Reviews Wrap

Here’s a quick dip into the reviews of two recently released Australian feature films: Black & White & Sex and Any Questions for Ben?. Please note these do not reflect the views of the AFI | AACTA. We’re aiming to represent opinions and views from a variety of sources, and you’ll make up your own mind, of course!

Black & White & Sex

Billed as ‘an intimate film about sex’, Black & White & Sex was released in March on just a few screens in Melbourne and Sydney by John L. Simpson’s Titan View. The film previously screened at the 2011 Sydney and Brisbane film festivals, and also screened in official selection at the 2012 Rotterdam Film Festival.

Written and directed by John Winter (who has previously produced films such as Rabbit-Proof Fence and Paperback Hero), Black & White & Sex is a film within a film, following a largely unseen documentary filmmaker (Matthew Holmes) who gets more than he bargained for when he interviews a sex worker who goes by the name of ‘Angie’. Intriguingly, this character is played by eight different actresses (Katherine Hicks, Anya Beresdorf, Valerie Bader, Roxane Wilson, Michelle Vergara Moore, Dina Panozzo, Saskia Burmeister, Maia Thomas). Filmed in black and white, and with occasional split screens, this is an independent film in every way.

Here’s the trailer:

Andrew L. Urban and Louise Keller, over at Urban Cinefile, are both extremely positive about Black & White & Sex, with Urban describing it as “bravura filmmaking on a taboo subject.” He praises the performances of the actresses, the ironic choice of black and white cinematography (ironic because the subjects under discussion are anything but black and white), and the manner in which the film questions assumptions and hypocrisies within our culture around sex and prostitution.

Keller also praises the work as “an ambitious, fearless film” and enjoys the “titillating dialogue” and “witty banter” as well as the performances of the eight very different women, who respond to the filmmaker’s questions – “every question anyone ever wanted to ask a prostitute.” Keller finds the film surprisingly sweet and playful.

Peter Galvin, writing on the SBS Film website, agrees that the film is ambitious and experimental, and that the acting is fine, but wrestles with the question of whether the film actually becomes the very thing it aims to counter – a stereotypical representation of the prostitute as cultural cipher. Galvin also finds the dialogue clichéd, writing that “most of the talk has the dry, pre-digested, lifeless feel of a self-help manual – it’s all catchphrases and aphorisms.”

Writing for Variety (login required), Richard Kuipers describes the film as offering “a full-tilt examination of the sex-for-sale biz that effectively challenges stereotypes and is well served by dashes of droll humor.” Kuipers sees only a few “flat dialogue stretches” and praises the “uniformly excellent acting” and the “outstanding black-and-white HD widescreen imagery by lenser Nicola Daley.” He predicts, however, that the film will probably appeal more to festival audiences than to mainstream ones.

Over on the ABC’s At the Movies, Margaret Pomeranz and David Stratton agree that Black & White & Sex is “imaginative”, “brave”, superbly acted, and “within its limitations, very stylishly done”. They concur on a three and a half star rating.

Want to read other reviews of Black & White & Sex? More can be found here:

Any Questions For Ben?

A romantic comedy from Working Dog, the team behind previous Australian hit features The Dish and The Castle, Any Questions For Ben? was released in Australia on 9 February 2012 through Roadshow Films. Written by Santo Cilauro, Tom Gleisner and Rob Sitch, and also directed by Sitch, the film stars Josh Lawson as a smart, good-looking Lothario suffering a quarter-life crisis, brought about by his encounter with a beautiful United Nations lawyer (Rachael Taylor) who makes him question the meaning and purpose of his life.   A supporting cast includes Rob Carlton as Ben’s father, Lachy Hulme as his mentor, and Daniel Henshall, Felicity Ward and Christian Clark as his best buddies.

Here’s the trailer:

Simon Miraudo reviews the film on QuickFlix and finds it has “an easy, low-stakes charm, and is buoyed by its very talented cast of performers.” Miraudo praises Lawson as a likable lead who “deserves much of the praise for making sympathetic a character who could be considered the poster child for ‘first world problems’” – though he wonders if a more understated and less slick style may have been more appropriate to the film’s material. While declining to include it in the same “pantheon of Australian films” as The Castle and The Dish, Miraudo declares it it “a sweet, unassuming and occasionally very funny film.”

