Russell's Reviews

The Molloys terrible attempted satire, their followup to Crackerjack, isn't clever. I mean, it's *really* not clever. And while it's fine for a "movie" made purely for "entertainment" to rely heavily on formula, it needs at the very least to include some "witty one-liners" or a "feel-good soundtrack". But as we're propelled along with an implausible plot that, when crowded with endless BoyTown numbers, leaves little room for what one imagines could have been the audience's "hook" - the relationship between Benny G and Holly and their secrets. Instead, any potentially dramatic moments are smoothed over, the audience is left listening to excruciatingly awful boy-pop sounds, and by the time the finale comes around, we've had enough. I gave it a star for attempting to disarm the audience right at the end (it doesn't work), and for the way in which Benny G finally deals with what could have been a life-shattering problem.

Luke Davies, with his mix of tragedy, anti-romance and eroticism, is often held up as Australia?s premier underground/drug-culture writer, and with good reason: his first novel, "Candy", is a brilliant tour-de-force that chronicles expertly his characters? descent into chaos. Throughout the book, and Armfield?s subsequent adaptation, there?s a romanticism for heroin, and for desire itself, that one cannot ignore. Desire is presented with all the ambiguity it deserves. Film reviewers Jim Schembri and Jake Wilson (who was unable to finish Davies? novel), both of the "Age", judged the film for these ambiguities, for not presenting heroin addiction as blatantly and undeniably bad. In doing so, they have allowed their own prejudices to influence their reaction. Candy and Dan's relationship becomes a metaphor for drug addiction, and there is evidence that the characters? co-dependency mirrored their addictions to heroin. Yes, it?s been done before, so of course it is thematically unoriginal, though this should not prevent its being made; the problem, also unoriginal, continues to reinvent itself in wider society. On a more technical note, the performances are all brilliant ? though after SOMERSAULT and now this, Cornish is in danger of being typecast. She and Ledger are exceptional in their roles, and the support cast, notably Hazlehurst, Martin and Rush (whose character is massively expanded from his bit-role in the novel, due in no small part to his lifelong professional relationship with Armfield), provide the perfect backup. The film premiered at the Berlin International Film Festival in February 2006.

A remake of the 1953 Vincent Price 3D classic, this wasteful Hollywood slash-fest is for fans of the genre only. Hilton is inexplicably cast in a speaking role, though she does spend most of her screen-time performing various sex-related acts. Stupid, ultra-violent, gory, its one potentially redeeming feature is the special effects. If you?re still not sold on just how dumb this is, select the ?Cast Commentary / Bloopers? feature in the Special Features (in which Hilton at one point claims she?s been exploited by the filmmakers).

Kokkinos's consistent use of interruption a glass breaks here, a plot-line is abandoned there - never allows her audience to settle into this film; indeed, she actively and progressively unsettles it with expert use of the pornographic devices of shame and degradation. For those who had been waiting for Kokkinos's next film following 1998?s HEAD ON, there was no disappointment. Having always used cinema as a tool to confront, to provoke, to question and to expose prejudice (1994's ONLY THE BRAVE dealt with teenage lesbianism, and HEAD ON presented Alex Dimitriades as a 19-year-old gay Greek-Australian in the midst of an identity crisis), her choice of subject matter was nevertheless ambitious even for her: Rupert Thomson?s graphic and disturbing novel about the effects of sexual abuse was described as unfilmable. But Kokkinos and her team have succeeded where perhaps no-one else would have: all of six years in the making, THE BOOK OF REVELATION announces to the world that Australian cinema has absolutely come of age. Long gives the performance of his career against stunning choreography from the internationally-renowned Meryl Tankard, and all of a sudden the local film industry has never looked in better shape 2006 had already seen CANDY and TEN CANOES from Neil Armfield and the brilliant Rolf de Heer, and then REVELATION wowed a full-house audience at the MIFF just days after the opening of Ray Lawrence's third feature, JINDABYNE.

After his brilliant adaptation of Andrew Bovell?s "Speaking in Tongues" in LANTANA, it?s almost as if director Ray Lawrence went searching for a similar story ? four adult relationships, a seemingly random death and the sudden and unpredictable reverberations. Aesthetically, it?s every bit as good as LANTANA; the ripple effects in the experiences of each character are as unforeseeable and as devastating. The structure of the film itself is less ?linear?; in crude terms, we almost see two different films. The narrative makes a violent turn when the local Indigenous people react to the disrespect the men showed the deceased girl?s body. Prior to this turn, the film is a brilliant and searching drama surrounding four couples; afterwards, the film describes with startling accuracy the messy state of race relations in John Howard?s anti-reconciliation Australia. Comparisons with LANTANA are inevitable: same director, similar story. This is a pity; because of the earlier film?s perfection, this somehow doesn?t seem as good. But it is good ? very good. The main valid criticism seems to be that the on-screen emotion isn?t translated to the viewer in the way we?ve come to expect of Lawrence. Purcell continues an extraordinary run in some of the most powerful recent feature films made in Australia: in addition to this and LANTANA, she appeared in SOMERSAULT and THE PROPOSITION.

Groundbreaking, impressive collaboration between de Heer and Gulpilil, who had worked together on THE TRACKER four years previously, is the first feature film to be shot entirely in an Australian Indigenous language (the language is Djinba, the particular dialect Ganalbingu). Set well before the arrival of Europeans in Arnhem Land (a theme it shares with the short 1962 ABC series ALCHERINGA), the film is also the first film about Indigenous Australians that does not focus on disadvantage: while recognising Indigenous disadvantage (and its effects and causes) is of major importance in contemporary Australia, care must be taken to avoid the two descriptors being forever melded together. The film?s subtle but powerful political message, that liberalism?s ?tolerance? must make way for communitarianism?s ?curiosity? and eventual ?acceptance?, is one that should be promoted, perhaps in a new sub-genre of Australian cinema that tells Indigenous stories (including Dreamtime stories). While TEN CANOES is not ?great? if one is assessing its content in isolation, its political and cultural implications and its pioneering vision assure it of a place in a highly selective canon of ?great films?, both in Australia and around the world.

