Reel Review Roundup

The Dry (M)

Directed by: Robert Connolly

Starring: Eric Bana, Genevieve O’Reilly, Keir O’Donnell

Review by: Julian Wright

Twenty years after he is basically run out of his rural home town as a teenager, Federal cop Aaron Falk (Eric Bana) returns for the funeral of his childhood mate Luke Hadler.

The circumstances around Luke’s death are disturbing – it appears he shot and killed his wife, child and then himself in a murder-suicide, likely driven to his actions from the stress of the relentless and ongoing drought that has plagued the farming community.

Falk begins to dig deeper with rookie local cop Greg Raco (Keir O’Donnell), suspicious that there could be more to the incident than everyone thinks. Falk’s presence causes friction with some of the thuggish locals but his investigation uncover another link to the death of a teenage girl 20 years ago, that Falk and Hadler may have been involved in somehow.

This deliberately paced, slow burn Australian mystery thriller is an immersive experience, enhanced by some terrific location filming and cinematography in the widescreen format that capture a real sense of rural community and space.

While the characters in the film seem vaguely sketched at best (the book may perhaps flesh them out further), this film still manages to pull you in with not just one mystery, but two and several red herrings and suspicious locals, revealing the puzzle pieces in expert fashion by director Robert Connolly.

A lot of effort has been put into the structure here with the events that surround the 20 year old mystery neatly woven into the present day story.

Bana does his best brooding as his character is carrying myriad secrets and keeping plenty of information to his chest – as our way into this story, he is a watchable and engaging presence.

The rewatchability may be incredibly low (once you know all the answers, there isn’t anything else left to discover) but while you are watching this for the first time, it is an enthralling and engaging experience that will have you guessing and second-guessing.

The Witches (M)

Directed by: Robert Zemeckis

Starring: Anne Hathaway, Octavia Spencer, Jahzir Bruno

Review by: Julian Wright

The classic 1983 Roald Dahl book The Witches gets dusted off for a second big-screen adaptation, this time with all the CGI money can buy.

In the 1960’s, a young boy (Jahzir Bruno) is sent to live with his Grandma (Octavia Spencer) after his parents are killed in a car crash.

While in his vulnerable state of grief and adjusting to his new life, the boy is approached by a witch (oh yeah, they exist and prey on small children, who they have a deep disdain for), so his Grandma packs up and they go on the run and hide out at a luxury hotel where her cousin works.

The hotel turns out to be the exact location a coven of witches led by the Grand High Witch (Anne Hathaway) are holding their own little convention where they plan to turn all children into rodents.

The 1990 screen adaptation starring Angelica Huston is renowned for terrorising a generation of youngsters, but with Back to the Future’s Robert Zemeckis behind the lens this time, 2020’s youngsters are fairly safe, despite the M rating.

There seems to be a tonal push and pull going on throughout this film, with co-scriptwriter Guillermo del Toro’s (The Shape Of Water) darker sensibilities quite evident (the dark, somber opening and young hero in danger), but Zemeckis has a tendency to lean towards lighter fair.

There is a cartoon quality to it all, and not just due to the spirited performances; the heavy reliance on CGI from mice to costumes makes one wonder why this wasn’t just made in 3D animation instead.

As mentioned, the performances are terrific, with Spencer such a warm screen presence, Bruno showing impressive range for a newcomer and Hathaway relishing her opportunity to be over the top evil.

Their enthusiastic performances and the lively action scenes help make up for some iffy pacy (some sequences play out far too long in single locations) and tonal inconsistencies.

Misbehaviour (M)

Directed by: Philippa Lowthorpe

Starring: Keira Knightley, Jessie Buckley, Gugu Mbatha-Raw, Greg Kinnear

Review by: Julian Wright

It was one small step for a handful of women but one giant leap for woman-kind when a group of fed up feminists protested and picketed the televised 1970 Miss World competition, putting the women’s liberation movement firmly on the map.