Likewise, Matthew Pejkovic of Matt’s Movie Reviews enjoys “a funny and insightful look into Gen X pressures in an increasingly fast paced world,” and has more praise for Lawson’s natural comedic timing and ability to depict Ben as sympathetic despite the fact that he’s “swimming in money, opportunity and women.”

Richard Gray of The Reel Bits  gives another positive review of the film, and finds Ben to be a character whose struggle to find meaning in modern life makes him “just as much of a local hero as Darryl Kerrigan.” Gray applauds Lawson in the lead role, and also enjoys Rachael Taylor’s “most naturalistic performance to date.”

In stark contrast, Crikey’s Luke Buckmaster is scathing of the film, failing to see any effective comedy or any chemistry between Lawson and Taylor. He wishes more effort had been made to capture the subtleties of the Melbourne location and deplores the soundtrack “stuffed to the gills with top 50 bubblegum pop tracks.”

Sandra Hall, writing for the Sydney Morning Herald is gentler on the “bright and shiny piece of film-making,” but is also disappointed, finding its depiction of Melbourne akin to a tourism advertisement, and its music montages “a sign of desperation.” Hall is thankful there are no fart jokes, (as in Apatow comedies), but finds herself “nostalgic for Working Dog’s sharper days when they would surely have perpetrated all sorts of wickedness at Ben’s expense.”

Other reviews of Any Questions for Ben? can also be found here:

Did you see these films? What did you think? Feel free to comment below. Note that comments are subject to moderation. We’ll print them as long as they’re fit for polite company.

Reviews Wrap

Here’s a quick taste of reviews of current release Australian feature films Blame and Sleeping Beauty. Please note these do not reflect the views of the AFI. We’re aiming to represent opinions and views from various sources, and you’ll make up your own mind, of course!

Blame

Blame Key Art AustraliaReleased nationally in Australia on 16 June by Pack Screen, Blame premiered at the 2010 Melbourne International Film Festival (where it was a MIFF Premiere Fund film) and screened to some acclaim at festivals including Toronto and Chicago. Filmed and set in the foothills of Perth, the story centres on a group of young vigilantes intent on wreaking vengeance for a sexual betrayal.

Directed by Michael Henry, and produced by Ryan Hodgson, Melissa Kelly and Michael Robinson, Blame stars a raft of fresh but familiar talent, including Sophie Lowe, Kestie Morassi, Damian de Montemas, Simon Stone, Mark Leonard Winter and Ashley Zukerman. Reviewing the film as part of the TIFF 2010 lineup, Twitch’s Todd Brown was particularly impressed by the actors, and by the opening sequences, but writes that the film is “[l]ong on cast and concept but slightly short on execution,” and that it “never quite manages to reach its full potential or really cash in on its premise”.  

Megan Lehmann, writing for The Hollywood Reporter (login required), calls Blame “a compact little thriller set in a remote corner of the Australian bushland,” and predicts that it will be a good calling card for its cast and crew. She singles out the stark piano-heavy score and DOP Torstein Dyrting’s lingering camera-work for special mention, with the only real criticism being a “generally tight script  [that] stumbles in the second act as the characters chase their tails for a while.”

Simon Miraudo, over at Quickflix sees in the film “brief flashes of brilliance that evoke Alfred Hitchcock and Agatha Christie,” though ultimately, he argues, “it feels like a sincere tribute to Hitchcock and Christie, but not a modern-day companion piece.” Miraudo singles outs out performances by Damian de Montemas, Sophie Lowe and Kestie Morassi for special mention. Also seeing Hitchockian references in Blame, Peter Galvin (SBS Film) commends the way the audience’s sympathies are simultaneously engaged by both the victim and the perpetrators.

Leigh Paatsch, reviewing for the Herald Sun gives Blame three stars and writes that “[f]irst-time writer-director Michael Henry makes a little go a long way throughout, pushing an impressive young cast through a twisty, turny maze most viewers will be happy to get lost in.” Both David Stratton and Margaret Pomeranz from the ABC’s At The Movies are similarly impressed with the film, agreeing with a three and a half star rating, and praising it as an intelligent low budget film that “punches above it’s weight.” 