Borrowing heavily in style and substance from Gus Van Sant?s Elephant, Thalluri?s debut feature is a passionate, provocative and sensitive examination of the complexity of teenage life in the new century. Has been criticised for its near-plagiarism and, more widely, for its graphic portrayal of suicide which, in the view of the classification board, may encourage similar acts: such a view is lunacy. A more sustainable criticism would relate to its deliberate audience manipulation, but then it?s cinema we?re watching. Brilliant performances (with one or two exceptions) from inexperienced cast members; shot in Adelaide.

The latest in a line of outlandish projects by Elliot, who (as the mini biopic on the DVD tells us) had already been a helicopter pilot, a bestselling author (though not of "Middlemarch"!) and, of course, the successful NASCAR driver, "The Crop" is simply what it is. Its total lack of pretense earns it a respect that so many similar films fail to command, and one begins to enjoy its stupidity despite oneself. Very blokey, its portrayal of women is hardly flattering (one hopes that this aspect of the film doesn?t reflect Elliot?s own values), but again, it?s just cheeky enough to get away with it. The initial premise is based on Elliot?s own experience as a publican in the same era.

La Bianca was hoping to present this as a low-budget commentary on Australian race relations, by depicting various warring gangs, delineated by ethnicity. However, the result is uneven, choppy and hardly worth it, despite some well-coreographed fight scenes. Its main influence appears to be Walter Hill?s 1979 film The Warriors.

Top-quality Kennedy-Miller miniseries is marred only by the rather formulaic thriller conclusion and the racist ambiguities. But until the halfway point of episode three, this is as good as any Australian TV. Kidman is superb in a challenging role that would provide a launching pad to Hollywood fame in 1990's Days of Thunder, opposite her future husband Tom Cruise (with whom she would also star in Far and Away and Eyes Wide Shut). Elliott, in one of his last roles before his premature death in 1992, provides exceptional support: interestingly, like his character in this series, Elliott was a prisoner of war for three years during the second World War. Revell's music adds much to the finished product (he would later also strike it big in Hollywood, providing the soundtrack to The Crow, From Dusk Till Dawn, Lara Croft and Sin City). The commentary on the death penalty, and on prisons in general, is heartfelt, spot-on and difficult to miss; however, the film's (probably unintentional) racial overtones (there is no redeeming Thai character, as all Thais are presented as heterogenous, corruptible and brutal) risked masking that commentary for some audiences.

After three seasons of wildly successful half-hour sitcoms, Turner and Riley?s magical suburban creations "Kath & Kim", who originally appeared in the 1994 sketch series "Big Girl?s Blouse", returned for this one-off Christmas special in late 2005. The series has been successful, perhaps, because of its ambiguous (dubious?) ability to straddle the gap between social satire and the object of that satire: namely, suburban materialism, the ostensibly apolitical ?Howard?s battlers? whose enslavement by the superficial yet insidious market has them living lives not dissimilar to those satirised by Turner and Riley. The central plot, around which the series? usual sketch-humour is organised, pays homage to that product which, throughout the 2005 calendar year, symbolised the commodification of suburban lifestyles like no other: Dan Brown?s "The Da Vinci Code", which became the book everyone must read ? no, must own ? because everybody else was talking about it. (The novel?s little sibling in this respect, the CSIRO?s "Total Wellbeing Diet" book, also receives a healthy dose of attention in the film.) The film itself is enjoyable enough, as it makes dig after good-humoured dig at the suburban myth which has become the premier Australian myth, leaving the man from Ironbark, the digger and the bronzed Aussie firmly in its wake.

Sickly-cute "Boys? Own" adventure-romp is harmless enough for children (though the dated elements will need to be explained). Okay fare if you can handle the unabated delightfulness of the children amid standard matinee entertainment of the period. One of the first films displaying Indigenous fringe camps in any sort of reality, although the social commentary here is all assimilationist. Followed by a sequel, "Smiley Gets a Gun".

Stylistic, dystopian sci-fi romp earns novelty value for retaining the Australian accents, but the impressive special effects and anti-fascist political message doesn?t quite make up for the underdeveloped script. Writer-director Esben Storm (under a pseudonym) and producer Richard Becker deserve credit for attempting a genre film; unfortunately it wasn?t released until almost three years after its completion, when it appeared under the ?Lions Gate? label in the US. It didn?t get an Australian release at all until mid-2003, and even then it was only available as a DVD rental. The story behind the film?s delay, its subsequent direct-to-video release, and its commercial failure is an unhappy one, beginning in ?creative differences? which saw Storm removed from the project during the post-production phase by Becker and co-producer Barbi Taylor, who have been accused by the Australian Screen Directors Association of being unnecessarily ?creative producers?. Similar unhappy stories marred the completion and release of "Cubbyhouse", "Kick" and "A Wreck, a Tangle" at around the same time. Not for those with a queasy stomach: the violence becomes progressively more graphic throughout the film.

Low-brow comedic affair was yet another post-"The Castle" attempt to create - no, contrive - a mainstream (read: Hollywood lookalike) Australian film category. It's not all totally bad, though it certainly is more cringeworthy than funny, and you get the feeling that the "Home and Away" satire and the anti-Centrelink jokes could have been far snappier. At times, the film resembles a 90-minute Nine Network ad: not content to pay out Seven's "Home and Away", and to a lesser extent Ten's "Neighbours", towards which Nine has always been not unreasonably jealous given their commercial attractiveness, fellow PBL brands TV Week and the Logies found their ways into the script in what appears to be a shameless effort at cross-promotional advertising. Just why these ostensibly 'mainstream' films keep getting made is anybody's guess; even at the driest economic level, they are consistently out-performed by quality films. In 2005 for example, "Little Fish", "Look Both Ways", "Oyster Farmer", "The Proposition" and Phillips? other film that year, "Wolf Creek", each made over $2.2 million at the box office, whereas "Stupid Mate" didn't come close to this figure. As Robert Connolly told the "7.30 Report"s Mick Bunworth in February 2005, a cynical commercial venture is easily picked by a smart, intelligent audience, and?history has shown that when [Australia has] made cynically contrived commercial films, they haven't worked?. Gracie, O'Neil and O'Toole's previous film, "Take Away" (in which Phillips also starred), contained identical plot devices and was superior.