When educated, divorced mother Sally Alexander (Keira Knightly) wants to go back to university, the only thing getting in the way of achieving her goal is a board of middle aged white men who question her life choices.

With a drive to secure herself “a seat at the (male dominated) table”, Sally joins a ragtag activist group lead by the scrappy but spirited Jo Robinson (Jessie Buckley), who resorts to the occasional minor illegal activity to get her feminist message across.

Despite clashing over tactics, they agree nothing will amplify their message more than the televised 1970 Miss World competition, which is set to draw 100 million viewers worldwide and is being hosted by womanising comedian Bob Hope, whose jokes lean to the sexist side.

Armed with a fresh new slogan and self-designed posters, the group plan to infiltrate and hijack the event in front of a worldwide audience.

Meanwhile, Black competitors Jennifer Hosten – Miss Grenada (Gugu Mbatha-Raw) and last minute woman of colour inclusion for political purposes Pearl Jansen – Miss Africa South (Loreece Harrison) navigate the white world of pageantry.

Misbehaviour likes to play it safe; not quite cheeky enough, not challenging enough, the sexist behaviour not outrageous enough and the stakes not high enough – it is a very respectable, polite and digestible story about the women’s liberation movement.

To its credit, Misbehaviour wants to address all female points of view on this issue that is rife with interwoven political and social complexities and treat them as valid and with equality.

There are the Black contestants who endure the sexism to use the pageant as a career leg up, the blonde favourite to win who hates being treated like cattle, the scrappy feminist, the organised one with a young daughter to inspire, the older generation mother who enjoyed domestic life, the womaniser’s long suffering wife, and more – but it proves a lot for a 106 minute film.

We merely get snippets of motivation, character development and interactions, suggesting that perhaps a multiple episode arc in a limited series would have been more appropriate to allow each character to be explored deeper.

It even folds into the mix the privilege of the white protesters (and contestants), who are blissfully unaware that black women face more obstacles than they do. This isn’t brought to Sally’s attention until the climactic moments of the film when, in a distractingly contrived sequence, she finds herself face to face with surprise winner Miss Grenada.

Misbehaviour is dripping with goodwill and good intentions and covers a key part of the women’s liberation movement, it just leaves you wanting just that little bit more.

Let Him Go (MA)

Directed by: Thomas Bezucha

Starring: Diane Lane, Kevin Costner, Lesley Manville

Review by: Julian Wright

Re-uniting Superman’s parents from the DC Universe, Let Him Go (based on the novel of the same name) has Diane Lane and Kevin Costner once again playing husband and wife, but this time facing a dangerous family to get their only grandchild back.

During the 1960s, sweet, quiet and wholesome middle aged couple George Blackledge (Kevin Costner) and Margret (Diane Lane) live on their Montana farm with their son James (Ryan Bruce), his wife Lorna (Kayli Carter) and their baby Jimmy.

After James is killed in a horse riding accident, Lorna re-marries, but this time to the abusive Donnie Weboy (Will Britain) and in the middle of the night, the family skips town without a word to George and Margaret.

Feeling a sense of loss all over again, Margaret becomes intent on bringing home their only grandchild and last link to their dead son, and after George begrudgingly agrees to go with her, they pack up their car and start searching.

What the Blackledges eventually discover and are not equipped to deal with, is that the Weboys are protective of their own and dangerously violent and matriarch Blanche (Lesley Manville) will not let any of her family out of her sight without a fight.

This mash-up of genres is a curious piece – there are flavours of western, family drama and revenge thriller with echoes of Animal Kingdom and Winter’s Bone permeating throughout, with two different distinct tones of slow burn drama and white knuckle tension that sit awkwardly side by side.

The tension comes in ebbs and flows and at times dissipates completely during stretches of this story and narrative detours (including a Native American and his horse) that have you fidgeting in your seat questioning where it is all heading and how long it is going to take to get to its destination.

And yet somehow I found myself strangely fascinated by it all and immersed in this world.

