Japanese Story

The aptly-named Sandy (Toni Collette) is a geologist, not a chauffer. So why is she driving a Japanese businessman called Hiromitsu (Gotaro Tsunashima) around the deserts of Western Australia? That's a question she's asking herself: she came out to meet him on his visit because she'd be told there was a chance his company might be interested in the software her company's written, but he seems a lot more interested in travelling as far out into the desert as he can. It's not exactly a massive surprise then when they manage to get their four wheel-drive bogged, and the barely buried tensions between the feisty Sandy and the restrained Hiromitsu come to the surface. What comes after that, and the way the bond between them changes, is - only thing is, there's a little note at the bottom of just about everything to do with this film that says "the filmmakers would like to request that after seeing the film, audiences refrain from disclosing the plot within Japanese Story, so as not to spoil the film for others." So sorry, no big plot twist revealing here. Suffice to say that there is something of a twist - no extended dream sequences, identity shifts, or unbelievable revelations though - and that it isn't the kind of thing that'll have you storming out of the cinema in disgust. This is a quiet, low-key film about two people gradually revealing themselves to each other and the audience, and both performances are spot-on. The setting is just as impressive whether it's the expanse of the desert or some very large mining equipment, and while the story itself is stripped-back to the point of non-existence, every scene in it is arranged to bring out the emotional depths within. The more you're willing to put into Japanese Story, the more you'll take from it, and this quiet tale of love has a lot to offer.

Anthony Morris (this review appeared in Forte #308)

Take Away

Yep, the stand-up comedians are taking over the Australian film industry, and the results aren't pretty. Wherever you look there's a team of close-knit comics slapping together a script and a bit of finance and guffawing their way through their favourite skits, send-ups and set pieces. Sometimes it works (Crackerjack or The Castle for instance) and other times the results are intermittently amusing (The Craic or Bad Eggs). Then there's Take Away, a dreadfully dumb revenge comedy, written by Dave O'Neill and Mark O'Toole, and directed by Marc Gracie (Wogs Out of Work, The Craic).

The premise is cute enough. Rival Fish 'n' Chip shop owners Tony (Vince Colosimo) and Trev (Stephen Curry) must join forces when a greedy multinational burger franchise (a distinctly Macca-esque 'Burgies') sets up next door. The scenario is nicely established, with the slobby Curry counterpointing the clean and earnest Colosimo, but Rose Byrne, Nathan Phillips and Brett Swain stand around like wide-eyed extras in a school play.

Take Away contains some very funny sketches, including a ripper of an opening sequence, but these don't hold together as a story. Likeable characters become increasingly brainless and annoying as the film progresses, with the whole thing resolving itself in a puerile and overlong visual gag. And what's with the constant jokes about buggery?

Rochelle Siemienowicz
(This review originally appeared in The Big Issue, Aust edn, #184

The Wannabes

It's no big secret that film reviewers often get to see movies at special preview screenings, usually held in small screening theatrettes that hold maybe twenty or thirty people at most. Makers of local comedies often complain that a small audience of film critics isn't exactly the best-way to see a mainstream crowd-pleasing comedy. So I'm here to say that I saw The Wannabes the way just about everyone else can: at a crowded lunchtime screening during the school holidays. And it still wasn't funny. To be fair, there were only two walkouts, but the film's biggest laugh was when a character was accidentally hit in the groin - and they're giving that stuff away for free on Australia's Funniest Home Videos. The laugh-free zone begins with eight year-old Danny being scarred for life after getting a massive thumbs down on Rising Stars 78. He then grows up into the movie's writer / director / producer Nick Giannopoulos, a so-so dance instructor who gets hired by a collection of very dodgy types including Marcus (Russell Dykstra), Hammer (Ryan Johnson) and Stewie (Tony Nikolalopoulos) to turn them into a Wiggles-style children's group for an upcoming fancy kid's party. Danny says no - until he sees Marcus' cute sister Kirsty (Isla Fisher). It fairly quickly turns out that the guys don't want to entertain kids at all: it's just a front so they can rob the mansion where the party's at. Then things go wrong - and yet somehow right, as their group (called The Wannabes) turns their clumsy and crude antics into a smash hit. But their criminal past isn't done with them yet... Okay, so it's not funny - and that's not funny AT ALL not funny - and the acting is more wooden than a pine plantation, and the characters don't really make a lot of sense, and Giannopoulos gives himself the only character with even two dimensions without realising that a condescending idiot doesn't really work as a sympathetic lead, and the plot manages to be way more complicated than a movie about crude kid's entertainers needs to be, but... well, that's pretty much it. But let's end on a positive note: at least The Wannabes isn't amazingly, mind-numbingly, teeth-grindly boring.

Anthony Morris (this review appeared in Forte #308)

Perfect Strangers

First, the bad news: Perfect Strangers isn’t the long-awaited big-screen version of that similarly-titled mid-80s sitcom about a wacky immigrant. Instead, it’s the story of Melanie (Rachael Blake), who lives a fairly grey life centred on her job at a New Zealand fish’n chip shop. So when a boozy pick-up night down the local pub with her mates ends with her scoring a handsome stranger (Sam Neill), it looks like she’s on to a good thing. They go back to his place (a fishing boat), she passes out, and when she wakes up he’s taken her away to a remote and deserted island. And that’s far from the last time the romantic and the creepy are mixed here. This film’s greatest asset is also it’s weakest point: it’s not afraid to take an idea and run with it. The first third of this movie looks like your usual Hollywood thriller, so it’s an enjoyable surprise when some twists takes the story to strange new places. But one person’s strange new place is another’s over-the-top mess (it could’ve been titled The Curse of Zombie Island), and here the line between the two is so fine it’s difficult to know which side this film falls on. Solid performances from Blake and Neill keep the over-the-top plot at least slightly grounded; the result is a haunting film in more ways than one.