This low-brow, low-budget, pre-ocker era affair can be credited with the revival of the Australian film industry, with its box-office success leading to distributors Village Roadshow establishing the Hexagon production house which released "Alvin Purple" in 1973. On its own, "Stork" is mildly amusing, though much of the comedic timing is well off. In 1967, Burstall's then-wife Betty had established the experimental caf/studio 'La Mama' in Carlton, based on off-off-Broadway theatres in New York, precisely to encourage the development of Australian stage- and screen-writing. (La Mama achieved notoriety in 1969 when a performance of Alex Buzo's play "Norm and Ahmed" led to the arrest of several actors for using ?obscene language.) Williamson sent Betty Burstall numerous scripts before one was selected for further development and potential performance at La Mama, which at that stage was really a collective of artists including Burstall, Spence, Finney and Blundell. "The Coming of Stork" was the first successful full-length play for both La Mama and Williamson, and Tim Burstall, who at that stage was already known as an artistic filmmaker in Melbourne, began attending rehearsals and performances, and selected it as his next feature film project. After the completion of Burstall's first feature film, "2000 Weeks", David Bilc*ck (who had edited) and Robin Copping (who had directed its photography) had established a film production house, through which they helped Burstall raise the finance. For his actors, Burstall selected Spence and Blundell from the La Mama collective, and brought in the NIDA-trained Weaver, McEuan and Bakaitis from Sydney. The film was shot in Melbourne over about a month, for $80 000.

Well-crafted, Hitchc*ckian suspense signals a change in direction for Burstall?s Hexagon production house, which had previously done sex/ocker comedies ("Stork", "Alvin Purple") and biting drama ("Petersen"). Obviously inspired by any number of Hitchc*ck films from the period 1958-1972, its script is expertly written by Burstall, but it just lacks that killer punch that makes some genre films of this nature truly memorable. Waters, in his first feature film role after earning acclaim in the ABC series "Rush", is very good, but Mallaby, already a seasoned actor, steals the show.

Heartwarming adaptation of Colin Thiele?s children?s story makes wonderful family drama. Beautifully photographed, this was the South Australian Film Corporation?s first ?children?s? film. While it delves perhaps into fantasy once or twice, it?s a first-rate production, with good performances all round, but in particular from Dave Gulpilil (appearing here as simply ?Gulpilil?), who would go on to star in "The Tracker" and "Rabbit-Proof Fence" in 2002.

One of the most important films about the plight of Indigenous Australians ever made (along with films like "Blackfellas" and "Rabbit-Proof Fence"), this immensely entertaining film is set against the breathtaking panorama of Arnhem Land in Australia?s top end. The tagline was ?Three lives, two laws, one land? which is spot on. Importantly, the film offers reasons why current circumstances are putting Indigenous people at an immense disadvantage in the community, and makes it clear why many people find themselves outcasts from both black and white societies. Its ultimate issue is one which concerns people of almost every race on Earth: what drives us to abuse drugs and alcohol? Brilliantly shot in a handheld technique, the film rockets along in various directions before uniting midway through, creating a truthful, poignant and endearing account of the struggles of Australia?s Indigenous peoples.

After a number of hit theatre shows, Giannopoulos brings his unique brand of humour to the screens for the first time since "Acropolis Now". Predictable, corny but, importantly, hilariously stereotypical, "The Wog Boy" impossible not to like, and essentially "Spank" taken to a new level was a favourite among cinema-goers and has many plot similarities to "The Castle".

Simple, mostly unfunny romantic comedy centring around two concurrent love-triangles. The flimsy plot quicky overtakes the story, which becomes less and less credible due largely to the ignorance of emotional stress the situation would cause! Lapses unnecessarily into a skin-flick as McClements has some nude scenes. Despite all this, it?s difficult to ignore the simple charm the film exudes. This was director Nicholson?s last film before his death in 1990, aged 48. The first film he'd worked on was 1972?s "Flashpoint". "A Good Thing Going" marked his directorial debut, and he directed numerous episodes of "The Flying Doctors" and "Mission: Impossible" between 1986 and 1990. Emanuel and Eastwood would come together again for the little-known 1996 film "Offspring", and writers Tefay and Young would work on "Little White Lies" in the same year.

Near-brilliant adaptation of the memoirs of Mrs Gunn, it?s a sensitive, highly emotive story about one remarkable woman?s search for fulfilment thousands of kilometres from her cottage-home in Melbourne; McGregor is fantastic in her best role ever, and is well supported by the entire cast.

Not one of Franklin?s best. Previously responsible for "Fantasm", "Brilliant Lies", "Hotel Sorrento", "Roadgames" and "Patrick" ? to which Quentin Tarantino made reference in "Kill Bill Vol.1" ? this semi-original thriller nevertheless lacks the punch of a "Dead Calm" or even a "Ghost Ship". Mitchell is good in her first role back in Australia since "Pitch Black", but the gel that is supposed to hold it all together is not here. Unexpected conclusion, followed by the bizarre inclusion of a Bachelor Girl song over the closing credits!! Achieved a very limited release in some capitals; may achieve DVD notoriety.

Wonderful, hilarious, brilliantly orchestrated and eventfully original film from first-time directors Michael and Peter Spierig, it won the critic?s prize at the 2003 Melbourne International Film Festival, when many wouldn?t have been surprised if it had played at the MUFF instead. Shot on a low-budget, with an unknown cast, the special effects ? done on the Spierigs? home PCs ? are remarkable. A true zombie film that won?t disappoint die-hards of the genre, with forays into various other fantasy genres as well, and heaps for those viewers who don?t generally go in for this sort of thing. And, true to zombie genre form, there is room for a sequel here, though the Spierigs will probably prefer to go onto something a little different?

Sharp, amusing expose on Sydney's underworld, full of contradictions and hypocrisies that work to undermine the value structures of middle-class viewers. Jordan's film vigorously attacks the notion of individual responsibility for crime, a central tenet of Australia's criminal justice system, and posits the more correct view that societies get the criminals they deserve. Combine this rather unpopular (at least among conservative politicians) view with a star-studded cast, which brings together screen icon Bryan Brown and the cream of this country's up-and-comers (Rose Byrne, Heath Ledger, Susie Porter, Tom Long), litter the background with familiar faces including David Field, Steven Vidler and Kiri Paramore, and aim high 'very high' and you have yourself a winner. "Two Hands" represents a major turning point in mainstream Australian cinema, and gives a voice to those disaffected by conservative politics of the previous twenty years, and particularly since 1996 in Australia.

