Reviewed by GREG KING
Director: J Blakeson
Stars: Gemma Arterton, Eddie Marsan, Martin Compston.
The new British thriller The Disappearance Of Alice Creed was one of the stand out films at this year’s Melbourne International Film Festival.
Two ex-cons kidnap Alice Creed, the daughter of a wealthy businessman, and hold her for ransom in their dingy apartment. In the opening montage we see their meticulous preparations, including sound-proofing the bedroom and installing several locks on the doors. The crime is executed with brisk efficiency, but then things begin to slowly fall apart. While the two kidnappers await a response to their demands, the balance of power within the confined apartment constantly changes.
The Disappearance Of Alice Creed marks the first feature film from young British director J Blakeson, who is better known for his short films. Although seemingly shot on the smell of an oily rag, Blakeson has made an impressive debut with this sharply written thriller. He directs the material with ruthless efficiency and ratchets up the suspense.
The Disappearance Of Alice Creed is a terrifically taut, tense and claustrophobic thriller. It is very theatrical in its staging, with only three people in the cast and most of the action confined to a couple of cramped interior locations. However, it has plenty of twists and turns and a palpable air of menace that keep the audience hooked. Like other very stagy British thrillers that featured a small cast and claustrophobic settings – the original Sleuth, Danny Boyle’s Shallow Grave and the recent 44 Inch Chest, etc – this is a sinewy beast that continually subverts the audiences’ expectations.
Blakeson is assisted wonderfully by a trio of strong performances that get inside the skin of their characters as they casually betray each other and try to gain the upper hand.
There is a compelling and menacing turn from Eddie Marsan (the driving instructor in Mike Leigh’s Happy Go Lucky, etc), who is excellent as the reptilian and volatile Vic, who constantly seems ready to erupt into violence. Martin Compston, who made his debut as the fresh-faced protagonist in Ken Loach’s bitter Sweet Sixteen, is good as the junior partner Danny, who is naïve, nervous, trusting and clearly out of his depth. And former Bond girl Gemma Arterton (Clash Of The Titans, Prince Of Persia, etc) makes the most of her role as the titular character, who spends much of the time bound and gagged. At first seeming like a helpless victim, she finds hidden strength and resilience to try and outwit her two captors in a compelling battle of wits.
After having put both the title character and the audience through an emotional wringer for the better part of two hours, the film ends on an unnerving but satisfying note.
****
Reviewed by GREG KING
Director: Chris Liontos
Stars: Jeff “Joffa” Corfe.
Here’s further proof that I will go and see just about anything at the cinema!
Joffa The Movie is part documentary and part mockumentary about Jeff “Joffa” Corfe, the charismatic and flamboyant Collingwood supporter who dons the iconic gold lame jacket emblazoned with the words “GAME OVER” whenever it is apparent that Collingwood has won the football match. A colourful and “love him or hate him” character, Joffa is a fanatical Collingwood supporter and passionate member of the club’s cheer squad, and he wears his heart on his sleeve.
But not much is known about him beyond football. And frankly, this documentary doesn’t reveal all that much. A couple of revealing interviews with the man himself informs us that his daughter is aboriginal, that he has close connections with the indigenous community at Lake Tyers, and is involved in some sort of charity work with homeless people.
But after merely scratching the surface, debut writer/director Chris Liontos then stretches the thin material out to feature length by opting to turn Joffa’s life into a lacklustre and misguided Kenny-style mockumentary, full of larrikin humour, themes of mateship, and lame attempts at comedy.
Ionitis follows Joffa and his best mate, the hapless Shane McRae, as they operate their second rate lawn mowing operation in the northern suburbs of Melbourne. The knockabout pair also do casual labour jobs for one of his mates on a couple of building sites. This allows some opportunities for slapstick humour and pratfalls. But the banter and antics of this pair make the infantile and laboured local comedy You And Your Stupid Mate seem sophisticated by comparison.
Liontos has been hamstrung by the limitations of his minuscule $200,000 budget. He has been unable to have a long rehearsal period nor the luxury of extensive reshoots, and consequently much of the film seems improvised and unpolished. However, there is a journey to London allowing Joffa to visit Celtic United’s home ground. There are also appearances from Father Bob McGuire, who appears to be a good sport in allowing himself to be part of the film, while football commentator Kevin Bartlett participates in one amusing moment.
