Reel Review Roundup

The Cup (PG)

Directed by: Simon Wincer

Starring: Stephen Curry, Brendan Gleeson, Daniel MacPherson

Three stars

Review by Julian Wright

If Australian director Simon Wincer followed that clichéd Hollywood saying “never work with animals” , his extensive filmography would be considerably shorter. With films like Phar Lap, The Lighthorseman, Free Willy, Operation Dumbo Drop and several other animal themed projects to his credit, it would appear he was the perfect person to bring the story behind the 2002 Melbourne Cup to the big screen.

While he handles the animal action with aplomb – the thundering climactic race is a thrill – it is the human characters he seems to struggle with. Just when the drama should be getting our hearts racing like, well, the horse racing scenes, there is a noticeably subdued tone that keeps this film from delivering the emotional punch it should.

Just a week before he is to race a horse bred overseas in the 2002 Melbourne Cup, Daniel Oliver’s (Stephen Curry) brother and best friend Jason (Daniel MacPherson) is killed in a racing accident. Daniel, who was on a winning streak at the time, hesitates in the lead up to the big race.

He always knew of the dangers – his father also died racing a horse – but he has made a commitment to Irish trainer Dermot Weld (Brendan Gleeson). With just days to grieve and possibly re-evaluate is career, Daniel must make a decision. He is torn between his girlfriend Trish’s (Jodi Gordon) undying support, his sister in law’s (Alice Parkinson) warning he could be the next to die and his need to stay alive for his widowed mother (Colleen Hewett).

Any Melbourne Cup buff would know how this story ends, but for those who aren’t, we wont spoil it for you here. The point of this story, however, is the emotional journey Damien takes to reach that climactic race and the dramatic goods are certainly there. Unfortunately, the way it is handled could have been more affecting.

Wincer tells his story slowly and simply, letting the emotions speak for themselves. But juxtaposed with the racing footage, it just highlights how lethargic the developments appear. While the script occasionally falls back on cliché dialogue, the actors cannot be faulted. Curry is terrific and not only just his physical transformation.

The Cup is not a complete write off, it will have you reaching for the tissues and the behind the scenes of horse racing is fascinating. But this should have gripped us and having us leave the cinema fist pumping the air, not thinking there should have been more.

The Cup co-writer and director Simon Wincer and star Stephen Curry swung by Perth briefly as part of a country-wide promotional tour. Perched on the seventh floor of a swanky hotel with river views, the pair spent a day doing interviews about the story behind the 2002 Melbourne Cup which inspired the movie. Just a week before Damien Oliver, played by Stephen Curry, was to race, his brother Jason (played by Daniel MacPherson) died in a racing accident. After an ice breaking voice recorder mishap got a few chuckles from the director and actor – I hit play on a past interview instead of record – we were able to chat about the difficulty in getting the movie made and the day that stops the country.

Reel Review Roundup: Simon, going through your filmography, there are lots of animals. Do you have a passion for horses?

Wincer: Yes, I have a passion for horses, I have been riding them all my life and I’ve got a farm. It’s a hobby.

RRR: Did that rub off on you, Stephen?

Curry: Yeah it did, to see someone who is passionate for horses is infectious, it’s a great thing to see and his knowledge of horses is such a massive part of it as well. I actually learned to ride horses up at Simon’s property. It became a great learning curve for me over a couple of years.

RRR: When did you realise there was a story behind this particular Melbourne Cup win?

Wincer: I was out of the country when it happened, I was finishing a movie  in America and a Texas journo, called Eric O’Keefe, who had interviewed me a couple of times, contacted me and said “When you go back to Australia in a few days, could you look into the running of the Melbourne Cup, I heard it’s a huge horse race in Australia and I was just told 100,000 people cried. The crowd went crazy.”  I got back to Australia and looked at the story and I asked him “What do you want to know about it?” and he said “I think there is a magazine article or a book in it.” I said “This isn’t an article or a book, this is a Hollywood movie.” So we ended up writing the screenplay together. Then, after we did the first draft, we had to approach Damien Oliver to see if he would allow us to do this. He said it was an opportunity to pay tribute to his best mate, his brother and he allowed us to do it. It has taken a journey to get it to the screen.