There are, however, three stand out key sequences in which the two families face each other that will have you teetering on the edge of your seat and gasping at some unexpected violent acts.

Lane and Costner are given far more material to work with than they did in the DC Universe and their delicate performances are terrific to watch, as is Melville’s villainous turn, which in juxtaposition, makes for some dynamic exchanges.

This is an interesting addition to writer/director Thomas Bezucha’s relatively short but eclectic filmography, which includes the Christmas family dramedy The Family Stone and teen identity mix-up fantasy Monte Carlo; it would fascinating to see what he comes up with next.

Freaky (MA)

Directed by: Christopher Landon

Starring: Kathryn Newton, Vince Vaughn

Review by: Julian Wright

A splattery mix of Friday the 13th’s carnage candy, Scream’s self-aware comedic wit and Freaky Friday’s body-swap silliness, horror/comedy Freaky is a seamless, heady and deliciously fresh blend of genres, tones and tropes from genre mash-up maestro director Christopher Landon.

After giving the time loop Groundhog Day a slashery twist in Happy Death Day, then its delightfully bonkers sequel Happy Death Day 2U a sci-fi heavy context, Landon teams with scribe Michael Kennedy for more blended fun and it is clear the two are on the same warped wavelength.

The hulking Jason Voorhees-like serial killer Barney Garris (Vince Vaughn) is hacking and slashing his way through a collection of small town teens when he finds a magical knife (complete with glowing red eyes on the handle) in the home of one of his unsuspecting victims.

While lurking in the middle of the night on Friday the 13th (appropriately complete with excessive fog) looking for his next kill, the Blissfield Butcher targets alone and reserved high school outcast Millie (Kathryn Newton), who is still dealing with her Father’s death and Mother’s subsequent alcoholism.

But when the Butcher stabs Millie in the middle of the football field with his new weapon of choice, they wake up the next morning in each other’s body.

Millie, now a towering, middle aged serial killer whose face is all over the news, must rally her two friends Nyla (Celeste O’Connor) and sassy gay bestie Josh (Misha Osherovich) for help.

They must get the knife back from police evidence lock-up, reverse the curse and stop the Butcher, now in Millie’s body and walking the high school halls like its a victim buffet, from hacking up more teens.

This deliriously, deliciously fun, gory and funny trip is one of the most invigorating cinema experiences this year.

The respect Kennedy and Landon have for the horror genre is clearly evident, their affection for it is infectious and their approach to film-making is some of the freshest in Hollywood at the moment.

Much like the most successful and entertaining comedy horrors, Freaky takes its time to build suspense with genuinely creepy scenarios, slots in some well timed jump scares, treats hungry gore-hounds with gallons of blood and carnage, all the while making us double over laughing at the witty dialogue.

Not only is the script packed with well-drawn characters, snappy dialogue and pauses for moments of pathos, the film has plenty of visual gags, zips along at a brisk pace and the actors are having a blast.

Its inclusion of diverse characters (a black female best friend and a gay best friend) and woke observations (a brief exchange on post body-swap pronouns) feel far more organic here in Kennedy’s script and achieve more in the way of progression than the recent Black Christmas and The Craft: Legacy, both of which struggled to do when shaping entire scripts around it. As the saying goes: “less is more”.

Vaughn gets to do some of his best work (seriously!); his huge frame making him terrifyingly convincing as the relentless and imposing killer, but also nails it as the flailing teenage girl. Newton matches him with her impressive range as the introvert teen and also as the most challenging part of the role – as the brooding psycho.

Usually in these body swap films, the younger actor having to play the responsible adult is the less fun or showy role of the two (notice that Barbara Harris and Jamie Lee Curtis get the juicier set ups in both Freaky Friday films), but with this clever twist, Newton gets equal footing to Vaughn.

Landon and Kennedy have demonstrated that there are still plenty of avenues and opportunities to take for the slasher sub-genre – all it takes is a little outside of the box thinking. Here’s hoping this divine Hollywood pairing (possibly the most exciting for the genre since Kevin Williamson and Wes Craven) gets to churn out a few more mash-ups.