“The whole thing has been terribly embarrassing,” says a rueful Joffa at one point, talking about his association with Shane. What can one add to this refreshingly honest appraisal? The whole thing is embarrassingly awful and amateurish, and painful to watch.
In fact, the only thing more excruciating than sitting through this film would be to endure watching Collingwood win another premiership.
Reviewed by GREG KING
Director: Marc Gracie
Stars: Gary Sweet, Louise Crawford, Hazem Shammas, Suzannah Bayes-Morton.
The Tumbler, which premiered at the Melbourne Underground Film Festival in 2009, is getting a limited cinema release. This genre piece is a potentially exciting caper thriller that unfortunately proves to be a disappointment. Which is a pity because I wanted to enjoy this film more!
Two men wander out of the Central Australian desert and stumble into a military base. While the rest of the joint US/Australian forces are out on manoeuvres, the base is being guarded by a disenchanted lone US soldier Jen (Louise Crawford, from tv series City Homicide, etc). The two men are Hurtle Hamilton (Gary Sweet) and Tahir (Hazem Shammas, from Underbelly, in his first feature film role).
Tahir is a soft-spoken Afghani-Australian who tells of a fortune in gold bars that was abandoned in a safe on the base at the end of World War II. He has recruited Hamilton, a veteran safe-cracker (or “tumbler”), to break into the safe. Hamilton has agreed to do this one last job in the hope that it will enable him to retire comfortably. Jen, who is facing a court martial for her actions in Afghanistan, asks for a piece of the action as well. The three search the underground bunkers for the gold. But Tahir has an agenda of his own, which only becomes clear too late.
The film has a terrific central idea and deals with the issue of Australia’s past nuclear tests and their legacy, the more imminent threat of global terrorism, and even indigenous land rights. But there are just too many unexplained details and gaps in its logic and it needed stronger editing in the early development stages. The limitations of the low budget are obvious in the film’s production design – the military base is just one tent, and there is a lack of authenticity to this setting.
Director Marc Gracie, a former film producer and lead singer with local band Bwana, has made his name with tv comedies, like The Adventures Of Lano and Woodley, and the rather unfunny and laboured feature film You And Your Stupid Mate. Here he manages to milk some claustrophobic tension from the bunker scenes, and there is a modicum of genuine suspense. But it is let down by an underdeveloped script from writer Christopher Thompson, a regular collaborator with Gracie.
However, the film has been beautifully shot on location in Broken Hill by cinematographer Justin Brickle (Let’s Get Skase, etc). Brickle has worked with Gracie before and they obviously have a good relationship and an eye for striking visuals, and they imbue the harsh terrain with a sense of menace.
Gracie has assembled a good cast, who do their best with the material. Veteran Sweet in particular brings a raw masculinity and cynical touch to his performance. Suzannah Bayes-Morton plays an indigenous postie whose presence here really makes no sense, even though she gets to play a key role in the film’s climax.
The Tumbler is yet another example of a local genre piece that has potential, but is let down by a half-baked script. While Australia can produce world class directors, actors and Oscar calibre cinematographers, we seem to have a problem nurturing and developing scriptwriters capable of producing gripping and tightly written film scripts.
**1/2
Reviewed by GREG KING
Director: Jon Turtletaub
Stars: Nicolas Cage, Jay Baruchel, Alfred Molina, Teresa Palmer, Monica Belluci, Alice Krige, Toby Kebbell, Omar benson Miller, Jake Cherry.
A battle between a good sorcerer and an evil wizard, with no less than the fate of the world at stake lies at the heart of this new collaboration between Disney and Jerry Bruckheimer, a partnership that gave us the incredibly successful Pirates Of The Caribbean trilogy.
The prologue, set in 700AD, tells the story of a struggle between the legendary Merlin and the evil Morgana, a powerful witch who has crossed over to the dark side. Merlin’s favourite apprentice Balthazar (Nicolas Cage) is able to capture Morgana and her evil offsider Horvath and lock them away in a magical grimhold, a kind of nesting doll. But he needs to find “the prime Merlinian”, a special sorcerer who will be able to destroy Morgana for once and for all. For several centuries, Balthazar travels the world looking for that special magician.