RRR: Did you know anything about it previous to getting the script, Stephen?

Curry: I followed the story as closely as most people. I didn’t know about the racing circles or the extended back story until I started looking into it after I met Simon.  I guess once I realised – even just the image of Damien passing the post and kissing the heavens in respect for his brother – it’s just one of those images that stays with you. But finding out about the back-story about his father Ray Oliver who died in a race fall, I became absolutely enamored by it and really so excited and thrilled to be a part of it.

RRR: Melbourne Cup is a huge part of Australian culture, but I guess a lot of people;e just like the dressing up and having a bit of a bet. Did you guys have to research further into the history of it all?

Wincer: I was lucky enough to be able to shoot a couple of Melbourne Cup days with some cameras, so we knew what we were after in terms of what its like to be there …

Curry: Like the bloke in a dress with a hairy chest…

Wincer: … the guys giving points to the beautiful girls. It’s all so much fun. All the kids in Melbourne, they’re all in their suits and girls are dolled up, they’re all heading off to the races and at the end of the day the girls are carrying their shoes and everyone has had far too much to drink. But it is such a wonderful day and I really wanted to capture that and for those that have never been to a cup, show them how much fun it is and lift  the curtain on what happens behind the scenes. But that’s really background to the story. To me, triumph over tragedy and triumph of the human spirit, that’s the heart of the story, that’s what moves people I think. This background of the whole racing business is fascinating and what that world is like and the discipline required to be one of those elite athletes.

RRR: That leads me to the next question. As you said, it is about triumph over tragedy. You said before the preview, the process to get the movie made was difficult. Were there any points during the making where you both sat down like Damien did and thought “should I or shouldn’t I go ahead with this project?”

Wincer: There was last February, where the last piece of financing we thought we had fell away and I thought “Oh Christ.” I’d lived with this bloody thing for seven years now and dedicated far too much time of my life and turned down a lot of bloody good work just to get this thing done. It became a real passion for me because I believed so much in the story. I rang a friend of mine who is a private investor and said, sadly, “I think that’s it. I just don’t know where to turn. I’m quite a bit short.” He called me back 10 minutes later and said “Mate, I’ve been talking with my wife and we will put up the shortfall.” That was February 2010 and we started pre-production in March. Stephen had been learning to ride for a couple of years at my place with a wonderful instructor and every time he would get to the perfect riding weight, I’d say “Sorry the global financial crisis, sorry mate or sorry Stephen, this company just pulled out.” Poor guy.

RRR: Did you have any of those moments, Stephen?

Curry: Yeah, I’ll be honest, I think it’s a testament to Simon that the film actually got made. Other people would have given up. That is a long time to keep receiving bad news. I lost hope once or twice. I guess it’s so hard to maintain faith because it is such a fickle industry that we find ourselves in, but that’s our own stupid fault for not having real jobs.

Wincer: It does happen to so many films, so it’s not exactly uncommon in our business.

Curry: That’s exactly right. All joking aside, if it wasn’t for Simon, this film wouldn’t have been made. I am very thankful and extremely lucky that it did.

The Cup (PG) released October 13.

The Debt (M)

Directed by: John Madden

Starring: Helen Mirren, Tom Wilkinson, Jessica Chastain, Sam Worthington

Four stars

Review by: Julian Wright

Director John Madden is not the first (and certainly will not be the last) film maker to bask in oscar glory only to have their career come to a screeching halt with one headache inducing production. After steering Shakespeare in Love to seven academy award wins (his Mrs Brown scored two nominations the year before) he received a lukewarm reception to his following films Captain Corelli’s Mandolin and Proof.

But it was the troubled Killshot – a dull action/drama based on a novel by esteemed writer Elmore Leonard with an impressive cast that went through re-shoots, was delayed and then eventually dumped in a handful of cinemas in 2008 – that killed his streak. It would appear he has found his footing again with this sure-fire thriller that explores the bond between people put into an extreme situation and how telling a lie can haunt you – and come back to bite you.