Not sure if Jacko was serious when he said ?this is how movies should be made? ? it?s very typical direct-to-video pulp (or should have been - I saw it at the cinemas!), albeit with a slightly higher budget and the inclusion of some non-actor celebrities in bit-parts, notably former AFL stars Brereton (as ?Kid Callaghan?, with one very dodgy line!) and Hawkins, notorious hitman Chopper Read as ?Erik Bana? (get it?) in the credits, and "Hey Hey It?s Saturday" saxophonist Wilde (who gets a closeup and a line). Fortunately (?) for us, it actually got a rather large cinema run in Australia. Credit where it?s due, though ? Jacko is perfect as the one-dimensional heavyman Zork, and doesn?t stop screaming the whole time. And while it?s a little overlong, the production values, including some amazing stunts and violent action sequences, cover some of its intentional ?badness?. Could be criticised for taking itself too seriously: it?s actually not all that obvious that it is a spoof or intentionally bad. Jackie Chan fans will love it; others are quite within their rights to give it a wide berth!

Brilliant expose of Adelaide?s stifling conservatism, set in 1971 but equally relevant today, perhaps even more so. Miranda, best known for her ?discovery? role in "Looking for Alibrandi" and then in "Garage Days", is well-cast as Leanne, and she and Horler make an interesting team. Mitchell and Napier, as the girls? suffocating parents, are wonderful. In many respects this can be seen as a sister film to "The Rage in Placid Lake", but is more real, despite the injection of film-fantasy in the guise of the American poet ? but wait, could there be something he?s not telling us? Experimentation from the Age of Aquarius is dealt with in a non-judgemental way, but the film lets itself down just slightly by its conformity to United States teen films of the ?Do what you wanna do? theme ? and yes, the (nevertheless very Australian) Masters Apprentice gets a birth on the soundtrack!

Delightful story of a blossoming relationship between two older people; Kennedy is, as always, great fun, albeit in a rather subdued role, and Szeps provides energetic support in David Williamson's adaptation of his own play. The year's highest-grossing Australian release, "Travelling North" will appeal to almost everyone, if only for Frank, one of the greatest, most flawed characters ever written for Australian film.

Brilliant, brilliant film. Rolf de Heer?s piece d?resistance is as good as any commentary on Aboriginal-non-Aboriginal relations in Australia, and probably better. In a distinct, simple yet uncompromising style, de Heer takes us through ?somewhere in Australia? (the Flinders Ranges in South Australia?s mid-north, but the point is that it could have been anywhere in the 1920s), over hills, between valleys, across streams as the characters are hunting their prey. The real story, however, is in the relationships between the characters and how they develop as the search progresses. Gulpilil is, as always, dazzling in his part, though this reviewer rates "The Tracker" as his greatest film to date. His AFI Award was thoroughly deserved as he completely steals the show from the fiery Adelaidean Sweet, who appears to be reinventing himself as he moves through middle age. This film should be mandatory viewing for all over-15s in Australian secondary schools, in particular Sweet?s five-minute monologue while he is chained to a tree, which should be used as an introduction to critical education relating to propaganda.

Brilliant third feature from Tsilimidos, after the captivating "Everynight?Everynight" and the somewhat disappointing "Silent Partner". He had the budget for this one, and it shows. It?s difficult not to compare it to "Lantana", with its blockbuster ensemble cast, its tight, real storyline, its European influences ? easily the best of its year at the date of its release in August, but at that stage we were still waiting on "Somersault". Friels, who was in danger of slipping into support roles and telemovies for the rest of his career, completely reinvents himself, and is brilliant in the lead role. Tsilimidos has a real skill for telling the untold story; this is a must-see.

A feel-good ocker-mate movie, with an extra-half star for the 1975-1990 rock soundtrack. Probably the best way to view this film is through a queer lens; Ashton has queered mateship ? the bastion of Australian maleness to great effect, and follows on from the recent entry "Strange Bedfellows". The musical-cinema genre appears to be on the rise once again, with this and the far-superior "One Perfect Day", and it?s great to see. The main problem with the film is that it doesn't take itself seriously enough; in crucial places, it seems content to use toilet humour and Anglo-privileging ethnic jokes, rather than going with the story, which has much potential. "Thunderstruck" is worth a look, particularly for AC/DC fans, but is not for everybody.

One of the few Australian films to be made during the Liberal Party-dominated 1950s and 1960s still retained a major British influence: that of acclaimed director-producer Powell. (Powell hung around in Australia to adapt Norman Lindsay?s "Age of Consent", fulfilling a promise to attempt to re-create an Australian film industry.) A budget of $600,000 was available, and Powell?s influence was enormous: he had the prolific Chiari brought from Italy, he had a house specially built on Sydney Harbour, and he shot beach scenes at Bondi using army equipment. Chiari is absolutely brilliant in the lead role; it appears at times that he must have provided the inspiration for O?Grady?s original character! Much of the film?s charm, of course, is false: in presenting (white) Australians as a largely tolerant and politically progressive group regarding non-Anglo immigration, the film ignores the xenophobia which has always defined the Australian mainstream. The film presents Anglo-Australian cultural values as ?normal?, against which all other values must be defined ? and eliminated. If the film is at all ?multicultural?, it is John Howard?s (and perhaps Robert Menzies?) multiculturalism: that is, ethnic and cultural ?difference? [as defined in relation to the ?norm? of Anglo-Australianness] is tolerated so long as that ?difference? does not encroach upon the fundamentals of (white) ?Australianness?, and that the ?new Australian? is making a proper effort to assimilate. Such a political reading should render the film?s politics quaint in the 21st century; of course, the 21st century?s political climate renders the film far from quaint. Some would argue that the film even presents politics to which we should aspire.

Fantastic concept that builds on "The Castle"'s success loses its way slightly through the middle (particularly in the dream sequences!) but remains, overall, an enjoyable comedic fare with a top-notch cast. Colosimo and Curry are fantastic in their roles as long-time business enemies; Byrne is underutilised as Sonja, Tony's new trainee manager. Not quite as good as it could have been, but really addresses some legitimate concerns in these times of globalisation (read: American hegemony) and allows audiences to live out their fantasies of kicking McDonald's, Hungry Jack's, KFC and Pizza Hut out of their suburbs (as well as Borders and Starbucks!). Entertaining, despite attracting some poor critical reviews upon release.