Cut to 20th century New York, where he finds a likely prospect in nerdy physics student Dave Stutler (Jay Baruchel, from She’s Out Of My League, etc). Dave first encountered Balthazar as a curious ten-year old, an encounter that has left his with a slew of psychological issues. Balthazar takes Dave under his wing and tutors him in the magical arts. Meanwhile Balthazar’s arch nemesis Maxim Horvath (Alfred Molina) is also on the loose, looking for the grimhold so that he can free Morgana and bring about the destruction of mankind. The two sorcerers wage their own personal war across New York, ranging from Chinatown to Battery Park.
The Sorcerer’s Apprentice is the kind of mindless, crowd-pleasing entertainment that director Jon Turtletaub (National Treasure, etc) excels at. The film takes its title from the sequences in Disney’s classic 1940 animated feature Fantasia in which Mickey Mouse, as a sorcerer’s apprentice, tried to control an army of mops and buckets, set to Dukas’s glorious music. Here Turtletaub recreates that scene using CGI mops and brooms. While nowhere near as impressive and eye popping as the animated original, the sequence will probably wow younger audiences unaware of Fantasia.
However, this soulless recreation of the classic scene sadly sums up this whole movie. Several writers have contributed to this lazy succession of cliches and hodge-podge of potentially interesting ideas, although it seems to be less than the sum of its parts. The Sorcerer’s Apprentice is a special effects driven film that boasts a number of impressive individual sequences – stone eagles coming to life, a fire breathing dragon wreaking havoc in Chinatown, a car chase through the streets of Manhattan, and plenty of thunderbolts flying around. Turtletaub is a dab hand at this sort of thing, and he handles the visual effects well.
Turtletaub has gone for the obvious casting choices here. Cage again essays one of his eccentric characterisations, but he still comes across as a rather uninteresting actor simply going through the motions until the next pay cheque. Molina is the best thing here; he revels in his role and all but steals the film as the villain of the piece. Baruchel again plays to his strengths as the nervous, insecure oddball, and he is also quite good. Aussie actress Teresa Palmer provides the romantic interest for Baruchel’s character. Monica Belluci and Alice Krige are wasted in small, thankless roles.
**1/2
Reviewed by GREG KING
Director: Nicole Holofcener
Stars: Catherine Keener, Oliver Platt, Amanda Peet, Rebecca Hall, Sarah Steele, Ann Guilbert, Lois Smith, Thomas Ian Nicholas.
Nicole Holofcener’s films are more character-driven than plot driven, and they explore complex relationships and the elusive connections between a disparate group of people. Please Give is her fourth feature, after Walking And Talking, Lovely & Amazing, and Friends With Money. Please Give was originally known as Feelin’ Guilty, a much better title that is representative of the film’s main themes of guilt, fear, conflicting values, privilege, insecurity, and death.
Kate (Catherine Keener) and her husband Alex (Oliver Platt) are a well to do middle class couple who buy antiques and furniture from the grand-children of dead people and sell them at inflated prices through their own shop. She feels twinges of guilt, and occasionally assuages her conscience by giving money or food to homeless people she encounters in her neighbourhood. Although her actions are well meaning, they sometimes lead to embarrassing situations, such as the time Kate invited an elderly lady into their apartment so she could have a shower.
Kate and Alex have purchased the adjacent apartment, which is the home of the perennially whining and ungrateful 91 year old Andra (Ann Guilbert). They are waiting for her to die so they can then take over the apartment and renovate. This situation often leads to embarrassing and uncomfortable encounters with her two grand daughters Mary (Amanda Peet) and Rebecca (Rebecca Hall).
Mary gives facial treatments in a local beauty and health spa, but is something of a “bitch” who doesn’t have anything nice to say about anybody. She has been left emotionally scarred by a failed relationship. The socially withdrawn and shy Rebecca gives mammograms to elderly ladies, and is the only genuine, sympathetic and nice character in this mix. She deserves whatever happiness she finds with her new boyfriend Eugene (Thomas Ian Nicholas), the grandson of one of her patients.