In 1997, as retired decorated Mossad secret agents Rachel (Helen Mirren) and Stephan (Tom Wilkinson) are drawn into the celebrations surrounding the release of their daughter’s book about a famous and successful mission of theirs in 1965, they hear news that a fellow agent, David (Ciaran Hinds) has killed himself. The film rewinds back to that mission, in which the three agents (now played by Jessica Chastain, Marton Csokas and Sam Worthington) manage to find Nazi war criminal Dieter Vogel (Jesper Christensen) who is working in East Berlin as doctor.

The kidnapping runs fairly smoothly until the part where they need to put him on a train at a heavily guarded station goes awry. They miss the train and are forced to keep him prisoner in their dingy apartment while they come up with an alternate plan. The tension becomes increasingly thick with Rachel developing feelings for David but sleeping with Stephan and Dieter misbehaving and exploiting his kidnappers’ weaknesses.

But one decision the three make (for Rachel, the decision is made reluctantly) sees them labelled Israeli national heroes throughout the following years. Now with one of them dead and the book about their mission just released, past demons are resurrected and Rachel must finally put them to bed. To reveal more would ruin the fun.

There are so many films that play on the idea of a secret that has been dead and buried coming back to haunt the people who share it, and yet so infrequently do the stakes seem high enough for us to care. This is one rare occasion in which the truth emerging could have such a profound effect, not just on family but on a nation. In fact, it would mean a version of history being re-written to finally resemble fact- a fact that not many people would want to know.

These impossibly high stakes, coupled with some fine tuned direction that keeps the tension unflinchingly high for the entire running time, ensures one nail bitingly dramatic experience. Madden constantly reminds us of the pending danger and in doing so keeps us firmly on the edge of our seats.

The cast is impeccable, with Worthington being the one exception and one of the film’s very few weakest links with his shoddy accent breaking up some powerful moments. While The Debt stumbles slightly in the second half with some clumsy editing – it goes back and forth in time a little too often – it will not be easily erased from your memory. After seeing this thriller, you might want to think twice before telling a little white lie.

The Hunter (M)

Directed by: Daniel Nettheim

Starring: Willem Dafoe, Sam Neill, Frances O’Connor

Three and a half stars

Review by: Julian Wright

A movie about a loner creeping through the Tasmanian woods looking for a creature that may or may not exist? Doesn’t really lend itself to an abundance of cheap thrills on a Saturday night. If that is what you were expecting from this often leaden piece you may want to keep looking. Director Daniel Nettheim slows things right down here taking more time with the characters than the mythical Tasmanian Tiger one of them is trying to capture.

Based on the novel of the same name by Julia Leigh, The Hunter follows hired hand Martin David (Willem Dafoe) from the luxuries of European hotels to the isolated woods of Tasmania to hunt for an animal that is supposed to be extinct. Apparently there have been unproven sightings up in the hills and if captured, could be worth a lot of money to certain people.

Martin bunks with depressed and doped up Lucy Armstrong (Frances O’Connor) and her two children Sass (Morgana Davies) and Bike (Finn Woodlock). Their father went out into the woods and never came back and their mother has had a tough times dealing with it. As Lucy sleeps day and night, Martin slips in and makes the accommodation in the neglected cabin livable before he gets to work.

We observe Martin as he lays his traps and waits for a possible sighting of the animal then as he bonds with the struggling family. There are no great surprises that a couple of kids who miss their Dad would become attached to this man or that their mother would find some solace in having a man around the house. But it does offer some tender and touching moments. When Lucy mistakes Martin for her husband in drug induced haze, it is powerful.

Dafoe is definitely watchable during long, wordless sequences and it is fascinating to watch him bring this character to life and see him operate in the wilderness. Unfortunately, there doesn’t seem to be much going on under the surface of this slow-moving drama until the stunning conclusion. If only the rest of the film made us think as much as the ending does.

However, this is a much preferred version of a story about man hunting a mythical creature than any Hollywood studio script writing machine could churn out. Could you imagine it if this went through a dozen re-writes? The critter would have three rows of razor-sharp teeth and would make its way through a handful of scantily clad teens. The horror.

