|
Frustrating is the word that comes to mind after sitting through this latest attempt to lift Australian cinema out of its doldrums, away from the usual indie-fair, and to a more mainstream, international audience.
Everything ingredient of this production had the potential to combine into a very noteworthy film: It had a star who’s international profile is on the rise (True Blood’s Ryan Kwanten); it had a decent budget (by Aussie standards) of 3 million; it had some esteemed Aussie thesps in supporting roles; talented behind the scenes folk and some unique and utterly breathtaking Australian landscapes.
Writer/producer/director Patrick Hughes unleashes what is essentially an Old West revenge plot, supplanted in Australia in modern times. A young constable (Kwanten) starts his first day in a remote Aussie town, finding some idiosyncratic characters from the outset, and expecting that to be the sum total of his day. But very quickly, he finds himself thrust into an escaped felon situation that is not all that appears to be. Injured and out of his element, it is up to the young cop to survive the night, as his new colleagues are picked off one by one at the hands of a mysterious and ruthless assailant, and to discover the truth behind these events.
Firstly, as a riff on a common tale, the only thing original that works is the setting. Modernizing it and setting in a country that is not the Old West works and works well. What doesn’t work, and becomes increasingly more difficult to forgive as the violence and body count rise, is the tone and writing. The characters are all clichéd archetypes, almost caricatures, seen a thousand times over. The twist in which this film hinges all its hopes on is so dark and emotional the rest of the film’s approach dismally fails to honour it. When the truth is revealed, after an hour and a bit of lip service to all the characters, nobody cares. Had the entire story been constructed to tonally build to this reveal, what an impressive film it could have been.
The actors all inhabit their roles well, and are some of the cream of the crop in Australian circles, but the characters they play are underdeveloped and it shows. Steve Bisley, who got his start around the same time as old buddy Mel Gibson—and is an equally respected actor in these parts—can’t even manage to elevate his one-note character, who telegraphs his true purpose long before the script does us the favour of acknowledging it.
Production value, especially on a budget that would see craft services through an American indie, is outstanding. There is some very impressive camera work from DP Tim Hudson, and some well executed (albeit incredulous) special effects and stunt work.
The score reinforces the script’s poor decision to treat the film too lightly, and makes some potentially tense moments ebb away emotionally.
Not a bad film by any stretch, but what a film it might have been with some more development and a solid, consistent tone agreed upon.
MPAA Rating: R for strong bloody violence, and language.