The characters here are largely a dislikeable bunch, but Holofcener is a perceptive writer who offers some keen insight into these imperfect characters and their motivations that almost makes the film worthwhile. Her dialogue is literate, sharply written and credible, laced with ironic humour and astute observations about human foibles. Her writing is often reminiscent of Woody Allen at his sharpest, and Holofcener’s love for New York is obvious. However, the film is let down by a couple of unconvincing plot developments.
Holofcener draws excellent performances from her cast. Keener, a regular who has appeared in all of Holofcener’s previous films, is strong as Kate and effortlessly portrays her sense of guilt over her successes. Peet is nicely sharp as the flinty and provocative Mary. Guilbert is nicely arch and abrasive as the appallingly mean spirited Andra. Sarah Steele is also good as Kate’s selfish and image obsessed teenaged daughter Abby.
Holofcener’s film’s are wry observations of adults and their imperfections and doubts, and are made for adults. Please Give is no different. In fact, it may well be her most easily accessible film yet.
**1/2
And speaking of all things Collingwood and football, next Saturday September 11 at 4.00pm, the Australian Film Critics Association and ACMI are hosting a special 30th anniversary screening of David Williamson’s The Club. Directed by Bruce Beresford, and starring Jack Thompson, the late Graham Kennedy and a young Harold Hopkins, the film looks at the boardroom politics and in-fighting behind the scenes of Australia’s most popular and successful football club. The screening will be followed by a Q&A session and panel discussion, with Peter Krausz, the chair of AFCA, and fellow film critics Deb Verhoeven and Jake Wilson, from the Age.
For ,ore information check the ACMI website at www.acmi.net.au, or contact ACMI directly on 8663 2200.
Jon and Jack Faine discuss father son roadtrip at Cinema NovaJon and Jack Faine discuss father son road trip at Cinema Nova
Get up close and personal with one of Melbourne’s best-loved radio personalities when ABC veteran Jon Faine visits Cinema Nova as part of our In Conversation series, where he and his son Jack discuss their new book: From Here To There: A Father And Son Roadtrip From Melbourne To London. In April 2008, Jon and Jack left Melbourne to undertake a journey overseas for six months. Beginning in London, they travelled 39,000 kilometres in a 4-wheel drive across twenty countries, including some of most isolated places on Earth.
Their adventures included surviving a snowstorm in Mongolia’s Gobi desert; doing cartwheels on the freeway near Tehran; weaving around the shores of the Caspian Sea; navigating the desert in Turkmenistan; kicking an Aussie Rules footy across borders and teaching countless customs officers how to do a drop-punt. This intelligent and funny recount of the countries they visited, people they met and trouble they got into is also the story of a tender father-son relationship.
A leader in Australian broadcasting, Faine has been the host of ABC 774’s morning program, including The Conversation Hour, since 1997. 19-year-old Jack Faine is an Arts student at the University of Melbourne. Known for his capacity to put his father in his place, he has written several chapters of the book and took most of the photos. Of the book Jon says, “We ate bark and ox blood and worms and pigs ears and eel and curries so hot we nearly fell off our chairs. We bribed police in five countries, ignored parking tickets in another six and got lost pretty much everywhere. We squabbled over food and farting, snoring and sneezing. Somehow, I convinced myself it was a good idea. Now I shake my head… It was total folly and it was the best thing you can ever do. I would do it again and I would not recommend it to anyone!”
The In Conversation series allows the Nova audience to meet some of the cities brightest arts identities and personalities. After the success of the first In Conversation with Catherine Deveny, Nova is proud to present Jon and Jack Faine, who will be joined by host reporter/broadcaster Tracee Huchison.
Jon and Jack Faine In Conversation. Thursday August 26th, 6.30pm. Includes book signing and slide show. Tickets on sale now from the box office or the website www.cinemanova.com.au
From Here To There: A Father And Son Roadtrip From Melbourne To London is out now through Harper Collins.
Australian filmmaking Dream Team at Cinema Nova this Tuesday
Australian filmmaking Dream Team at Cinema Nova Tuesday August 17
Australian husband and wife filmmakers NADIA TASS and DAVID PARKER, the award-winning team behind ‘Malcolm’, ‘The Big Steal’ and ‘Amy’, will make an appearance at Cinema Nova to discuss their new film MATCHING JACK. Shot in Melbourne, this is their first Australian feature film in more than a decade. Join Nadia and David at Cinema Nova for a preview screening of MATCHING JACK, followed by a Q&A this Tuesday August 17 at 6.30pm.