Ambiguous film has most of the hallmarks of a cult hit; it's not quite a "Priscilla", but it's amusing. Could be criticised for stereotyping male homosexuality, but its real target is the imagined outback community of 'blokes' and 'mates', which is juxtaposed against another imagined community of Oxford Street clubs (with the soundtrack, 'Welcome to the 21st Century'). Like Michael Caton's final speech in the film, viewers can probably take from it what they will; what is very difficult for straight viewers is to come out of the film with any prejudice toward queer people. Slightly flat at times, but an absolute hoot!

Low-budget Aussie humour sends up similar Hollywood musicals. Well-made; it does drag toward the end thanks to a few too many musical interludes which lose their novelty after a while. Has achieved somewhat of a minor cult following since its release, with many preferring to think of it as Armstrong's best work.

The first of Maloney?s series of crime-humour novels has Clarke?s genius stamped all over it; Wenham is perfect in the lead role in a film that is thoroughly entertaining all the way through. This was Clarke?s second go at directing a feature-length film, after his 1977 New Zealand film "Dagg Day Afternoon".

Well-rounded, crowd-pleasing comedy with similarities to "The Castle" casts Hopkins (the year after he won an Academy Award for his role in "The Silence of the Lambs") in the lead. Factor in some social commentary about the effects of economic rationalism from the working class point of view and you have a winning formula, also notable for the ensemble of future star talent on show. Chris Kennedy did the production design.

Brilliant examination of a teenager?s plight, with special plaudits to both director Shortland and brave Abbie Cornish, for whom this was her first lead role, after bit-parts in films like "The Monkey?s Mask", "Horseplay" and "One Perfect Day". "Somersault" was the only Australian film of 2004 to be selected for Cannes, and it received rave reviews there. Winner of all 13 feature film awards at the 2004 AFI?s.

Warm but unoriginal story with a nice script is complemented by good performances in what is a pleasant moviegoing experience, hampered somewhat by its very adult nature. Bowden?s company?s trial effort, "Parklands", was superior. Jane Campion was executive producer.

It?s a promising story, and contains some amusing moments, but the film runs out of steam halfway through, and by the end we?re a little tired of watching two constantly drunk men bumble their way through conversations as they survive from bottle to bottle. The performances of Field and Brisbane are top-notch, but the real tragedy of this film is that many viewers won?t accept the plausability of such a story, mistaking this semi-depressing look at the lives of two of Melbourne?s less fortunate for outrageous comedy. This is director Tsilimidos?s first film since "Everynight?Everynight", which also starred Field.

Nice, family-oriented adaptation of Niland?s novel, previously filmed in 1957, with Brown perfect in the role of Macauley, a stubborn, principled man whose gruff exterior hides an incredible, devoted love for his only daughter. Hazlehurst is good as the love interest, but Smart, with the second biggest part in the film, is admirable, and entirely convincing as Macauley?s ?shiralee?. The film is probably overlong, particularly given the ?climax? ? while obviously trying to keep to the book, "Mad Max Beyond Thunderdome" director Ogilvie could have perhaps added five minutes to the end after such an emotional journey. The hospital scenes were filmed in Wilmington, South Australia.

Brilliant character study, and one of the best telemovies this country has ever made. Mendelsohn recreates Noah Taylor?s ?lost boy? characters of the late 1980s a decade on; Graham has one of his best screen roles to date. Poignant comment on mateship as an Australian (boys? club) institution, the film is constructed completely from the male gaze, but not the ocker?s. Superb filmmaking. Only sore spot: the appropriation of the title from the Kumarangk (Hindmarsh Island) Ngarrindjeri people.

How do these films ever get off the drawing board? Dumb, one-joke parody of similar action films (in which the hero is never killed), with very violent action scenes and interesting police attitudes. A real disappointment, considering the overall quality of local film over the 2000-01 period. An uncut version, rated R, is available.

Third feature film project from the Working Dog team (after "The Castle" and "The Dish"), this somewhat amusing spinoff from the mildly successful series is funniest during the outtakes. At least you know what you?re gonna get, as Coight's team of celebrities includes an aspiring actress, an author who has just written her first book, a model, an obscure ex-cricketer turned radio personality, and an up-and-coming singer-songwriter. Also tagging along is the second-in-command, a street kid who Coight previously saved and set on the straight-and-narrow. Typical ambiguity by the Working Dog team make it difficult to guage this film: while Gleisner, Sitch and Cilauro have (perhaps) tried to poke fun at conservative values, the danger is that those who hold them will miss the joke. (With a list of projects that includes "The Panel", the Warwick Todd books and fictional travel guides, it?s not surprising some of the team's biggest fans are blokey conservatives for whom the racism and sexism is an affirmation of their values.) Still, the slapstick is funny and predictable enough to hold your interest for a couple of hours but we might have seen the last of Russell Coight for a while. Perhaps it's time that Working Dog tried something new.

Attempted cult film falls flat, although pop culture enthusiasts will find lots to study here. Cullen is a blind Elvis figure.

Controversial expose on interracial intolerance and warfare, with heavy doses of strong violence and sex. Loses its way somewhat in a love-triangle climax, but until then it doesn?t pull any punches: how you judge this film will be based on your tolerance of on-screen violence and to what extent you are willing to believe the plausibility of the story. Wright, previously responsible for the acclaimed "Lover Boy", followed this with another expose of Melbournian sub-culture in "Metal Skin".

Wonderful, hilarious film noir spoof, with the undervalued Chubb in his best-ever role as private detective Dirk Trent, whose hobby is creating ?butt-sculptures? (ie, models out of discarded cigarette butts). It?s a cheap film, which is why it?s so wonderful that it works ? great scripting covers minimalist effects and an ordinary story. After Chubbs? death in 2002, this is best viewed as a lasting homage to a loveable, underrated comedy actor. It was also actor Young?s directorial debut.

Fascinating, energetic charmer, albeit unoriginal, is a real pleasure to watch, and a real treat for Adelaideans, for whom it is a rare time capsule from a far less commercial world that seems like a lifetime ? rather than a decade ? ago. Also shot partly in Melbourne.

