipulation. It’s set in what is now Tasmania, then a penal colony where the British garrison were trying to maintain control, both of the prisoners and the indigenous population, using savage brutality against both. One of the former is Clare Carroll (Franciosi), an Irish woman convicted of theft who is now married to another prisoner and working in an army garrison. She is at the mercy of Lieutenant Hawkins (Claflin), who wields a letter of recommendation, which would give Clare and her family freedom, as power over her. Circumstances escalate to a night where she is raped and left for dead, while her husband and infant child are murdered. Hawkins leaves for the capital of Launceston, in pursuit of a promotion. Clare follows, intent on revenge, helped on the trail by Billy (Ganambarr), an Aboriginal tracker, who has also borne the brunt of colonial savagery in his past.

It’s effective, in the same way that a 2×4 across the head will get your attention. It’s not exactly subtle in the parallels being drawn between Clare and Billy, who have both suffered at the hands of the evil Brits, and who subsequently bond over their victimhood. Hawkins is such an evil swine, he might as well spend the entire film twirling his mustache. But despite being such an obvious attempt at generating outrage, it’s not without its merits. Franciosi delivers a fierce and intense performance, as someone who has lost everything, and so is prepared to go to any lengths to take revenge on those who destroyed her life.

Perhaps the most chilling sequence has her hunting down a soldier, already wounded in an encounter with the local population (which seems to have strayed in from an 80’s Italian cannibal film!). The savage way in which she takes him down and then beats his head to a pulp with her rifle-butt… Yeah, she is clearly highly motivated. However, the simplistic way in which white men are, almost without exception, portrayed as stereotypical villains undoes much of the good work put in by the actors, and dampens its overall effectiveness.

Dir: Jennifer Kent
Star: Aisling Franciosi, Baykali Ganambarr, Sam Claflin, Damon Herriman

The Furies

  By

★★★½
“The Most Dangerous Game (mixed doubles edition)”

There has been a whole slew of films over the year which have been based on the theme of “hunting humans”. Initially, this Australian entry seems to be going straight down the same line. Kayla (Dodds) has an argument in the street with her best friend. After the latter storms off, Kayla hears her shout for help, but while investigating, is herself abducted. She wakes to find herself in a crate in the middle of some very remote woods. She discovers other women in the same situation, and that they are being chased by beweaponed, masked men with very unpleasant intentions. The area is ring-fenced with electronic barriers which block any exit: survival is going to require Kayla to tap into her inner savage.

All of which is largely as standard, save for some eye-poppingly intense gore. This starts early on, with someone losing the front of their face to an ax. Very slowly. [It was at this point I stopped the film until Chris got home, so she and I could watch it together. Yeah: our “date nights” are a little strange!] There were similarly impressive moments throughout, with a preponderance of practical effects, of which I’m always a fan. Anyway, back at the plot, the other twist also becomes apparent, in that the masked attackers are not operating as one. Indeed, the opening sequence makes clear that them attacking each other is also part of the “game”. And, it turns out, the same goes for the supposed victims. Not for nothing are the crates which hold them and the women labelled “Beast #X” and “Beauty #Y” as appropriate… 

This is a very smart move, adding a whole skein of twists to proceedings, and giving a set-up where Kayla doesn’t know who she can trust on either side. The resulting paranoia brings so much potential for conflict, it is actually a shame the angle doesn’t really blossom until the final third. It would have been more fun, and certainly more obviously “different”, if the ground rules had been established from the beginning. Perhaps with an induction video given by a hyper-perky presenter, as in Battle Royale. There’s definitely a sense of a bigger picture here, which is only glimpsed occasionally. Knowing more about it would have made for a different, and arguably better, experience. The same goes for the technological beats, which raise more questions than they answer.

Another interesting aspect is that there is not a single speaking role for a man in the film. That’s not something you see often, especially in the horror genre. Given the first time we see the heroine, she and her friend are graffiting “FUCK PATRIARCHY” on a wall, this is presumably not accidental, though the movie never puts the message ahead of its story. While men are seen and not heard, the movie makes it clear that women are hardly saintly creatures, inevitably relegated to the role of victim. It turns out, they can be just as malevolently vicious as men. And that, I feel, is true equality at work.