A powerful emotional comedy/drama, MATCHING JACK features an all-star cast including Jacinda Barrett (New York I Love You, The Last Kiss); Irish actor James Nesbitt (TV’s Cold Feet, Bloody Sunday); Richard Roxburgh (Moulin Rouge!); Kodi Smit-McPhee (The Road, Romulus My Father); and Yvonne Strahovski (I Love You Too).
Reviewed by GREG KING
Director: Thor Freudenthal
Stars: Zachary Gordon, Robert Capron, Chloe Grace Moretz, Devon Bostick, Rachel Harris, Steve Zahn, Grayson Russell, Laine MacNeill, Andrew Mcnee.
This appealing and very enjoyable film follows the misadventures of Greg Heffley (Zachary Gordon, from National Treasure 2, Madagascar 2, etc) during his first year attending the “intellectual wasteland” that is middle school.
He is determined to be one of the most popular kids in his year level, but the harder he tries the more he stuffs up. He tries out for the wrestling team, the school play and even the after school safety patrol, with disastrous results. As well as dealing with the daily humiliations of his failures, the taunts of bullies and man girls, at home he has to contend with his older brother Rodrick (Devon Bostick), who loves playing practical jokes, and his clueless parents (Rachel Harris and Steve Zahn). But Greg’s efforts to improve his popularity also create a rift between himself and his naïve best friend Rowley (Robert Capron).
Greg maintains a diary – sorry, journal – in which he records his thoughts and fears about starting middle school. “One day when I’m famous I’ll have better things to do than answer peoples’ stupid questions all day,” he comments in one of his many asides to the audience. The journal and its clever illustrations becomes a record of his trials and tribulations and shortcomings. It also painfully documents those hard lessons he learns throughout his doomed quest to become the most popular kid in school.
Diary Of A Wimpy Kid is based on the best selling series of illustrated books written by Jeff Kinney, and is packed with plenty of incidents and some amusing situations. Co-writers Jackie and Jeff Filgo and Gabe Sachs have worked on a number of tv series like That ‘70’s Show, Mad About You and Freaks And Geeks, so there is wit and style behind the material.
Director Thor Freudenthal (Hotel For Dogs, etc) demonstrates a sure touch with the material here, and he also shows an affinity for working with younger actors. He draws enthusiastic performances from his cast that bring the characters to life.
Zachary Gordon is another of those precocious and confident young actors that the Hollywood production line seems to churn out on a regular basis and then, more often than not, chews them up and spits them out again. His articulate voice over narration adds insights into his character, and also brings a touch of ironic humour to the material. He even makes his superficial and selfish character likeable, and we sympathise with him as his popularity plummets after every disaster. Chloe Moretz’s supporting role here as Angie, the outspoken and seemingly wise reporter for the school newspaper, is a far cry from her recent turn as a foul-mouthed assassin in the comic book adaptation Kick-Ass. She seemed way too young for that role, and here she somehow seems too old.
“Who wants to see a movie about a kid who’s stuck in middle school with a bunch of morons?” asks Greg at one stage. The answer is that this surprisingly enjoyable film will resonate with audiences of all ages Diary Of A Wimpy Kid offers a wonderfully wry and refreshingly cynical view of this awkward time in a kid’s life as they approach adolescence. It is neither patronising nor sugar-coated, as so often happens with children’s films.
***
Reviewed by GREG KING
Director: Nanette Burstein
Stars: Drew Barrymore, Justin Long, Christina Applegate, Ron Livingston, Charlie Day, Jason Sudeikis, Natalie Morales, Kristen Scaal, Rob Riggle, Kelli Garner, Jim Gaffigan, Oliver Jackson-Cohen, Matt Servitto.
Going The Distance essentially sets out to explore the complications involved in maintaining a relationship when one partner lives and works in New York and the other lives across the country on the west coast.
But those expecting this to be a lightweight and fluffy romantic comedy may be a little shocked at its unexpectedly raunchy nature. Toilet humour, ribald dialogue, nudity, and deliberately gross out moments shape much of the humour here. This gross out factor seems to have become the norm with most romantic comedies since Judd Apatow shook up the rather formulaic and increasingly bland genre with Knocked Up, etc. This kind of thing may work when dealing with horny adolescents (American Pie, Porky’s, and their ilk), but when the characters are supposed to be more mature and stable it ends up being sadly misjudged.