Ralph Eaton (Buchanan) is pasty-white, overweight, and has an impossibly potent stutter. The only way he can talk ?normally? is by impersonating Hollywood celebrities. Then he meets Daisy (Fischer), a beautiful blind woman whose identity is being consumed by her radio DJ boyfriend. Awful, despite an interesting premise! Watchable for complete bad-film entertainment value only.

Amusing, interesting and not-so-subtle postmodern critique of Australia?s consumerist-capitalist society is (almost) brilliantly countered by an innovative critique of the complete rejection of said. Richardson and McDonald do become a little tiring as Placid?s hippie parents ? their characters are given far too much screen-time for what little change, if any, we see in them. Singer-songwriter Ben Lee, best known for his hit album "Breathing Tornados" and his single "Cigarettes Will Kill You", does well in a medium he never intended to broach, but the brilliant Byrne was perhaps cast below her abilities here in very much a supporting role; a problem that would repeat itself in her Australian films released in 2003. As a product, the film was never going to be a stunning box-office success, and that it was even released outside art-house cinemas is perhaps more a hopeful testament to Lee?s pulling power than anything. On a more philosophical level, though, the film is a well-worked blend of postmodernist challenges, and the ?solution? it offers (or which it doesn?t) is, all in all, satisfying.

Critically acclaimed portrayal of the broken lives of three Aboriginal sisters; shades of "Hotel Sorrento" in this charming, moving story of the importance of family. Aboriginal activist Perkins, daughter of Charlie, makes a solid debut with this filming of Louis Nowra's play, as does (in particular) Mailman, who would go on to star in numerous feature films as well as the popular twentysomething television series "The Secret Life of Us". Perkins next film was the ground-breaking "One Night the Moon".

Louise Keller of Urban Cinefile calls this ?the film "Ned Kelly" should have been?. Without doubt, it?s the most brilliant bushranger film ever made, and is one of the greatest westerns of all time. Hillcoat and Cave, who had previously combined for the confronting "Ghosts?of the Civil Dead" eighteen years previously, have created a violent cinematic masterpiece, depicting the horror, the brutality, the hypocrisy of colonial-era Australia.

Outstanding, original character study, and a deserving winner of the 1991 AFI Best Film award, it?s an enthralling, sometimes very funny, look at a very different life. Weaving is wonderful, as is Crowe, who is in arguably his best role in an Australian film.

Sensitive entry into the ?Australian cinema? genre is certainly not as powerful as Monahan?s first film "The Interview", but is nonetheless deeply thoughtful, superbly acted and brilliantly photographed. It has been criticised for its meandering nature, though this is probably from people who have become a fan base for Weaving in the six years (and two blockbuster movie trilogies) since his first collaboration with Monahan. Indeed, its ideas are only held together by the semblance of a largely inconsequential narrative; the real power of this film lies in its emotive exploration of a young woman?s coming of age, as her increased sexual self-awareness both empowers and confuses her. In this way, the film will no doubt attract comparisons to the much better "Somersault", though in many ways "Peaches" is far more ambitious. Also in this way, it is possible to deride the film as a clich?, though perhaps those who feel tempted to do so need to look deeper. Not sure if the final cut needed the sex scenes; if their purpose was to indicate the compromised, complex and flawed nature of Weaving?s character, the scenes were unnecessary, as this was achieved effectively without them.

Watchable direct-to-video pulp has high cringe factor, despite top-notch cast including Thornton and Mammone. A?Hern does an excellent job as Susan?s 11-year-old daughter, but the production predictably falls flat. A stars for the cast, and the suspence. I should take off a star for the terrible American accents that bore no relevance to the story!!

Disappointingly flat, unfunny comedy from thriller director Bennett, complete with try-hard oneliners (some of which come off) and a desperately thin story that is helped along by a top-notch comedy cast. If it's ever released internationally which seems likely, due to Bana?s top billing it will fare even worse than here, as much of the humour relies on the presumption that we know Bana from his television comedy days, Curry from "The Castle" and utility comedian Big Dave O'Neil. Emmett and the other female actors do the best with what they've got, which is absolutely nothing the film is, in many ways, a throwback to the nostalgic 1980s, complete with non-white ethnic stereotypes that fail spectacularly, and an unconvincing reliance on mateship as the central motif. After a woeful beginning, the main offender being Cullen's ridiculously lame voiceover, the film picks up somewhat in the middle before the mateship bond between the three lead characters is tested and plot takes over, and it fizzles towards a predictable and dissatisfying anticlimax. With Bennett at the helm, though, you wouldn?t expect it to be all bad, and it's not some of the one-liners do work (you've made it when you order your second Mongolian hotpot), television comedian Moon (from "Fast Forward") is brilliantly cast as the unscrupulous Ratner, and the bush scenery is typically breathtaking, though strangely underaccentuated. In the comic tradition of "The Castle", it's easy to see where the Working Dog film would have gone if it hadn't have been so damned funny! Hopefully Bennett won't give up on comedy, but it's one hell of a gap between this and success. The film premiered at Mudgee, where it was filmed, and where Bana, Curry and O'Neil arrived in the back of a ute.

Arguably the most popular Australian film of 2003 could have had stiff competition from the likes of "TakeAway", "Bad Eggs" and "Ned Kelly" had they been in the same league. Strikingly political, it traverses across a terrain mainstream film in this country has been unwilling, or unable, to broach for some time. Controversial (but probably accurate) in its depiction of Sinatra, alluding to his alleged connections with mob activity in the United States, it also presents a left-wing discourse with a young Hawke, played wonderfully over-the-top by David Field, leading the charge for the working classes against a figure that represents everything egalitarian Australia is not. For his part, Dennis Hopper, whose own personal history has not exactly been uncontroversial, is remarkable in this film, and expertly portrays Sinatra's multi-faceted and very complex character, well directed by Goldman, who has elected not to stay away from a certain amount of controversy after his brilliant but ill-conceived "Australian Rules". Byrne, who also appeared in concurrent releases "TakeAway" and "The Rage in Placid Lake", is simply too good to continue to take these female supporting / love interest roles; after "The Goddess of 1967", one feels her future lies overseas, with stronger parts in higher-budget independent films; she has already been 'discovered' in such circles in Britain. The lack of strong female roles in recent Australian mainstream films is indeed a concern, and provides a disturbing parallel to a similar problem in Hollywood.

Karvan is great in the lead role in a Telemovie that is well-written and -cast; it does end a little sloppily but then if a person can?t have a happy ending after what she went through here then who can?

