Category: Film

Film Review: Escape and Evasion

A story of survival on the battlefield and of the mind

By Sebastian Purcell

Seth (Josh McConville) returns home from a mission in Myanmar after losing not only his fellow soldiers but also one of his best friends. Seth’s transition to life at home, becoming a father again, is punctuated by the series of PTSD episodes he experiences. Driven by the guilt he feels for the loss of his men and his actions, he is confronted by Rebecca (Bonnie Sveen) for answers about the death of her brother and Seth’s best mate Josh (Hugh Sheridan).

Writer and Director Storm Ashwood takes the all too familiar war in the jungle screenplay but overlays the effects of PTSD on returning servicemen. The use of alcohol to mask the pain, suicidal tendencies, inability to integrate and provide support to family are all themes explored. Ultimately the film seeks to reiterate that getting professional help is the most effective treatment; if a tough guy like Seth can accept help, then others can too. Ashwood also makes social commentary on the Australian Military’s role in training soldiers and not victims. Seth’s new mission is now to survive back in Australian suburbia.

McConville provides a committed performance throughout and the complexity he brings to the character is to be commended; displayed through his ability to swap between someone who displays brutal physical strength in a bar fight and survival in the jungle, to the vulnerable and emotional character in the aftermath of PTSD episodes.

The film uses flashback scenes to move the narrative forward and is well edited and paced by Editor Marcus D’arcy. The audience finds out the truth of what happened to Seth and his team as Seth re-lives the trauma and builds a bond with Rebecca. The most impressive scenes are the overlay between Seth’s current world and the trauma he is experiencing, allowing the audience to feel the same Seth’s horror, which, at times is realistically frightening. In saying that, I sometimes found the relationship between McConville and Sveen lacked chemistry, and at times, the physical relationship that develops feels quite forced.

This is an interesting take on a war film, but viewer discretion is advised as there are graphic torture scenes and suicidal material throughout.

Escape and Evasion is out in cinemas March 5, 2020.

Film Review: La Belle Epoque 

Hearteningly Humourous

by Joana Simmons

Revered French director François Truffaut once said: “The cinema is a perfect mix of truth and spectacle.” For the 31st Alliance Francaise French Film Festival (AF FFF) this year, this is proving true. The media night gave a rundown of a few of the 49 films in the program, highlighting that there are more socially charged themes, and the ever loved rom-coms are being given more of a farcical as well as meta, sci-fi twist. The feature for this evening was Nicolas Bedos’ La Belle Epoque, which received a seven minute standing ovation after the premier at Cannes Film Festival, and was an intriguing delight that had me on the warm and fuzzy edge of my seat from start to finish.

The film follows struggling cartoonist Victor (Daniel Auteuil, AF FFF19, Rémi, Nobody’s Boy), as his marriage, career and life is dissolving. His wife Marianne (Fanny Ardant, AF FFF16, Chic!) a psychoanalysis and lover of Freud who is as unhinged as her patients loathe him. As his life is unraveling, Victor meets Antione (Guillaume Canet, AF FFF19, Sink or Swim; and also starring in In the Name of the Land and directing We’ll End Up Together at this year’s Festival), the creative director of a company that recreates to the delightful detail any period in history for clients; whether it is to experience a time they wish they had been alive, or revisit a time and find redemption. Victor chooses to relive 1974, the time when he met Marianne. And so the film delightfully darts between the present day and the hazy 70’s, as through various ways, Victor finds meaning in this time, himself and his relationship.

The film is a splendid blend of cinematic suspension of disbelief, and the hilarity that is raw human existence, which was evident in the chuckles that hung over the audience. There is a complementary soundtrack in the classical and modern style, that suits both the ‘Frenchness’ of the film and the time periods. As viewers, we wish for the catharsis of time travel and resurgence of nostalgia, created by the delightful detail in the design and the way the plot weaves and follows the plight of the complex characters. 

La Belle Epoque is a whimsical and warm watch that offers lessons on love and life in equal measure.

Screening as part of the Alliance Francaise French Film Festival at Palace Theatres and affiliate locations, in Melbourne from 11th March to 8th April. Details at


Film Review: The Peanut Butter Falcon

A feel good adventure film

By Narelle Wood

From the moment it starts, The Peanut Butter Falcon establishes itself as an adventure film, with one of the film’s protagonists, Zak, destined to take us on an interesting, and as it turns out heart-felt, journey.