Erin (Drew Barrymore) is a journalism student doing an internship with a major New York newspaper over the summer. One night at a bar she meets record company A&R man Garrett (Justin Long), who has just been dumped by a former girlfriend. The two hit it off immediately and romance blossoms. Erin tells Garrett up front that she will be returning to San Francisco in six weeks to continue her studies. They agree to keep it light and not make a commitment. However, during the next six weeks, they fall in love, and the separation becomes hard. Can their relationship survive the tyranny of distance? Can they remain monogamous? What about the frustration from unsatisfying phone sex? Which of the partners will be willing to give up their job and comfortable lifestyle and move closer to the other?
Going The Distance is the first film from writer Geoff LaTulippe, and explores these themes in perfunctory fashion. This is the first feature film from documentary filmmaker Nanette Burstein, who is better known for the revealing American Teen, and The Kid Stays In The Picture, a warts and all look at the life and turbulent career of Paramount Studios head Robert Evans.
Barrymore and Long, who both appeared in the ensemble romantic comedy He’s Just Not That Into You, have been a real life couple off screen. That relationship makes their on screen relationship here easy going and credible and the pair have a real easy going chemistry that lifts the film. Barrymore is always a good actress, and is amiable enough here even though she sometimes appears a little uncomfortable with some of the dialogue given to her sassy and outspoken character. Long trades on his boyish looks and nerdy personality again.
Christina Applegate is good as Corinne, Erin’s acerbic and protective sister. We also get to meet Gerrett’s two best friends – his roommate Dan (Charlie Day) comes across rather like the sort of sad sack loser that Zach Galifianakis played in The Hangover, while Box (Jason Sudeikis, from SNL and The Cleveland Show, etc) has a thing for older women.
There are a few laugh-out loud moments here, but for the most part Going The Distance proves to be something of a disappointment.
**1/2
Reviewed by GREG KING
Director: Stuart Beattie
Stars: Caitlin Stasey, Rachel Hurd Wood, Lincoln Lewis, Deniz Akdeniz, Chris Pang, Phoebe Tonkin, Ashleigh Cummings, Andy Ryan, Colin Friels.
Seven teenagers from a small town go away on a weekend camping trip to have a bit of fun. When they return home they find that their town has been taken over by a heavily armed invasion force. The teens form a guerilla army to fight back.
No, this is not John Milius’s 1984 action adventure Red Dawn, which featured a hot cast that included Patrick Swayze, C Thomas Howell and Charlie Sheen. Nor is it a remake. Although there are some similarities, Tomorrow When The War Began is an exciting adaptation of the novel by Australian author John Marsden, which has been a staple of the secondary school curriculum for over a decade. The Tomorrow series predated the Harry Potter and Twilight series, and were a great read for young adults. It explored themes of heroism, mateship, loyalty, and teen angst.
The film has been written by gun Hollywood screenwriter Australian-born Stuart Beattie, whose credits include Pirates Of The Caribbean, Michael Mann’s tense action thriller Collateral, the bloated Australia, and the recent G I Joe, etc. Beattie’s adaptation remains faithful to the source, although he brings an edgier quality to the material. A scene set in the showgrounds, where the local townsfolk are being held captive in concentration-like conditions, is unexpectedly violent.
Beattie also makes his directorial debut here, and he proves a dab hand, directing the action and pyrotechnics with kinetic energy. Beattie doesn’t tone down the violence, and his depiction of the invaders is at times quite eerie and unnerving. He has obviously learned his craft by watching other directors at work on the set.
Beattie also impresses with his handling of the largely unknown cast drawn mainly from the world of television soaps. The characters are well developed, and the film allows some time to explore their problems and insecurities. Newcomer Caitlin Stasey (from Neighbours, etc) plays Ellie, whose fierce spirit and independence makes her the natural leader of this small group of rebels even though she is unsure that her foolhardy actions are right. Lincoln Lewis (from soapie Home And Away, etc) plays the cool Kevin, who panics under fire, while Rachel Hurd Wood (Peter Pan, etc) is strong as Ellie’s best friend Corrie.
