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Showing posts with label Australian film. Show all posts
Showing posts with label Australian film. Show all posts

Sunday, 16 February 2014

Tracks - Review

Reviewed by Regi Su
Directed by John Curran, “Tracks” is an Australian film adapted from Robyn Davidson’s memoir, detailing the author’s journey across the Australian desert. The film was shown at the 2013 Toronto International Film Festival (Special Presentation) and the 70th Venice International Film Festival 2013 (in Official Competition). “Tracks” was the opening film at the Adelaide Film Festival in 2013. The film hits cinemas nationally in early March 2014.
The filmed opened with an upside down shot of a small girl running along a dirt road. The camera held this panning shot long enough for us to see her shadow as a person, running towards us along the road, then on into the distance. We are invited to witness the true story of Robyn Davidson and we are invited to become a part of the narration. We travel with her as she faces adversity in the harsh outback and we’re at peace with her in the scenes of serenity. We look with her through her mind’s eye as she reflects on what lead her to walk the 2700 kms from Alice Springs to the Indian Ocean.
The film faces a number of relevant issues and comments on them- either as an observation or as a condemnation. In true Australian fashion, however, the socio-political commentary is very subtle and this is indeed a film that comes across as simple while having strong undercurrents. For example, there’s a scene where the protagonist, Davidson, goes to a pub in Alice Springs looking for work and there she encounters a scene of 1970’s racism and bigotry. It’s only a scene of a few seconds and if memory recalls, the sound is edited out, but it’s enough to understand the feelings of our central character. They don’t have to tell us that Davidson’s had a rough life, they only need to zoom in as she sits by a campfire picking out stones and pebbles from her feet as she rests after a day’s work on a camel farm.
The editing is superb. Just wonderful- the camerawork, seamless scene editing, flash-backs, audio overlays; everything is just so perfect. The camera tells us the whole story, the story is polished and truthful in examining the human condition. There was only one instance where I thought- “if I were creating this Robyn character, I wouldn’t have made her do something so incongruent with the character development”. Yet, this is a true story and moments later, I realised that Davidson was a human reflection, who made human choices and human decisions and it made the story so completely authentic.
The film values the outback as an entity to be respected. Not a harsh, barren, unforgiving hellmouth as other Australian films like “Wake In Fright” like to impose. No, this film captures the essential beauty that the outback paints. The cinematography makes this piece something worth seeing on the big screen, rather than just at home. Ultimately, it tells the simple story of a woman facing her demons, by going on a journey of self-healing. It’s an age-old story told countless times, in film such as “The Way”. However, this is totally unique in its portrayal of the outback, in its artistic storytelling and its dynamic exploration of the human condition. I can only sing its praises.
At times, the film can feel like it’s going to be stagnant- walking from the middle of Australia to the ocean could be rather monotonous for not only the traveller, but the audience as well. Alas, through added touches of humour and the rise and fall of grief, sadness, flashbacks and emotional exploration, the film is always dynamic. The film strays from the cliché- although it has all the elements of falling into that trap- for example, the 1970’s could’ve been a time worth presenting through caricature, or the Aussie larrikin may have lifted its head, or even isolated recluse-types living in the outback could’ve been portrayed with more insanity. Instead, the film presents a broken woman with dignity and integrity, gives respect to the small communities involved in the story and reveres the landscape. All credit goes to Mia Wasikowska for her incredible performance. I was totally awestruck by the premier of this film and I highly recommend it to anyone.

Tuesday, 13 August 2013

Paranoia - Review


‘Paranoia’ (Rated M)

OLDMAN GOES MEAN, FORD GOES BALD AND LUKETIC GOES FAMILIAR

Film theorists say that there are a small set number of plots or story-arcs and most films fit within one of these templates.

One of the most popular and regularly used story formulas is the tale of a young, naive wunderkind with a specific talent and potential who is given an opportunity to play in the big league and is taken under the wing of the key power figure of that particular company or industry. The fresh-faced kid rises to the top of the game and gets caught up in corruption and corporate greed, usually at the hands of their mentor/employer.

The new film ‘Paranoia’ from Australian director Robert Luketic (‘Legally Blonde’, ‘Killers’, ‘21’) follows this exact trajectory, with one small twist - there are two mentors/employers/key power figures.

New rising pretty boy Liam Hemsworth (The Hunger Games, Expendables 2, and the real brother of Thor, just quietly) stars as Adam Cassidy, a young and talented program developer, specialising in mobile technology, who works at the lowest level of Fortune 500 technology development company Wyatt Corp. Adam is struggling on minimum wage to support himself and his sick, widowed, blue collar father (Richard Dreyfus) whose wife passed away when Adam was young - cue emotional gravitas and character motivation. Adam clearly possesses the talent and a strong desire to escape his current life and be financially, professionally and socially successful but of course fails to recognise the things he should hold most dear - cue violins. After a failed presentation to the head of the company Nicholas Wyatt (Gary Oldman, in hard assed Brit mode), Adam mysteriously steals the company credit card, which is never explained, and parties the night away with his geeky friends (aka: ‘nerdburgers’). This act of fraud of course lands Adam in hot water, and consequently Wyatt blackmails him to infiltrate and steal corporate secrets from rival company Icon, led by Wyatt’s former partner and now bitter enemy Jock Goddard (a bald, snarling Harrison Ford). Greed, betrayal and a slick soundtrack ensue.

On that note, the film is very slick and glossy, which suits the rich, high-flying world this kid is caught up in, but does little to hide the fact that there is no substance underneath. All the performances are good and it’s fun seeing Ford and Oldman go head to head again (after ‘Air Force One’), as they try to ‘out-mean’ other, but there is absolutely nothing new in this. Its predictability, familiarity and light touch to dark, gritty themes prevents it from being particularly engaging.

The main problem I have with it though, isn’t just that Luketic is using a very common story template, but that he himself has done this story before. The 2008 gambling thriller, ‘21’, had exactly the same base story: young misguided, mathematics genius turns professional gambler under the guidance of a senior mentor (Kevin Spacey), gets caught up in the high-flying Vegas life style, gets betrayed and then uses his smarts to turn the tables. ‘Paranoia’ pretty much follows ‘21’, beat by beat, with the same slick delivery and character types.

Luketic is a confident and very capable film maker who rose up the ranks after his 2001 hit ‘Legally Blonde’ (you know a film is a phenomenon when it gets a stage musical adaptation), but after lesser films ‘The Ugly Truth’, ‘Killers’, and ‘21’, he really needs to find some meatier source material.

‘Paranoia’ is easy watching and it moves along at a decent pace, so it provides an hour and a half of entertainment for the undemanding, but it’s so familiar and predictable that you spend the entire film comparing it to ‘21’ and fantasizing about how good a film Luketic could make with a stronger, more original premise. My rating: 4/10.

‘Paranoia’ (Rated M) is released in Australian theatres on 5 September.

By Dane Hiser
@DaneHiser on Twitter
www.danehiser.wordpress.com