Dir: Tony D’Aquino
Star: Airlie Dodds, Linda Ngo, Taylor Ferguson, Ebony Vagulans

The Precipice

  By

★★
“Teeters on the edge of complete failure”

There’s nothing wrong, as such, with a film playing its hand close to its chest. However, you’ve got to give the audience enough information to keep them interested, and wanting to find out more. It’s here that this movie fails entirely, doggedly remaining so reluctant to tell you anything, I wanted to strap it down in a chair and start waterboarding. We don’t even get names for anyone involved, it’s that willfully unforthcoming. This begins in the aftermath of a shoot-out at a wind-farm, from which there are apparently only two survivors: a woman (Szep) and her captive (de Francesco). They head across the rural terrain towards a rendezvous with her allies, pursued not only by the captive’s allies, but also other interested parties.

I’ll fill in some of the background, since the movie is painfully averse to doing so. There is a looming, if not already happening, ecological catastrophe, which will result in the loss of all potable water. This may potentially lead to the collapse of civilization, particularly in the more crowded Northern hemisphere. The 1% are aware of the impending situation, and are plotting to head south, taking over resources there for their own benefit – in particular, a large underground water source. This is what the captive was involved in, and what the woman is attempting to prevent. Yet there may also be other, hidden agendas.

The interplay between the two leads is probably the best thing about this, with trust hard to come by on either side. For instance, just before bedding down, he asks her, “What makes you think I won’t slit your throat in the middle of the night?” Her reply, which genuinely made me LOL: “Probably the ketamine I laced your food with,” just as he falls unconscious. It’s a shame their relationship operates in such a vacuum, as far as reasons to care go. Both she and he clearly know what’s happening here: they’re just unwilling to share this data with the audience, and the result is a low-intensity apathy. Which is a bit of a pity, since Szep is decent, a low-rent version of Rhona Mitra, and the pursuing group is led by another unnamed woman (Walker). Say what you like about this dystopian future, at least it’s clearly an equal opportunity one.

The scenery is quite nice, and well-photographed too, though I was a bit confused by the lobbing in of some South African references. I guess it’s all Southern Hemisphere. There’s also a scene where the woman just lets her captive run off, because… Well, like just about everything else here, it goes unexplained. Perhaps the most telling point is, I actually ended up watching this twice, because the first time, I got an hour in and realized I had no real clue what was happening. I blamed this on my having been distracted somehow, so restarted it. Nope. A second viewing proved it was truly a case where it was the movie’s fault, and not mine.

Dir: Michael Hatch
Star: Paris Szep, Vito de Francesco, Alyson Walker, Benjamin Francis Pascoe

I am Mother

  By

★★★½
“Lies, damned lies and motherhood.”

After an extinction-event has turned Earth uninhabitable, an underground “ark” holds thousands of human embryos, overseen by a robotic Mother (voiced by Byrne, performed by Hawker). One embryo is brought to fruition, becoming Daughter (Rugaard, resembling a young Jennifer Garner), who grows up into a young woman, educated by Mother to believe she’s alone on the planet. But she begins to doubt what Mother tells her, and these doubts are confirmed when another, older woman (Swank) shows up. Let in by Daughter, she tells tales of humanity outside struggling for survival against robot killers. Everything Daughter has been told is a lie. Or is the new arrival telling the whole truth either?

The film’s main strength is the way it manages expertly the shifting sands of audience perception. Initially, we’re led to believe that Mother is potentially the saviour of humanity. However, it soon becomes clear that the robot is not being entirely honest with her charge, and our sympathies move towards the Woman, who wants to rescue Daughter from her enforced isolation. Yet, in the end, there’s another agenda there as well, and right until the credits roll, you’re kept watching to see beyond the next bend in the story-line. While there are clues dropped, almost from the beginning, you may not notice them until everything comes together. Or perhaps even past that point; I’ll confess, I did have to do some light post-viewing Googling in order to grasp all the consequences.

It’s rare, especially in the SF genre, to see a film without a male speaking part [bar some archive footage from The Tonight Show, anyway!]. Though one senses any money saved on the small cast was simply diverted to an impressive set of production values, depicting not just the facility, but also the devastated outside world after… well, whatever the extinction event was, since it’s never described. That’s not really the focus of the film, yet I felt it was a bit of a shame, The story of the Woman’s survival, up until she came banging on the door, would have been equally interesting as the Daughter’s. I do have… let’s just say, some questions about the coincidence of them arriving at the air-lock at the same time, and also the Woman’s plot-convenient amnesia.