The small army offers a broad multicultural mix that includes the loner Lee (Chris Pang), an Asian of Australian descent, and Homer (Deniz Akdeniz), of Greek descent. Akdeniz is a standout and brings touches of humour to the film with his performance as Homer - something of a larrikin when we first meet him, he matures into a real leader when confronted with dangerous situations. Ashleigh Cummings is also good as the deeply religious Robyn, who is forced to make a choice between her conscience and survival in the heat of battle. Colin Friels contributes a cameo as a doctor, who has managed to remain hidden from the invading forces. Andy Ryan resembles a young Jack Black with his role as the stoned slacker Chris.
Tomorrow When The War Began is easily the most exciting locally produced action film since Mad Max 2, and it resembles a Hollywood blockbuster. The film’s $30 million budget, large by local standards, is all on screen with some spectacular large-scale action sequences. The film delivers with strong characters, lots of well-staged adrenaline pumping action, and solid performances from an attractive young cast. Tomorrow When The War Began has also been beautifully shot on location in NSW by cinematographer Ben Nott (Daybreakers, etc). This film certainly sets a high standard for future instalments should the Tomorrow series become the next big movie franchise.
****
Reviewed by GREG KING
Director: Alexandre Aja
Stars: Elisabeth Shue, Jerry O’Connell, Adam Scott, Steven R McQueen, Ving Rhames, Jessica Szohr, Kelly Brook, Riley Steele, Dina Meyer, Richard Dreyfuss, Christopher Lloyd, Eli Roth, Ricardo Chavira, Paul Scheer, Brooklyn Proulx.
There’s plenty of blood, boobs and body parts in this hugely enjoyable remake of Joe Dante’s 1978 cult low budget B-grade horror classic. Shot using the latest in 3D technology, this remake, from French born director Alexandre Aja (who recently helmed the remake of The Hills Have Eyes), is a guilty pleasure. Piranha is a B-movie that doesn’t take itself too seriously, which adds to the fun. And at a brisk 82 minutes, Piranha never outstays its welcome.
It’s spring break time at the tourist town of Lake Victoria, and hundreds of horny teenagers and college kids have descended upon the normally sleepy town. But there’s something nasty in the water as an underground earthquake has opened up a subterranean cave that is home to hundreds of vicious prehistoric man-eating piranha. While the local sheriff (Elisabeth Shue) tries to keep order, she also has to try and find a way to prevent disaster. But inevitably there’s carnage aplenty when the feeding frenzy begins.
Aja knows the tropes of this subgenre well, and he handles the script, from Sorority Row scribes Pete Goldfinger and Josh Stolberg well. There are the usual cliches of the genre – warnings about the danger going unheralded until it’s too late, the panic stricken crowd that get attacked while scrambling for safety, a couple of daring rescues, and children in peril.
Aja has cast the film well, too, and the cast does well with their largely one-dimensional roles. There’s a wonderful cameo from Richard Dreyfuss that cheekily acknowledges the classic Jaws, which itself spawned a series of low budget rip-offs and imitations, including Joe Dante’s original. Eli Roth (director of Hostel, etc) contributes a cheeky cameo. Christopher Lloyd adds yet another eccentric characterisation to his resume with his small role as an ichthyologist who warns of the peril posed by this nasty species of piranha, thought to have been extinct over two million years ago. And Shue, who has been absent from the screen for several years, makes for a strong and confident sheriff.
Steven R McQueen (grandson of the late Steve McQueen, who also got his start in low budget horror films like The Blob, etc) plays the sheriff’s teenaged son who finds himself in peril when trapped on the lake. Jerry O’Connell hams it up as a producer of soft-core porn videos who has come to town to exploit some of the holidaying talent.
The film’s budget, modest by Hollywood standards, can be seen on the screen. Aja uses the 3D process well, especially with the underwater shots from the fishes’ point of view. The special effects are very good as the waters run red when the piranhas chew away voraciously at a host of nameless extras. The CGI-created fish look terrifyingly realistic, and there are plenty of grisly moments as people are torn apart and dismembered with relish. If it weren’t for the generous injections of humour, Piranha would be a rather nasty and unpalatable experience for most audiences. The action is fast paced and wonderfully gory, and this remake is actually an improvement on the original.
***