In a recent interview with The Age, director Kriv Stenders characterises his ability to continue working as a marker of success. He’s not wrong. Sift through the back catalogue of films covered on Down Under Flix and you’ll find an abundance of directors who debuted and bowed out with a single film (e.g. Dating the Enemy’s Megan Simpson Huberman, Beyond Innocence’s Scott Murray, Bondi Tsunami’s Rachael Lucas) or who struggled to generate output following earlier successes. Stenders remains productive and prolific, with a new film, Australia Day, on this year’s festival circuit and a television remake of Wake in Fright in the works. He’s also found a measure of mainstream success with his Red Dog films. The first, 2011’s Red Dog, is a modern family classic, a spunky, funny tearjerker and one of the best local films of the 21st century. Its follow-up, 2016’s Red Dog: True Blue, got a lukewarm reception but it’s a nice old school Australian bildungsroman with a light touch and a canine co-star in the Storm Boy/Blue Fin tradition. The films that launched Stenders’ career, however, are very different animals.
Continue reading “Kriv Stenders double feature: The Illustrated Family Doctor (2005), Lucky Country (2009)”
Director: Nadia Tass
Stars: Ben Mendelsohn, Claudia Karvan, Steve Bisley, Marshall Napier, Maggie King, Damon Herriman, Angelo D’Angelo
First viewing, via DVD
As someone who doesn’t own a car, I’m fairly oblivious when it comes to cars and car culture. Even so, anyone who’s ever watched a handful of teen movies will recognise the prominent role of cars and the social cachets and personal freedoms they bestow in rites-of-passage films, from Rebel Without a Cause to American Graffiti to Grease to Dazed and Confused and beyond. Even the first act of Transformers hinges largely around protagonist Sam Witwicky’s (Shia LaBeouf) bond with his new car, before switching priorities to pyrotechnics and robots thwacking each other about.
Continue reading “Nadia Tass double bill: The Big Steal (1990) and Mr Reliable (1996)”
With 1982’s Barbarosa, Fred Schepisi became the first of the Australian New Wave directors to make the pilgrimage overseas, kickstarting a trend of Australian directors selling their wares abroad. George Miller followed with his contribution to 1983’s Twilight Zone: The Movie, Gillian Armstrong with 1984’s Mrs Soffel, Peter Weir with 1985’s Witness, and so on. The trend continues to this day (seen most recently with David Michod’s Netflix film War Machine and the Spierig Brothers’ Jigsaw), with directors pursuing bigger budgets and diverse opportunities outside the confines of the Australian film industry. This article is the first in an ongoing series that will highlight some of the lesser-known or neglected ventures of Australian filmmakers working overseas. And given my established fascination with Bruce Beresford’s work—as discussed here and here and here—I’ll kick off by looking at three of his lesser known overseas productions: King David (1985), Crimes of the Heart (1986), and Last Dance (1996).
Continue reading “Aussiewood: King David (1985), Crimes of the Heart (1986), Last Dance (1996)”
Sport has long occupied a key place in Australian culture. As noted by Daryl Adair in his essay ‘Making sense of Australian sport history’, the earliest British migrants used sport to maintain links with their country of origin, while subsequent generations helped forge a national identity on the world stage via their sporting prowess. Adair also notes that Australia’s coasts and surf culture have facilitated an array of water-based sports, and in recent years the AFL, among others, has contributed to the reconciliation agenda as a prominent employer of Indigenous athletes. In light of this national pastime, this week Down Under Flix spotlights three sports-centric films from the late 1970s and early 80s.
Continue reading “This Sporting Life: Dawn! (1979), The Club (1980), and The Coolangatta Gold (1984)”
This week brings one last look at Australian comedies from the noughties, no doubt to some readers’ reflief and other readers’ chagrin. Previous entries grouped films according to theme – romantic comedies, music-centred comedies, small town comedies, with The Wannabes straddling the former two categories – but this week spotlights the three best films (in my opinion anyway) of the series: a sly little comedic thriller, a road movie dramedy headlined by two iconic Australian comedy stars, and a polished mainstream confection.
Continue reading “Final 2000s comedy round-up: Under the Radar (2004), Charlie & Boots (2009), A Few Best Men (2011)”
The last few comedies covered on Down Under Flix – The Night We Called It a Day, BoyTown, The Wannabes – took place in urban settings and dealt with the lives, longings, and lacerations of showbiz personalities. This week’s featured comedies are set in rural locales and deal with the lives, longings, and lacerations of small town battlers. These depictions of small town life and struggles are less Welcome to Woop Woop, more Danny Deckchair, erring towards the quaint and cute and romanticising small town living while still articulating the anxieties and concerns of regional communities.
Continue reading “Small town comedy triple review: The Nugget (2002), The Honourable Wally Norman (2003), and Strange Bedfellows (2004)”
Director: Nick Giannopoulos
Stars: Nick Giannopoulos, Isla Fisher, Russell Dykstra, Felix Williamson, Chantal Contouri, Costas Kilias, Ryan Johnson, Lena Cruz
First viewing, via DVD
Down Under Flix’s month-long focus on comedy continues this week with a look at Nick Giannopoulos’s 2003 directorial debut The Wannabes. Danny (Giannopoulos) is the ultimate theatre kid—singer, dancer, actor—bereft of both humility and talent. He gets a job training a quartet of thugs to be children’s entertainers, little knowing their act is a cover for a heist. While the crime gets botched, the crew finds success as a Wiggles-esque group called The Wannabes. Following February’s successful tag team review of Ghosts … of the Civil Dead, I’m joined below by Kathryn White, novelist and blogger at Kathryn’s Inbox.
Continue reading “Tag team review: The Wannabes (2003)”