At 113 minutes, it does run somewhat long, and is a little light on action for my tastes. The film is definitely on the more cerebral side of science fiction cinema, something not apparent from the trailer. Rather than explosions, the script prefers to pose awkward questions about the needs of the many outweighing the needs of the few, or the moral implications of ripping it all up to start again. However, it never sinks to boring, with decent performances which help guide the film through the occasional doldrums. Hat-tip to Rob for steering me in the direction of a film which I’d otherwise likely have skipped past, in the never-ending and ongoing stream of Netflix original movies.

Dir: Grant Sputore
Star: Clara Rugaard, Rose Byrne, Hilary Swank, Luke Hawker

Tidelands

  By

★★★
“Attack of the killer cartel mermaids.”

Cal McTeer (Best) has just got out of prison after serving a 12-year sentence for arson leading to murder, a crime she committed as a teenager. Returning to her home town of Orphelin Bay, she finds her brother, Augie (Jakubenko), now working as a conduit for drugs, with the connivance of at least some local cops, and supplied by the mysterious Adrielle Cuthbert (Pataky). She oversees a commune near town called L’Attente with a zero-tolerance policy for dissent, and uses the proceeds of her narco-aquatics to fund a worldwide search for mysterious fragments of pottery. Turns out she is queen of the Tidelanders: the offspring of humanity and legendary sirens who inhabit the ocean. Though Cal doesn’t know it initially, a near-death experience shows that she is of similar stock. Adrielle doesn’t like the competition. And neither does local gangster Gregori Stolin (Koman), who is intent on muscling in on Augie’s business, and cutting out the middleman, to work directly with Adrielle.

It’s part Banshee, part True Blood, and part its own strange creation. It could well have been just a crime drama with familial overtones, an antipodean take on Sons of Anarchy: Cal’s father was lost at sea, and her mother spent what should have been the resulting inheritance on buying the local bar. Yet the makers opted to add fantastical creatures into it, though the sirens themselves are only ever glimpsed in cameo, at least for the first series. It is refreshingly gynocentric: Cal vs. Adrielle is the dynamic at the core, and considerably more interesting than Augie vs. Gregori, with neither woman prepared to give an inch of ground.  There’s no doubt who’s in charge, Adrielle dealing ruthlessly with any challenges to her authority, helped by the seer she keeps chained up in the basement.

It doesn’t end in any meaningful way, and I presume this first Netflix original series to come from Australia will be returning to expand further on the mythology set up in its debut run. For example, I was intrigued by the brief depiction of an apparent anti-siren secret society, run by local women who lost their men (one way or another) to the creatures, and maybe this will be developed further next season.  There’s something of a soap-opera feel to it as well, in that almost everyone is uniformly attractive, and seem to be having copious amount of sex – whether for pleasure or power. The sunny seaside setting also lends itself to plenty of cheesecake for both sexes, whether it’s shirtless beach bods, or Adrielle’s apparent aversion to bras.

Best makes for a solid heroine though, who takes no shit from anyone and, as is clearly demonstrated from her opening scene, is more than capable of taking care of herself – in or out of the water. She and the better-known Pataky are always worth watching in their scenes. While I’m not quite as convinced by anyone else, there was still enough to get us through these eight episodes, and leave us hungry for some more fish tales.

Creators: Stephen M. Irwin and Leigh McGrath
Star: Charlotte Best, Elsa Pataky, Aaron Jakubenko, Jacek Koman

Tarnation

  By

★★½
“The Dead Evil.”

Following on after From Parts Unknown and Sheborg Apocalypse, this is my third encounter with what Armstrong calls “Neo pulp.” All three have strong heroines at their core, which is something I can get behind. But I suspect his approach works best when he builds out his own universe, as in Sheborg. Here, the inspiration is the classic horror of The Evil Dead trilogy (particularly Evil Dead 2), which is a bit of a double-edged sword. You need to have seen those films to get the references – and, in Armstrong’s defense, I suspect most viewers of his work likely will have. The problem, and there’s no escaping this, is Sam Raimi did it better, leaving this feeling almost like an Asylum-style mockbuster. Turning Ash into Ashette and hanging an Evil Dead poster on the wall of your cabin isn’t enough.