Zak (Zak Gottsagen) has down syndrome, and with no family or anyone to take care of him, he finds himself living in a retirement home under the watchful eye of Eleanor (Dakota Johnson). After Zak escapes to pursue his dream of learning to wrestle, he meets Tyler (Shia Labeouf), who after some trouble, is trying to escape his life and start anew elsewhere. While Zak and Tyler start to make their way down to Florida, Eleanor is out searching for Zak, eager to return Zak to safety. As with any good adventure story there is a lot to keep Zak and Tyler on their toes; near misses by bandits and boats, some near drownings and some not so friendly gun fire.

While this is an adventure story, likened to a modern day tale of Huckleberry Finn, this is also a story of redemption. Tyler is grappling with his past, and some more recent choices, and it is Zak who quickly helps him get in touch with his more caring side. Eleanor is forced to face up to her part in keeping Zak in less than ideal accomodation; Zak is young, clever and determined to pursue his dreams. And as for Zak, he has an opportunity to learn his limitations and push past more than a few assumptions he has about himself.

Written and Directed by Tyler Nilson and Michael Schwartz, this film captures the way people are able to bring out the best in each other, and that family is sometimes the people you chose. The scenery is beautiful, and Nilson and Schwartz use the setting to their advantage making it an integral part of the adventure, providing refuge, as well as causing some trouble. Similar to the raft the duo travel on for much of the film, the story drifts along with purpose but at an easy pace; if anything everyone seems to come to grips with their personal struggles rather quickly and easily, but this does allow the space for some moments of action at the end of the film.

Labeouf and Johnson are great in their troublemaker and do-gooder roles, but Gottsagen is superb providing most of the films highlights and some laugh-out-loud moments. What’s particularly lovely about the film, is that it doesn’t shy away from exploring the difficulties someone with down syndrome experiences – it raises some significant questions about the way we treat people with disabilities – but the story is also about so much more than this one aspect of Zak’s character.

The Peanut Butter Falcon is a feel good adventure story, and worth watching just to see the Peanut Butter Falcon come in to being.

Now playing in cinemas.


Film Review: Bombshell

An outstanding portrayal of three strong, yet vulnerable women

By Narelle Wood

Bombshell is one of the most important films of this era. Not because it deals with the landmark sexual harassment lawsuit involving Fox News, but because it does so in such a nuanced and complex fashion.

Based on true events, the storyline starts with Fox News anchor Megyn Kelly’s (Charlize Theron) interactions with Trump during the Republican Primaries of 2015, before introducing Fox journalist Gretchen Carlson (Nicole Kidman) and fictionalised staffer Kayla Pospisil (Margot Robbie). We quickly learn of Carlson’s intention to pursue legal action for the sexist behaviour and harassment she has endured during her time at Fox, specifically at the hands of Roger Ailes (John Lithgow). Woven throughout Kelly’s and Carlson’s stories, is the story Pospisil and her quest to move from the production team to on-air talent, and the manipulation and abuse of power that this ambition makes her susceptible to.

Each of these storylines are supported by a wide range of both real and fictional characters, including Kelly’s husband Doug Brunt (Mark Duplass), executive producer Gil Norman (Rob Delaney), research staff (Brigette Lundy-Paine, and Liv Hewson,), Kayla’s friend (Kate Mckinnon), as well as Richard Kind as Major Giuliani and Allison Janney as Robert Ailes’ lawyer, Susan Estrich. The responses from Rupert, Lachlan and James Murdoch’s (Malcolm McDowell, Ben Lawson, Josh Lawson respectively) are also woven throughout as they attempt to navigate between making money and protecting Fox’s reputation. The different characters’ responses range from the straight-down-the-line it should never have happened, to there’s no way it did, and everything in between. All of this highlighting the problematic nature of reporting sexual harassment for the victims – shame, embarrassment, fear, anger, relief, and for some, a loss of job, friends, money and respect.

The story doesn’t unfold in a linear fashion. Director Jay Roach cuts between storylines, and snippets from the past – using some archival footage to do so – to help paint a fuller picture of the events leading up to Aile’s demise. What’s intriguing about the film is that there are moments where the camera angles would traditionally objectify women – focusing on their legs, the tight costumes – but the camera never lingers. In doing so Roach manages to highlight the culture at Fox without assigning blames to the victims, instead he raises some really important questions about the complicit nature of all Fox News employees.