Very good account of the events leading up to the Glenrowan massacre, from Drewe's "Our Sunshine" was supposed to be this country?s major export for 2003; the pre-production of this film was in its final stages when Peter Carey published his Booker Prize-winning "True History of the Kelly Gang" (the film version is in the pipeline), but both tell essentially the same story. Ned Kelly, despite what Australians were officially told between 1875 and 1990, was a tragic victim of a brutally archaic and arbitrary society, where class meant everything and Irish blood meant no good. Dark and foreboding, this film, much like other versions of this now-classic story of Australia?s most infamous ?outlaw?, failed to win audience (or critical) appreciation, and it must be said that much of Ned?s humour, so brilliantly captured in "True History", is missing, apart from a few odd scenes. Ledger is good, and very effective, in the lead role; perhaps those expecting usual Ledger fare were disappointed at the social realism, a theme director Jordan continues from his first film, "Two Hands" (also with Ledger). Watts and Rush are featured in supporting roles, and Orlando Bloom is unrecogniseable to "Lord of the Rings" fans.

Largely inconsequential children?s film can be fun at times, but you have to be under ten years old: it appears to have an emphasis on ?educational entertainment?, as the film strives to give a small part to each Australian animal. Breathtaking scenery is worth watching on its own: it was shot on Kangaroo Island and the Flinders Ranges, the red centre in the Northern Territory, and parts of Tasmania, as well as in Adelaide and Sydney.

Wonderful, bittersweet comedy has a delightfully frumpy Collette in the role that made her famous. "Muriel?s Wedding", together with "Strictly Ballroom", "The Piano" and "The Adventures of Priscilla Queen of the Desert", re-established Australian cinema globally in the early-to-mid 1990s, whenceforth it has never looked back. Hunter is a hoot, as is the entire cast. If you?re expecting a typical romantic comedy, you won?t find it here: what you will find is a whole bunch of classic ABBA songs and a fantastic couple of hours? entertainment. Nominated for 11 AFI awards; director Hogan ? who is not the "Dundee" Hogan! ? went on to make the popular "My Best Friend?s Wedding" and "Peter Pan" in Hollywood.

Funny, fast and supremely entertaining, it takes more than a little dig at the current states of education and health systems, always from the student?s point of view. Classic, racy, Hollywood-style black comedy finishes in feel-good style.

Shaky plot becomes shakier with terrible writing alternating between tedious corporate-speak and woeful one-liners. Add some glossy cinematography and editing, which is all-too-obviously used to patch over the lack of substance, and you have one forgettable telemovie. This film was almost universally panned but then so was that other new ABC drama of the same year, "Fireflies", which, in the opinion of this reviewer, was actually quite good. So, I'll leave it up to you but it may work best as a cure for insomnia. To paraphrase one critic, it's about as engaging as your average encounter with an ATM. There are rumours that it will become a series... save us, and bring back "MDA"!

Newcomer Colosimo is good as the confused teen, to the extent that he was to become Australia?s new pin-up teen idol before his mysterious disappearance from screens until the mid-to-late 1990s, and Miranda (bearing uncanny resemblance to "Looking for Alibrandi"?s Pia, seventeen years later ? any relation??) provides adequate support as his Italian cousin. But other performances seem hesitant and stunted, as does the script, which only really scratches the surface.

If you're after a pleasant murder-mystery, look elsewhere. This is a challenging film that places the viewer (let alone the actors) in compromising situations, and will test his or her ability to handle detail of an extremely graphic nature. Depending on individual definitions of pornography and child exploitation, Lang has created a film that is likely to offend even those who consider themselves "open-minded" and "new-wave". However, viewers who really are open-minded will be those most likely to appreciate this film for what it is - a remarkable, challenging study of one woman's search for emotional and physical fulfilment against a case that threatens to overturn her deepest beliefs.

From the novel of a generation, this remarkable adaptation saw earned Hazlehurst her first of two AFI Awards in the space of four years for her amazing portrayal of Nora, who makes sure she does the right thing by her children, but falls in love with junkie Javo (Friels) at the same time. Alice Garner ? who would later costar in films such as "Love and Other Catastrophes" and "Strange Planet" ? is well-cast as Nora?s pre-pubescent daughter, and Caton appears as a bearded painter. Early effort by director Cameron is a winner; he went on to make the award-winning miniseries "My Brother Jack" among his later projects. But it?s the stunning delivery by Hazlehurst which brings to life the intelligent, searching script.

Was billed as the new film from the director of "Romper Stomper", which may have been a mistake: in many ways the two are vastly different films. But like "Stomper", "Metal Skin" focuses on a marginalised Melbourne sub-culture that is made up of mainly the sons and daughters of the working-classes. Wright knows exactly what he's doing, and takes us right to the edge, paradoxically giving us reasons to feel good about our lives by displaying the depressing hopelessness of his characters. Young is very good, and completely unrecogniseable when compared with his portrayal of a 19th Century German missionary in "Serenades", and the rest of the cast put as much into their roles as they possibly can. It's definitely not a pleasant film to watch, and the climax, a thrilling, above-the-law car chase through Melbourne's dockside suburbs, is as good as they get. Originally called "Speed", but the producers were threatened with legal action by the makers of the Hollywood Keanu Reeves-Sandra Bullock blockbuster of the same title.

Updating of the "Bliss" theme is merely the latest in a lengthening queue of bad-to-average local comedies which appeal to the conservative cinema-going set. One wonders what influence the pay-TV industry namely the Premium Movie Partnership and the Movie Network have on this phenomenon. (For the record, this list, all of the films on which appear to be attempting a "Castle"-esque miracle, includes, "Strange Bedfellows", "Thunderstruck", "Bad Eggs", "The Honourable Wally Norman", "Horseplay", "The Wannabes" and "The Nugget". The only one to have worked has been "Crackerjack".) Here, the performances never mesh, as John Howard doesn't even look like he's in the right film though perhaps that was the intention, as Franklin plays sleepy, conservative suburbia against its more interesting inhabitants. 20-year-old virgins who live with their parents are becoming rarer on-screen, but this is hardly a reason to watch the film. In fact, the only reasons may well be (1) Howard's bizarre but quite fun performance, and (2) the suburban nightmare theme, which has recently run through "Somersault", "Strange Bedfellows", "Tom White", "Alexandra's Project", "Danny Deckchair", "The Rage in Placid Lake", "Travelling Light", "Teesh & Trude", "Swimming Upstream" and "Lantana". Enter at own risk! May be one for people who giggle at 'potty humor'.