Most obviously, Masterman isn’t Bruce Campbell. While fine in Sheborg as the sidekick, she doesn’t have the presence necessary to drag the viewer along on her journey to a blood-drenched hell and back. Oscar (Masterman) is a wannabe singer, fired by her band, who heads off to a remote cabin with her best friend and friend’s boyfriend. Of course, anyone who has ever seen any horror movie will be unsurprised when things go wrong, in particular her BFF being possessed by some kind of entity. Though there’s a lot of… stuff going on besides. Said stuff includes a flying demon with a unicorn’s head, a boxing kangaroo, a rap battle, and insects crawling out of places insects were never meant to go. And blood. Lots of blood.

There’s no arguing the energy here: when the film gets going, it pretty much doesn’t stop thereafter. However, I’d have traded a sizeable chunk of that energy for coherence. Or a sense of escalation. Or anything to help negate the feeling this consists of Armstrong and his team throwing whatever ideas they could come up with, on the screen, in the order they came up with them. Some of those ideas are fun, and you marvel at the low budget inventiveness. which makes a hole in the floor with a rug on it, a portal to the netherworld. Others don’t work, outstay their welcome, or have execution so flawed they should have been strangled at birth.

As a result, the energy becomes increasingly wearing on the soul, to the point that Oscar discovering the magic words to restore normality are, “Klaatu Barada Necktie,” provoked a tired eye-roll rather than the intended mirth. As loving recreations go, it’s certainly not bad; however, if I wanted to watch a blood-spattered story about a weekend spent at a cabin in the woods gone horribly wrong, I’d watch The Evil Dead and its sequels. Hopefully, Armstrong can develop something that shows off his unquestionable talent, imagination and ability to squeeze every penny out of the budget, on its own canvas, rather than painting on top of someone else’s masterpiece.

Dir: Daniel Armstrong
Star: Daisy Masterman, Emma Louise Wilson, Danae Swinburne

Sheborg Massacre

  By

★★★½
“Australiens”

From the director of From Parts Unknown, and offering a similar pastiche of cult elements – in this case, alien invasion films rather than combining wrestling and zombies. It works rather better: Armstrong seems to have better restraint here, letting the entertainment value flow more naturally, rather than feeling the need to force his hip credentials on the viewer. Dylan (Duff) is a self-proclaimed anarchist, a rebel whose father is running for mayor. She and her pal, Emma (Masterman) get involved in a plot to liberate the inhabitants of a puppy mill, only to find themselves embedded in the middle of an alien invasion. It’s up them, along with geek Velma (Monnington) to save the day and prevent the cyborg queen (Wilson) leading the invaders from powering up.

This feels a bit like the very early works of Peter Jackson – Bad Taste in particular – with a spirit that sits somewhere between “can do” and “screw you.” The nods to other movies are copious, not least the poster (right), which is straight retro fire: Emma is an almost shameless clone of Dianne from Shaun of the Dead, while Velma, equally obviously given her name, is right out of Scooby-Doo. But the film takes these elements, and meshes them together into something a bit more than that. Not least, you’ll rarely find a B-movie with quite as many strong female characters on both sides of the script. I’d like to have seen more of the queen – she spends most of the film off-screen, operating through her minions. Yet those minions are no less bad-ass than the heroic trio of women fighting them, particularly the former puppy farm overseer, up against whom Dylan has to go on a number of occasions.

There’s a certain sweet spot which a film of this kind needs to find, located between taking itself too seriously and not seriously enough. You need to be aware of your own limitations, acknowledge them and work around these, and generally, this does a good job. For instance, what the film may lack in quality for its special effects (the mask on the queen is particularly half-assed), it makes up for in the sheer volume of blood, goo and alien slime which ends up hurled everywhere – not least over its characters! The action style is also interesting, with editing used well to enhance the impact of the fights, when it’s clear the skills of some participants are… limited.

It’s not perfect, certainly: you’ll still need a tolerance for low-budget cinema, and ideally a love for and knowledge of, the kind of content which is its inspiration. You may find the pacing uneven, especially in the second half, and certain elements just don’t work, such as the shoehorning in of a punk band whom, I can only assume, are present because they are mates with the director. It’s certainly not because they have any acting skills. However, it remains the kind of film which I’m prepared to cut significant slack, and after the underwhelming nature of Parts, I’m now highly interested to see what genre Armstrong mines for his next “neo-pulp” effort.

Dir: Daniel Armstrong
Star: Whitney Duff, Daisy Masterman, Louise Monnington, Emma-Louise Wilson