Summerland (M)

Directed by: Jessica Swale

Starring: Gemma Arterton, Gugu Mbatha-Raw, Lucas Bond

Review by: Julian Wright

During World War II, prickly academic Alice (Gemma Arterton) spends most of her time alone in her cliff side cottage in Southern England writing and researching, while the local children think she is a witch.

When a young London evacuee Frank (Lucas Bond) is placed in her care, the spinster immediately tries to palm him off to another family, but she eventually softens and the two form a close bond.

The relationship triggers memories for Alice of an emotionally turbulent time in her past – her loving relationship in the 1920s with Vera (Gugu Mbatha-Raw), a fellow writer, whose idea of family clashed with Alice’s which eventually tore the two apart.

Making a solid feature film directorial debut, Jessica Swale gives us a fresh take on wartime set films with a female and queer perspective, and set in a three dimensional town populated with a variety of cute, quirky, sassy and likable characters.

Swale delicately and skillfully handles and weaves the queer element into the story and it slowly becomes clear how the fate of Alice’s past relationship informs her attitude and characteristics later during the 1940s.

While there are conventional elements and it treads dangerously close to melodrama at times, Summerland does pack a surprising twist towards the end that is there for emotional impact rather than just shock value, which is rare.

Summerland is also a vehicle for the talented Gemma Arterton, who shines in the lead role, exhibiting extraordinary range that she is rarely offered the opportunity to explore.

From the impeccable delivery of her hilariously cheeky and bitter tinged lines to unsuspecting townspeople (young and old) to the vulnerability displayed later on as the prickly exterior slowly fades away, Arterton achieves some of her best on-screen work.

It is an added thrill to see her in top form.

Summerland screens as part of the British Film Festival 2020.

Honest Thief (M)

Directed by: Mark Williams

Starring: Liam Neeson, Kate Walsh, Jai Courtney

Review by: Julian Wright

Skilled bank robber Tom (Liam Neeson) has been strategically hitting banks across the country, collecting millions of dollars and eluding the authorities for years.

When Tom meets psychology graduate student Annie (Kate Walsh) and falls in love instantly, he decides to come clean.

He wants to turn himself in to the FBI and give them the stolen cash in exchange for a lighter prison sentence so he can still maintain a relationship with Annie.

However, when Agent Nivens (Jai Courtney) and Agent Hall (Anthony Ramos) follow up, they decide to take the cash and brush Tom off as another fake confession – but things turn deadly

It is impressive that at this stage in his career and pushing 70 years old that Neeson is still in high demand for these action roles; and let’s face it, by this point he could do them in his sleep.

Honest Thief offers Neeson another likable family man caught up in deadly situation scenario, but this one takes a lower octane approach than the Taken series and far less bells and whistles.

It sets up an interesting story and character arc and spends more time on the romantic relationship than you might expect, but the relaxed pacing drains it of a sense of urgency at times.

It was the style over substance approach to Neeson’s silly actioners The Commuter, Unknown and Non-Stop and their tendencies to lean into their B-grade qualities that made them so thoroughly enjoyable, something that the Honest Thief might have benefited from.

Regardless, Neeson still has plenty of watchability and the thinly drawn characters are solidly performed by his supporting cast in this serviceable big screen offering.

Baby Done (M)

Directed by: Curtis Vowell

Starring: Rose Matafeo, Matthew Lewis

Review by: Julian Wright

Life is fairly cruisy for 20-something Zoe (Rose Matafeo): she’s got a secure job that she loves and has a loving, long-term boyfriend Tim (Matthew Lewis).

When Zoe discovers she is several months into an unplanned pregnancy, Tim is thrilled with the news and is happy to settle down like so many of their coupled friends, but Zoe hits panic mode.

Having a baby will spell the end of flexibility and spontaneity and she realises that she hasn’t lived her life to the fullest yet so she proceeds to rush through a checklist of adventures before her due date.

