Tag Archives: Australian Cinema

BEAUTIFUL KATE

Beautiful Kate
d. Rachael Ward / 2009 / Australia / 101 mins
Downstairs @ Prince Charles Cinema (London, UK)

Still from Beautiful Kate

I’m not entirely sure what to make of this one. I really wanted to like it (an all too common refrain, I suppose, for the type of melodramatic realism that seems to populate much of the Australian feature film market), and it did receive plenty of excellent reviews from critics around the world, but I cannot shake an abiding conclusion that I really just wasn’t sure exactly what this film was trying to tell me.

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LIKE MINDS

Like Minds [aka Murderous Intent]
d.  Gregory J. Read / 2006 / Australia-UK / 110 mins

Still from Like Minds

Having directed a string of acclaimed documentaries in the 1990s, Australian filmmaker Gregory J. Read cut his fiction teeth with producer credits on a handful of Australian features, including John Hewitt’s gritty, underrated Redball (1999). Modest in its means – and similar in scale to Hewitt’s police procedural – Read’s feature debut, Like Minds, is a capable but flawed thriller which reportedly started life as a documentary on the private lives of psychopaths.

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ON HIATUS

Oh yeah, it’s been a while, so I should probably mention that Screen Addict is currently on hiatus whilst I complete a dissertation for the Masters in Film Archiving from the University of East Anglia…

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SAMSON AND DELILAH

Samson and Delilah
d. Warwick Thornton / 2009 / Australia / 97 min
Viewed at: Cinema 1 @ Barbican (London, UK)

Still from Samson and Delilah

Riveting, raw, contemplative, miserable, uplifting, brave. Superlatives hardly do it justice, but Samson and Delilah really is a superlative film.

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BRAN NUE DAE

Bran Nue Dae
d. Rachel Perkins / 2009 / Australia / 85 min
Viewed at: London Australian Film Festival
Cinema 3 @ Barbican (London, UK)

I wanted to love Bran Nue Dae, I really did. And it is undoubtedly an enjoyable film, peppered with some great performances (particularly Ernie Dingo and the ever-reliable Magda Szubanski), but I just can’t get over how badly it was let down by uneven plotting and over-caricatured bit players. The stuff that worked, worked – the stuff that didn’t, really didn’t, all adding up to a rather uneasy translation of the original stage musical.

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