Anthony Morris (this review appeared in Forte #309)

Gettin' Square

It's one thing to spice up movie dialogue with some snappy phrases; it's another to rely on one phrase so often that a game based on having a drink every time someone says it would result in everyone taking part slipping into an alcoholic coma before the half hour mark. And when that phrase also happens to be the title of the movie - and we all know how great it is when a character says the title of the movie - you've got a blunder so big it threatens to overshadow what could have been a decent crime thriller. The words "I'm gettin' square" or "I'm square" (meaning they've turned their back on crime) haven't had this good a workout since the fifties, and blind viewers would be forgiven for thinking they'd stumbled into a movie about a bunch of beatniks turning their backs on the hipster life in favour of conformity and the quarter-acre block. The story itself is your usual confused mess about a collection of colourful crime characters (this time based around Surfer's Paradise), as our nominal hero Barry Wirth (Sam Worthington) gets out of jail and tries to go straight, while his junkie mate Spit (David Wenham) keeps messing up, former crime boss turned restaurant owner Dabba (Tim Spall) has to cope with a tax investigation and losing weight, parole office Annie (Freya Stafford) wanders around, and crime lord Chicka (Gary Sweet) and his crooked cop buddy (David Field) are out to ruin everyone's fun. Whining scuzzball Spit is definitely the film's highlight, and Wenham steals every scene he's in. Problem is, having such a minor character become such a laugh-getter throws the whole movie off balance. And when there wasn't much balance there to begin with - it's the kind of Snatch-style knock-off that only works so long as it keeps moving fast - you end up with a film that's little more than a collection of fun but forgettable moments.

Anthony Morris (this review appeared in Forte #309)

Ghost World

Hollywood might be pretty good at churning out movies aimed at teenagers, but when it comes to movies actually about real teens their output falls a little short. It's ironic then that the two movies that've done the best job of capturing how it feels to be a teen in 2002 are based on comic books: Spiderman and now Ghost World, based on the serial in writer / artist Dan Clowes' 'Eightball' comic. The original story was a surprisingly moving look at two teenage girls drifting through life after high school, torn between nostalgia for a childhood they've barely left behind and a future too full of possibilities to reject outright; perhaps the most impressive thing about the film version (which was co-written by Clowes, along with director Terry Zwigoff) is how well it manages to retain the comic's quirky tone. Enid (Thora Birch) and Rebecca (Scarlett Johansson) have just left high school behind them, and as a duo prone to making smart-arse comments about all and sundry, their future in an America made up of bland layered upon bland doesn't look good. Their aimless wanderings eventually takes them to a lawn sale where uber-geek record collector Seymour (Steve Buscemi) is peddling his wares. For Rebecca, the slightly more mainstream / socially adjusted of the two girls, he's just a geek; Enid sees something more to him, and as she gets to know him better she senses something of a kindred spirit beneath all those layers of obscure music knowledge. For a film where not a whole lot happens, this manages to shift from very funny comedy (Enid and Rebecca's commentary on everything around them is classic stuff) to much more emotional territory without hitting a single bad note. That's thanks to a script that values the characters over any notion of a 'plot' and a trio of excellent performances from Birch, Buscemi, and Johansson. They're all playing characters that feel more like actual people than the usual types that populate most American films, and while all three actors really shine here, it's Birch who's makes the most of her sharp-witted role. Directing his first feature film (he previously directed the documentary Crumb), Zwigoff gets out of the way and lets his bleak panorama of strip malls and fast food joints make his point for him. It's a coming-of-age drama where no-one really comes of age, and a comedy that's too thoughtful for cheap laughs; Ghost World should not be missed.

Anthony Morris

(this review appeared in Forte#275)

Glitter

Through-out the century-long history of movies, a whole lot of people from a whole lot of professions have become good actors, so on the surface there's no reason why Mariah Carey can't do the same. Oh wait, yes there is: SHE CAN'T ACT. This wouldn't be a problem - after all, she pays the bills with her voice - only someone somewhere figured it'd be a really good idea to put her in a movie, and instead of the more traditional methods used to hide a lead actresses lack of talent (skilful editing, dubbing, nudity, etc), they went with the rarely used technique of dragging the rest of the movie down to her low, low standard. The good news is, this takes its time building up to its eventual laughable level of ineptitude: young Billie Frank (Carey) had a drunken arsonist mother who put her in an orphanage where she met her two lifelong friend, memorably described by one character as Roach Bag and Fat Ass. Growing up to be slutty dancers at a New York nightclub circa 1983 - and in case you ever forget that this is taking place in New York, almost every scene begins with an aerial shot of the city - they get a gig as backing singers for a no-talent bimbo and her evil pimp manager. Rescued from this fate by DJ / producer / leather pants wearer Duce (Max Beesley), Billie goes on to barely mentioned fame and fortune while Duce loses it big time, starts going to parties topless, and cruelly prevents Billie from dressing as slutty as she wants to. Oh, and Billie may be some kind of robot, as in most scenes she has a streak of metallic paint smeared on her skin. Every time Billie and Duce had a conversation, the entire audience at the screening I saw started laughing at the inept dialogue and tragic performances: if you want proof that tragedy can bring people together, then check Glitter out.

Anthony Morris

(this review appeared in Forte#259)