Zoe’s determination to qualify for and compete in a tree climbing competition overseas causes the greatest rift between the otherwise perfect couple.

Baby Done is a charming, relatable and often hilarious comedy/drama with a touch of farce about coming to terms with change and how people handle life altering events differently.

The two leads Matafeo and Lewis just ooze likability and appeal and their chemistry with each other is among the most enjoyable you will find on the big screen; they are such delightful company to spend about 90 minutes with and you care about their journey and what happens to them.

While Baby Done keeps its characters, their predicament and actions mostly grounded in reality, there are a couple of heightened moments for comedic effect, but suggesting an arborist’s job is adventurous is its biggest leap.

Irresistible (M)

Directed by: Jon Stewart

Starring: Steve Carell, Rose Byrne, Chris Cooper

Review by: Julian Wright

Former The Daily Show writer and host Jon Stewart takes aim at small towns, American politics and election campaigns in his second feature film, the political satire Irresistible.

After the results of the US 2016 election, Democratic Party strategist Gary Zimmer (Steve Carell) is defeated and desperate.

When he sees the viral video of farmer and retired Marine Colonel Jack Hastings’ (Chris Cooper) progressive speech supporting undocumented immigrants in his hometown of Deerlaken, Wisconsin, Gary sees a golden opportunity.

Gary heads there to convince Jack to run for the mayoral election as a Democrat; Gary’s plan is to finally get the edge over the Republican state in the next Presidential election.

However, Republican strategist Faith Brewster (Rose Byrne) gets wind of Gary’s plan and heads there herself and the mayoral campaign heats up.

Jon Stewart turns his eye to some fairly obvious targets – the relentless strategists, their sneaky spin on facts and small minded, small town folks. His satire is spot on but his claws are dulled, playing it fairly safe with humour set to appeal to the masses and doing his best to not offend those he aims at.

That is not to say that Irresistible isn’t at times extremely funny, particularly with Carell and Byrne in top notch form as the political nemeses, going to sneakier and sleazier lengths to one-up each other for the most votes. The two are a terrific match.

Stewart does have a couple of tricks up his sleeve with some expectation-defying twists that serve as pleasant surprises but are dropped so late in the game that they are left without room to explore further.

Timely, consistently amusing and well-performed, Irresistible is the kind of satire that takes jabs at its targets but with an apologetic tone.

Dirt Music (M)

Directed by: Gregor Jordan

Starring: Kelly Macdonald, Garret Hedlund, David Wenham

Review by: Julian Wright

Beloved WA author Tim Winton’s novel gets the big screen treatment in the beautifully filmed but emotionally distant Dirt Music.

Free spirit Georgie (Kelly Macdonald) finds herself at 40 and in a loveless relationship with fisherman Jim (David Wenham) in a sleepy seaside town.

When she crosses paths with mysterious poacher Lu Fox (Garret Hedlund) and the two strike up a passionate affair, it sets off a chain of events that will either drive them apart or bring them closer together.

This book adaptation sumptuously filmed in some of Western Australia’s most beautifully stark locations is a slow-moving, moody piece that those looking for a heartwarming good time may want to catch another day.

The atmosphere is oppressive with every main character fighting inner torment as they deal with the grief over losing a loved one, or loved ones. It is a striking contrast with the jaw-droppingly gorgeous and scenic landscape.

And while there is nothing wrong with a film that wants to deal exclusively in moody atmospherics (this cynical David Fincher-loving reviewer often leans towards them), there is not enough groundwork laid for us to connect with these characters.

Keeping things vague, it is never digs deep enough as to why Georgie and Lu are drawn to each other. As their relationship finally dissolves, Georgie says to Jim “I can’t do unhappy” and yet chases after a deeply depressed and grieving man with suicidal tendencies.

It becomes as much a mystery of motivations as it is a love story between these two outsiders.

The cast is good with the two non-Australian leads doing their best with the always hard to nail Aussie accent, but the highlight really is the locations shot in the widescreen format.