Sleeping Beauty

Sleeping Beauty key art AustraliaSleeping Beauty, an ‘erotic fairytale’ about a young woman, Lucy (Emily Browning), who sells her body in a particularly passive way, is shaping up to be one of those films that is dividing critics and audiences. This divisive tendency was evident at the film’s premiere screening in Official Competition at Cannes 2011 (you can see a table summarising critical responses from French critics at Cannes here), and the vigorous debates here at home continue the tendency. In fact, as Glenn Dunks argues, writing for Onya Magazine, perhaps “the discussion it has elicited from critics and audiences (domestic and international alike) is reason enough for [the film’s] existence.”

One of the most interesting and lateral responses to Sleeping Beauty is this one by Matt Riviera on his blog A Life in Film, where he engages not only with the film but with its critical and audience responses. (Riviera has meticulously compiled a table of Sydney critics’ responses to 2011 Sydney Film Festival offerings, including Sleeping Beauty, and you can see that film’s divisive effect evident in the chart here.)  

Anticipating that many viewers will be alienated and unmoved by the somewhat clinical tone of the film, Riviera notes that “[w]e are not encouraged to relate as much as to reflect on our position as voyeurs. In other words, we can look but cannot touch.” He goes on to offer a fascinating and unexpected reading of  the film as a metaphor for Australia’s passive relationship to its own beauty and international exploitation.

Over at Cinema Autopsy, Thomas Caldwell gives a more conventional review. Awarding Sleeping Beauty four stars, Caldwell admires writer/director Julia Leigh’s “well tuned sense of visual storytelling” and notes that the film’s cinematography (Geoffrey Simpson) and production design (Annie Beauchamp) evoke the work of Kubrick, Lynch and Greenaway. Caldwell also praises the “meticulous and minimalist sound design by Sam Petty”, and the “highly measured and controlled performance” of Emily Browning in the lead role.  Anticipating other viewers’ criticism of the film, he writes that “[o]n face value Sleeping Beauty may appear to be simply an arty exercise in film style and as a result will no doubt perplex and frustrate some audiences, particularly those expecting something more erotic or blatantly emotionally charged. However, like Lucy it contains something dark, complex, mysterious and, indeed, beautiful deep down below the surface.”

David Stratton, reviewing for At The Movies, called Sleeping Beauty “a handsomely made and quite haunting first feature” and gave the film three and a half stars. Stratton argued, however, that “while it’s often very impressive it’s also very cold and detached.” Andrew L. Urban is another such viewer, frustrated at what he perceives as the film’s coldness. At Urban Cinefile he writes: “I salute the unique vision, but I feel cheated that I felt so little emotion in a film that has such vast emotional potential.” Writing in the same space, Louise Keller declares Sleeping Beauty “a mesmerizing film and a stunning debut for Leigh, although the ending disappoints and leaves us adrift.”

Jim Schembri, writing in the Sydney Morning Herald gives the film backhanded praise, arguing that “the one thing you can’t say about Sleeping Beauty that you can about many other Australian arthouse films, is that it is boring. If anything, there’s something mesmerising about Lucy’s journey and in Browning’s deliberately passive, low-key performance, even if the whole shebang leads to frustration.” Leigh Paatsch, in the Herald Sun is not so kind, describing it as “prentious” and an “arthouse snoozer”. Variety’s Peter Debruge is similiarly unimpressed, criticising the film’s “frustratingly elliptical feel and lack of character insight.”

Over at the Guardian however, Peter Bradshaw seems to gain far greater insight into the “emotional seriousness” of Lucy’s character, praising Emily Browning’s “fierce and powerful performance.” Bradshaw also calls the film a “technically elegant” and “assured debut”, nevertheless finding it to be “no more than the sum of its parts”.

Clearly, the debate will continue to rage. What did you think?

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Reviews Wrap

Here’s a quick taste of reviews of current release Australian feature films The Tunnel, Here I AmOranges and Sunshine and Cane Toads: The Conquest. Please note these do not reflect the views of the AFI. We’re aiming to represent opinions and views from various sources. You’ll make up your own mind, of course!