Charles Randolph’s script is intelligent and empathetic, capturing seemingly every conceivable perception, creating characters that are likeable one moment and then challenging to watch the next. Pospisil who is clever and kind is also determined and naïve. Even Ailes is given some redeeming features, which highlights how manipulative, creepy and appalling his predatory behaviour was.

Theron, Kidman and Robbie are outstanding in their portrayal of three strong, yet vulnerable women. Theron is so good as Kelly it could have been Kelly herself on the screen. Kidman captures a quiet and calculated anger, while Robbie, yet again, shows just how damn good of an actress she is. In fact the performances across the film are faultless.

Bombshell is not an easy watch, but a necessary one. While the true events may have started a very important conversation, the film keeps this conversation going and adds some new perspectives, especially in a time when people’s behaviour, and understandings about what is acceptable, are being challenged – and rightfully so.

Now playing in cinemas.

Film Review: Knives Out

An unexpected twist on a familiar genre

By Narelle Wood

In a style very much like Agatha Christie, Knives Out has all the expected mystery and murder, along with an exceptional cast, but writer director Rian Johnson also delivers something unexpected, making her own mark on this genre and producing a film with some truly funny moments.

On the morning after his 85th Birthday Harlan Thrombey (Christopher Plummer) is found dead by his nurse Marta (Ana de Armas). Initially ruled a suicide, Private Investigator Benoit Blanc (Daniel Craig) is on the case. Suspecting foul play he embarks on investigating the whereabouts and motives of all the family members. All have motives, all are lying about something, and at least one of them knows more than they are letting on. Linda Drysdale, played by Jamie Lee Curtis is working the “don’t air the dirty laundry in public” angle, while her husband Richard, played by Don Johnson, is more than willing to spill the beans on everyone but himself. And their smug son Ransom (Chris Evans) seems to dramatically come and go as he pleases. Meanwhile Walt Thrombey (Michael Shannon), his wife Donna (Riki Lindhome) and their creepy, right-wing, anti-social son Jacob (Jaeden Martell) are ominously hovering around. And then there is Joni, an Insta-famous, lifestyle guru, hilariously portrayed by Toni Collette, and her daughter Meg (Katherine Langford). While they are perhaps the two most likeable characters from the selection of family members, their motives and behaviour is still nothing short of dubious. Even Harlan Thrombey’s mother Greatnana Wanetta (K Callan) and the maid Fran (Edi Patterson) are entangled in the mysterious web. 

Blanc sets off to investigate what may or may not be a suicide, enlisting the help of two police off-siders (LaKeith Stanfield and Noah Segan) and a fairly reluctant Marta. The family wait impatiently for Blanc’s findings, and more impatiently for the reading of the will by lawyer, Alan Stevens, played by the formidable Frank Oz. The plot thickens and twists, and just when you think you may have it figured out, like any good murder mystery, there’s another, sometimes small, twist.

In a time when so many films rely heavily on spectacle rather than narrative, Rian Johnson shows others exactly how it’s done, with a tight, cleverly written film. The sets are reminiscent of the old-world, manor-style estates of Agatha Christie films but also feel fresh and updated; the impeccable detail means that everything could quite possibly be a clue. The film is well paced, and while there are a lot of characters to follow and the narrative jumps backwards and forwards in time, it is not at all disjointed. No matter how briefly each character graces the screen, it feels as though you get to know each of them sufficiently enough to judge whether or not they are guilty of murder, amongst other things.

This film is the sort of murder mystery, that even if you have figured it out, you may not necessarily know how everything will tie back together. Knives Out is a breath of fresh air in a familiar genre, and manages to keep the murder mysterious as well as humorous right until the very end.

Opens in cinemas Thursday 28th November

Review: Promised

Navigating the promises made by others

By Narelle Wood

Written by Nick Conidi, Promised follows the story of Angela and Robert as they navigate a promise of marriage that their fathers made many years before.

The story spans 20 years, beginning with Angela’s (Antoniette Iesue) birth under difficult circumstances – her mother Rosalba (Tina Arena) is found in labour on the floor of the family’s pastry shop – in the early 1950’s, through to 1974 when Angela and Robert (Daniel Berini) are reunited after he returns home from studying in Oxford. While Angela has always known about the arranged marriage, she has found herself in a different world to that in which the promise was made. She is studying English Literature, longs to be a writer and is in love with an Australian boy. To complicate matters further, Rosalba and her husband Sal (Paul Mercurio) are indebted to Robert’s parents, Joe and Maria, for rescuing Rosalba during labour, and to complicate things even further, Joe is connected, in the Italian mobster sense of the word. The story is almost Shakespearean; part tragedy, part farce, but it is also reminiscent of The Godfather, minus, thankfully, the horses head.