Ocean’s 13 (M)

Directed by: Steven Soderbergh

Starring: George Clooney, Brad Pitt, Matt Damon, Al Pacino

Two and a half stars

Review by Julian Wright

This year has seen a few part three’s grace our cinema screens and none have been able to top their predecessors. Spiderman 3 was too long and over plotted and Pirates 3 went right off the rails. Unfortunately, Ocean’s 13 is no exception.

When Reuben Tishkoff (Elliott Gould) goes into the hotel business with the sneaky Willie Bank (Al Pacino), who has a history of double crossing his partners, the last thing he expects is to be double crossed himself. But that’s exactly what happens and it causes him to have a nasty heart attack that puts him in hospital.

In an act of revenge, Danny Ocean (George Clooney) brings his gang back together again to bankrupt Bank on the opening night of his new big hotel/casino. They have put people on the inside, rigged the roulette tables and slot machines, tampered with the dice and manage to fake a minor earthquake to disable a super computer used by the casino to check the crowds for cheats. The plot thickens when Ocean finds he must turn to his rival Terry Benedict for extra funding to pull off this elaborate heist.

Having never been very impressed with these ensemble films, I was hoping the third in the series might offer something new but it doesn’t. Movie goers are given the same routine for the third time. These films rely so heavily on star power that the direction and pacing are so relaxed, resulting in some sedate and boring sequences.

Just when the plot thickens and the screws of suspense should be tightened the film still cruises along in first gear. It is undeniable that audiences enjoyed watching some of Hollywood’s biggest names share the screen but they are lifeless. They just stand there oozing charisma and appeal but it is just not enough to carry a two hour film.

The best moments are when director Steven Soderberg takes a break from all the expositional dialogue and allows the characters to engage in idle chit-chat.

As appeared in Examiner Newspapers 2007.

The Whistleblower (MA)

Directed by: Larysa Kondracki

Starring: Rachel Weisz, Monica Bellucci, David Strathairn, Vanessa Redgrave

Three and a half stars

Review by: Julian Wright

For an audience to go along with any film plot, whether it is based on truth or completely fabricated, the opening scenes are crucial in convincing the audience that this is a trip it should go on. One of the most important roles in this is the main character and whether or not we identify with him or her. An underdeveloped character could be the difference between an audience investing in the story or switching off and thinking about which household chores need to be tackled.

One misstep The Whistleblower makes is rushing the main character’s introduction. And for a film that is borne out of an existing context of harrowing injustices and political unrest, this could have been fatal. In its hurry to cut to the chase, Rachel Weisz’s Nebraska cop Kathryn Bolkovac is taken from her depressing home life to a Bosnian camp as a peacekeeper in the space of four scenes.

All we know about Kathryn is she is split from her husband, who has custody of their daughter, because she is married to her job. And we get all this information in one clunky dialogue scene between the feuding exes. Not the best way to start things off. Luckily, the story develops so compellingly and Weisz so terrific in her role that we are able to leave the bumpy start behind us and engage in the story as it unfolds.

Kathryn takes a lucrative job as a peacekeeper in Bosnia so she can later afford to move closer to her daughter. On her new duties, she successfully prosecutes a man for abusing his wife and is promoted to head a department that deals with women involved in crimes. This exposes her to the trafficking of abused and drugged young women at a local brothel passing itself off as a bar that she learns is frequented by the men she works with.

More devastating is the revelation that these men, posted to protect these women, are involved in its cover up and take financial cuts for keeping their mouths shut. The more Kathryn uncovers and the harder she pushes to bring the men behind the trafficking and the men covering it up to justice, the more danger she is in herself. Making her more desperate to catch these men is the bond she makes with Raya (Roxana Condurache) – one of the victims.

While at times difficult to watch – these women are horribly mistreated and the camera rarely shies away from it – and narrow in scope with its storytelling, it is Weisz that holds the film together and keeps us glued to the screen. The academy award wining actress turns in a commanding performance. This is Kathryn’s story and journey, so the details of the political context are sparse. More focus on this could have meant a stronger film, but the story of a woman compelled to do the right thing makes for enough drama that one is willing to see this through.