The Tunnel

On 18 May, The Tunnel was released simultaneously on DVD, BitTorrent and PayTV’s Showtime. The film’s creators (producers and writers Julian Harvey and Enzo Tedeschi, director Carlo Ledesma and executive producer Andrew Denton) used what they’ve dubbed ‘the 135K project’ to raise the budget for the film.  Individuals could jump online and buy a frame of the movie which in turn has facilited the release of the movie online, for free. Luke Buckmaster over at the Crikey film blog Cinetology gives a good rundown of the film’s funding and distribution strategy, but also writes that it succeeds as a thriller, calling it “a visceral horror-umentary”, noting that its “cinematic spookiness that will infect even hardened genre aficionados with a serious case of the heebie-jeebies.” Richard Gray and Sarah Ward of The Reel Bits are similarly impressed, calling The Tunnel “an effective horror effort filled with tension and terror.” They note that “although the innovative funding and distribution model championed by the feature is garnering it the most attention, the film deserves to be watched based on its merits.”

In a review published on Twitch, Brandon Tenold argues that The Tunnel takes its time to get going, with the scary thrills only entering half way. Tenold nevertheless praises the production values and acting, and writes that it’s a “solid entry into the ‘found footage’ genre and…whether you like it or not, it’s one movie you won’t feel guilty about downloading.” 

Richard Kuipers, writing for Variety (login required), echoes criticism about the film’s slow start, and would have liked it to reveal more about the “malevolent presence” the characters encounter. Nevertheless, he calls The Tunnel “a pretty good spook show”, writing that its “ace lensing on a multitude of formats contributes significantly to the film’s believability as a found-footage item.” 

Here I Am

Beck Cole’s debut feature film Here I Am premiered at the Bigpond Adelaide Film Festival and released nationally on 2 June. Reviewing for the Age newspaper in Melbourne, Philippa Hawker praised the film, writing that “[q]uietly, and with an unobtrusive grace, Here I Am explores harsh truths, everyday realities and intimations of change.” Hawker praises the “wonderfully eloquent presence” of Shai Pittman in the central performance .

Over at Movietime on Radio National Julie Rigg praises the warmth and heart of the film, particularly found in the scenes at the women’s shelter in Temple House. Rigg argues, however, that the film leaves us guessing too much, and that some of the performances are uneven.

Louise Keller and Andrew L. Urban echo similar praise and criticism at Urban Cinefile. Urban notes echoes and parallels between Here I Am and Mad Bastards, both of which portray Indigenous characters fresh out of jail and trying to reconnect with estranged children. Keller writes that a few of the performances “are a little shaky” though she singles out Pittman and Bruce Carter, who plays the love interest, for special praise. Keller also likes the fact that the film “shows there is a way forward, even if the path is tough.”

Reviewing for SBS Film, Fiona Williams gives Here I Am three and a half stars, calling it “a rough diamond”. She likes the fact that “Cole keeps the tone from devolving into ‘message movie’ territory by populating the film with ballsy women who inject elements of brashness and comic relief.” Williams also praises Thornton’s intimate camera work, and the film’s soundtrack, roving from PJ Harvey, to the Yeah Yeah Yeahs to the lyrics of Archie Roach’s anthem, ‘Walking into Doors’.

Cane Toads: The Conquest

Cane Toads: The Conquest is a 3D documentary horror film about the environmental devastation left in the wake of the giant toads’ unstoppable march across Australia. Director Mark Lewis first covered the subject matter in his 1988 hit doco Cane Toads: An Unnatural History.  Myke Bartlett over at The Weekly Review says it’s a pity cane toads don’t have the same box office pull as Cate Blanchett as this new movie is possibly “the funniest film of the year.”

Sarah Ward, writing at The Reel Bits calls the film “informative, amusing and unconventional…an engaging and irreverent take on the nature documentary genre.” Michael Lee of  Film-Forward.com, who saw the film at its world premiere at Sundance 2010, finds the subject matter “undeniably fascinating” and writes that this particular documentary is the perfect Sundance response to the 3D phenomenon – “the right mix of sarcasm and visual flair.”

On a more muted note, Peter Galvin at SBS Film enjoys the documentary, yet argues that it isn’t significantly different from Lewis’s previous film about cane toads, and that it doesn’t feel like it’s “nearly as much fun” as the earlier film. Margaret Pomeranz and David Stratton from ABC’s At the Movies also remember the earlier film as being funnier, with both of them agreeing on a three star rating.