The film is beautifully made, and made in Melbourne. The settings and costuming perfectly and authentically capture 1970’s Australia. Conidi, who also directs, has an uncanny knack for slowly unfolding a complex story, without it ever feeling like it is loosing pace. The performances are solid, especially from stalwarts Arena and Mercurio, though Iesue and Berini do more than hold their own portraying complex characters that are both likeable and frustrating in equal measure. And this was perhaps the reason why I found this film a little uncomfortable at times; there was no clear hero, and each outcome would possibly end up disappointing someone. However, this was also perhaps the reason why this film works. Promised is in many ways a manifestation of the tagline “Love like life is never perfectly arranged”. It is complex, heartfelt look at intergenerational, intercultural and family expectations, with a lovely dose of nostalgia.

Promised is in cinemas now.

Review: Maiden

Tracy Edwards Whitbread Success Story

By Samuel Barson

The opening seconds of Maiden has the audience in the middle of a vast, raging ocean, rocking up and down with the waves as they breath in and out. It’s a thrilling start to a documentary, but unfortunately this same level of engagement doesn’t last.

Alex Holmes’ Maiden tells the story of Tracy Edwards, who at 24 rose the ranks from charter boat cook to skipper of the first ever all-female crew to enter the Whitbread Round the World Race.

The documentary accounts not only the Whitbread adventure itself, but also the rampant sexism that proved to be just as gruelling for Edwards and her crew. The film, at its core, is a story of women pitted against equal forces of nature and human nature. And unfortunately, this ground-breaking story succumbs to what I found to be director Alex Holme’s frustratingly simplistic approach to storytelling.

For 1.5 hours audiences are taken through Edward’s story from childhood, to up-and-coming skipper, to Whitbread success story, all the while battling all too eager chauvinism from male sports journalists and fellow sailors. It seems unlikely that there would be limited research material to draw upon with a story such as this, however the material that audiences are provided is incredibly scant.

The anecdotes from interviews are often recycled and the archival footage is regularly irrelevant to it’s corresponding voiceover section, and I found I became easily irritated that a story that is clear to be so rich in detail, is not being told in the way that it deserves.

It’s such a shame that director Alex Holmes missed an opportunity here to provide a louder voice to female unity as a statement against sexism in sport and evoke the same undeniable spirit of the story’s subjects.

Maiden is showing at limited cinemas from Thursday 17th October. 

Photography courtesy of the Toronto International Film Festival

Review: Amazing Grace

Just Franklin and the power of her voice

By Narelle Wood

Some 47 years after filming, the documentary capturing Aretha Franklin’s seminal gospel recording of Amazing Grace has finally made it to screen.

In 1972, over two nights, Franklin, along with James Cleveland and the Southern California Community Choir (directed by Alexander Hamilton), recorded live gospel songs such as Precious Memories, What a Friend We Have in Jesus, and, of course, Amazing Grace. Keen on making it an authentic experience, Franklin insisted that the recording take place inside the New Temple Missionary Baptist Church, in front of a congregation; a congregation including Mick Jagger, Charlie Watts and gospel singer Clara Ward.

In an attempt to capture what would become a landmark event – the album going on to be the biggest selling gospel album of all time – Warner Bros commissioned director Sydney Pollack to document the recording. Pollack, an experience director, was not however accustomed to making documentaries, and this is where the trouble with the film begins. The original delay in the film’s release were due to ‘technical difficulties’; Pollack hadn’t used clapboards to mark sections of the film, making the task of syncing the visuals and sound almost impossible. Eventually Alan Elliot would take on the project and work tirelessly to bring it together, even amidst threats of legal action from Franklin herself due to missing contracts and payment disputes.

What Elliot and editor Jeff Buchanan have created is an immersive experience, giving an all to brief glimpse into the immense talent of Aretha Franklin and her voice’s ability to literally move people. Pollack’s lack of experience as a documentary maker is evident; it feels like the cameras have been given to some random onlookers with the only mandate to ‘hit record and capture this’. The footage is sometimes blurry and often jerky as a camera man moves from one location to the next. Some of the close-ups are uncomfortably close, and some of the camera angles are really awkward. But Elliot and Buchanan capitalise on this lack of polish, reminding the audience that this was first and foremost a recording session, and a documentary last.