On the other hand, Anthony Morris, writing for The Big Issue (review reprinted on It’s Better in the Dark) finds the film extremely funny, and argues that “The 3D is never a cheap trick [but is]…used to bring viewers into the film – and the ground-level world of the slow-moving yet relentless cane toad.” Morris selects the film for the ‘standout’ review of the fortnight, and awards it four stars.

Oranges and Sunshine

Oranges and Sunshine key art AustraliaCritics have praised this heart-rending true story of Britain’s child migration for its lack of emotional manipulation or sentimentality. For example, Margaret Pomeranz and David Stratton from At the Movies agree that Oranges and Sunshine is restrained, unsentimental and yet incredibly moving, with both critics agreeing on four stars. Richard Kuipers, reviewing for Variety (login required) writes that the film is so moving that audiences may be in tears within minutes of starting to watch Oranges and Sunshine. Yet Kuipers praises the film for its lack of sensationalism, singling out Denson Baker’s cinematography and Lisa Gerrard’s “discreet musical score” for commendation.

Marl Naglazas, reviewing for The West Australian praises screenwriter Rona Munro for creating a script that’s able to “keep a very tight lid on the sentiment, treating it as more of a detective story instead of a conventional melodrama and allowing the emotion and outrage to bubble to the surface.” However Empire’s David Hughes argues the opposite line, that “in its studious avoidance of melodrama, it’s almost too low key for its own good.”

Over at TheVine, Alice Tynan applauds lead actress Emily Watson, arguing that she’s perfectly cast as the gentle but tough-minded social worker Margaret Humphreys. Tynan also praises director Jim Loach for his “impressive craftsmanship and keen emotional intelligence” but finds the film’s pacing uneven, suggesting the material may have been better served by a television mini-series.

Thomas Caldwell, writing for Cinema Autopsy, commends Oranges and Sunshine for functioning “as both entertainment and as a piece of social awareness.” Caldwell writes that with this film Jim Loach “has announced himself a distinctive cinematic voice who is able to handle complex and difficult subject matter with sensitivity and skill.”

Check out these films on the big screen now, while they’re in the cinemas, and feel free to drop back and leave your comments and opinions.

Our next Reviews Wrap will cover Blame and Sleeping Beauty.

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Reviews Wrap: Mrs Carey’s Concert, Mad Bastards & Snowtown

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Reviews Wrap

A taste of what the reviewers said this about this week’s Australian releases…

Griff the InvisibleGriff the Invisible Key Art
The sweetly odd superhero romance got the thumbs up from At the Movies host Margaret Pomeranz, who was almost moved to tears, saying “this film is a rarity in this country, it’s a romance, and it’s a beautiful one.” David Stratton wasn’t quite so affected, but admitted to warming to the film, especially the standout performance by Maeve Dermody. Giles Hardie over at the Age writes that “Griff The Invisible‘s greatest superpower is to reclaim the word quirky for the forces of good”, while Empire’s Zach Gibson likes the fact that the film’s love story goes deeper than lycra. The Vine’s Clem Bastow offers an insightful and rather lovely four star review, describing Griff as “an exploration of the collision between dreams and delusions, between loneliness and love.”

The Reef
Andrew Traucki’s shark-attack thriller struck all the right notes with reviewers, who may never go snorkelling again. Filmink’s Erin Free called it “a tidy excercise in minimalist terror, proving that you don’t need much money to create a piece of cinema that really works.” Luke Buckmaster over at Cinetology describes the film as “an unnerving winner: tense, twitchy and frighteningly entertaining.” Julie Rigg, from Radio National’s Movie Time has special praise for the film’s actors and the challenges they faced working at water level.

A Heartbeat Away
A brass band, a country town, and father-son conflict that all climaxes in a musical competition – A Heartbeat Away may find its audience in fans of films like Brassed Off but reviews have been lukewarm so far. The Sydney Morning Herald’s Sandra Hall nevertheless gave the film three stars, and writes that Edwards “brings a theatrically ornate style to the job with an emphasis on backlighting and the use of the soulful montage.” Empire’s Ed Gibbs also gives three stars, but notes the “respectable cast does enjoy the ride, but isn’t sufficiently stretched.”

Have you seen any of these films? What did you think? Want to point us to your own reviews or blogs? Feel free to do so, and discussion is welcome, but imagine you’re at the cinema: throw jaffas at the screen or crush ice-cream into the seats and we’ll usher you out.