The film hits all the right notes, quite literally. The pacing is good and there are a few cutaways that provide momentary insights into the work behind the scenes to produce such an event. There are no experts or commentary on Franklin other than that which occurred during at the original taping. It focusses purely on the recording and Franklin’s performance, which does not disappoint. My favourite part was seeing just how excited the choir was to be a part of the two night event.

In a time where stylised and sleek recreations of the lives of musical legends’ have begun to grace our screen, Amazing Grace offers a refreshing contrast with its authentic 70’s hair and clothing, offering no narrative and no explanation. It’s just Franklin and the power of her voice.

Amazing Grace is now playing in cinemas such as the Classic, Lido and Palace. Check websites for listings and prices.

Review: Thunder Road

Rich, dark humour lifts tragic cop story

 By Samuel Barson

To fund the making of a film with a Kickstarter campaign is no mean feat. But when that film proves to be one of the highlights of 2018 cinema, amongst a myriad of Marvel blockbusters and the like, that is one superior feat.

Jim Cummings has been loitering the world of film all of his life. He has played a number of roles in the industry: cinematographer, on set photographer, light production assistant (on a Marvel film, coincidentally) and sound editor. He has worn numerous hats and it feels as though these eclectic experiences have all built up to Thunder Road, which Cummings has directed, written and starred in.

The film begins at police officer Jim Arnaud’s (played by Cummings) mother’s funeral.  He gives a eulogy that is painful to watch due to its awkwardness (it ends with an experimental dance to a Bruce Springsteen song) and heavy grief. After his mother passes, Jim is confronted with an extensive list of difficult events in his life: a divorce, the estrangement of his daughter, the loss of his job and another death.

This is a lot of trauma to put a character through, but Cummings’ incredible nuance and strong sense of realism as an actor leaves the audience believing every emotion and every heartbreak. His use of facial expressions to express the grief, shock and anger his character goes through is astounding. He also has an incredibly strong comedic grounding with a lot of the traumatic events in the film being lifted with a rich, dark humour.

The direction is simple, yet stunning and intimate for the audience to bear witness to. In particular, the repetitive use of a long shot that slowly transforms into a mid or close up makes audiences feel like they’re in the room with the characters, especially in moments of intimate dialogue or deep insight into a character’s current state. The writing almost appears effortless, but may also be a testament to the impressive ensemble cast Cummings has collected (most of whom appear to have very limited prior acting experience).

It’s incredible what Cummings and his team achieved here. Using a $200,000 budget, they have created a film which has, in box office sales, made more than its cost. Thunder Road deserves to be seen, so much more than many other films released last year.

A must-see for fans of simple storytelling, and for those who appreciate dark humour as much as they do a deeply touching, character-driven narrative.

Thunder Road screens in Nova Cinema, Carlton until 24 April as well as in select cinemas across Australia. Tickets can be purchased online

Photograph: supplied

Review: Girl

Masterful, heartwarming coming-of-age tale 

By Ross Larkin

One can generally always be assured that the Alliance Française French Film Festival will deliver an array of thought-provoking, innovative and entertaining flicks from a nation who arguably does art house better than any other.

If Lukas Dhont’s Girl is an indication of the calibre of this year’s selection, then 2019 will certainly live up to expectation.

Girl is a coming-of-age tale about a female teenager, Lara, trapped inside the body of a male and the struggles she faces while awaiting gender reassignment surgery.

Lara, played with incredible poignancy and sensitivity by newcomer Victor Polster, is training relentlessly as a ballerina at a top dance academy in an environment where her peers and teachers are all aware of her transitioning.

As is her single father, in a wonderfully touching portrayal by Arieh Worthalter, whose support is determined, passionate and full of love.

Save for the occasional upsetting moments of external bigotry, most of the demons Lara face are within herself, as she battles with a body she despises and feels all but foreign to.

Director Dhont manages to hit just the right chord with the tone and pace of the film, without labouring too indulgently on the darker aspects, and the performances he coaxes from his actors are exquisitely subtle, natural and endearing.

The subject matter is explored delicately, yet realistically, and while aspects of the story are at times harrowing, there is an equal measure of tenderness and joy as well as some beautiful symbols and metaphors the French are so renowned for.

One of very few films to include a transgendered protagonist, it is heartwarming to see such a masterful exploration by way of Girl, and I urge all film lovers to partake in the experience.

Girl screens 5 March – 10 April at selected Palace Cinemas across Australia as part of the 30th Alliance Française French Film Festival. Tickets can be purchased online.