Australia's second-biggest commercial success of 2001 (after "Moulin Rouge") is a feel-good, formula-driven crowd-pleaser, with some genuinely funny moments. Connolly is in top form as Scottish-born Myers, and Davis shows glimpses of slapstick genius in her first genuinely comedic role after an acclaimed dramatic career. It is formulaic, which means a lull partway through, but Connolly's mere presence is enough to pull it through. The third-highest grossing Australian film in 2001, with $8.1m in Australian box-office receipts.

Top performances and a charming script, together with a sensational, film-stealing debut by Novikova, make you forget the predictability of this one and just enjoy every minute of it.

Mostly excrutiating, pay-TV-driven comedy that tries so hard to be "The Castle" it even copies some of its scenes. Performances and timing are quite good, but this is merely another in a line of post-"Castle" comedies, financed by the Premium Movie Partnership, that simply try to recreate an idyllic, mythic 1950s rural Australia (read: White Australia), without any noticable benefits for the viewer. The interviews with the cast (included on the DVD version) are the best bits of the film, aptly summed by Jimmy Barnes "Working Class Man" which plays during the closing credits. A cynical fantasy, if that's possible. The 'Givens Head' joke runs thin even before it's begun. And Singleton as PM... What a joke?

Highly emotive account of Diver?s remarkable experiences is not easy to watch, particularly knowing that it really happened, although knowing the outcome is obviously helpful. The incident captivated audiences Australia-wide for three days, as rescue workers selflessly went about their job of looking for survivors: just when all seemed lost, Diver was found, and his amazing story of escape became the stuff of true media heroicism. Andrikidis does a good job of directing the film, particularly when memories of the events are still fresh in audiences? minds; he went to the extent of reproducing an exact replica of the site by looking at photographs and footage, one-third bigger than actual size (to allow for cameras), which surprised even those who had been there in 1997 in its authenticity. What may have made the film even better is more focus on the aftermath ? during the months after the Thredbo Disaster occurred, investigators were determined to find out why it happened in the first place. This may have made it a miniseries length, though. McLachlan gives one of his best performances as Diver, and Long is fantastic as ?Feather? the rescuer.

After numerous challenging roles in Australian films over the decade, Crowe's last film (shot mostly around Malalah, just north of Adelaide) before breaking into Hollywood (with "LA Confidential", "The Insider", "Gladiator" and "A Beautiful Mind") was a strange choice: a muddled mix between action, comedy, romance and thriller, it's a little bit of everything but not enough of anything. Barrett is good as Crowe's father, in a cameo role. Mammone and Crowe are together for the first time since Crowe's first film, "The Crossing".

Hilarious social comedy, loosely adapted from John Birmingham's novel, Taylor is wonderful in one of his best roles to date. The film deals with Danny's house-sharing experiences in the 47th, 48th and 49th (!!) houses he's tried to live in. You know you're in for a treat when the 47th is razed by fire after an occult ceremony goes horribly wrong. It's quick-witted and often political, and the end product is a funny look at some horrific shared-house experiences (embellished slightly, we hope!), with a delightfully Mediterranean feel, that should have everyone who's ever lived in one in stitches.

Interesting, intensely filmed piece from the director-producer team from "Road to Nhill" is less like "The Goddess of 1967" than you might think, though it does retain a similar theme. Without giving too much away, there is a major plot twist, although whether this works ? as an example of cinema ? is open to interpretation. Collette is superb in arguably her best role to date (the only competition is her role as the young Lilian in "Lilian?s Story"), and Tsunashima slips easily into his role as the sole Japanese man subjected to predictable racism from Australia?s redneck masculine north. Disappointing that it refrained completely from political comment regarding imprisonment of asylum seekers (considering the film was shot at Port Hedland) and the destructiveness of large-scale mining on both the environment and Aboriginal land. Not the best Australian film of 2003 by any stretch of the imagination, its appeal seems confined to an older demographic than that of, say, "The Rage in Placid Lake", although expect it to win the AFI Award. Talk of an Academy Award nomination, based on its widespread acclaim at Cannes, was not much more than puffery.

Exquisite Cox film was one of the favourites at the Cannes Film Festival, and it?s easy to see why. It?s one of this country?s best films of all time; Cox has successfully articulated his vision of timeless love, and he explores a side of love that is often ignored by media. Brilliant performances by Tingwell, Blake, Norris and Haywood; a real treasure.

A return to the mid-to-late-90s Australian staple of the quirky independent feature with European flavour (think "Praise", "Soft Fruit", "Fresh Air", "Dead Letter Office", "Strange Fits of Passion", etc), it is notable that this Pod film received minimal pay-television funding, and then only through the courage of a Showtime executive who has now been moved on. Not for Hollywood lovers; indeed, the deliberate unpleasantness and disjointedness is difficult to take at times. At best, the film is a collection of extended images and situations thread loosely around a simple narrative; the plot follows the life cycle of a disease/infection, ala Crichton's "Jurassic Park". In a somewhat suprising confession following a screening of the film at the Adelaide Film Festival, Johnson revealed that he would be happy never to work on a commercial film again surprising, given his post-NIDA typecasting in productions such as "Crackerjack" and "The Secret Life of Us". This was Stenders first feature, after numerous short films, documentaries and music videos.

Another brilliant entry from Cox. This could well be a quasi-sequel to everything he?s done so far, from the "Man of Flowers" ?trilogy? that began with "Lonely Hearts", to "Lust and Revenge" and "Innocence", and almost everything in between. The addition of McKenzie only adds to the acting talent Cox has accumulated from his previous films ? here, Kaye, Haywood, Young and Tingwell all make welcome returns in various roles. In a rare speech following the screening at the 2005 Adelaide Film Festival, Cox declared that this film was made to celebrate the beauty and fragility and depth of human existence, all of which we must discover throughout our lifetimes, nothing of which we are told, and none of which we seem to ever learn. Cox laments the direction the human world has taken during recent decades, and the social commentary in the film is distinctly unambiguous. Aesthetically brilliant, powerfully authentic, emotionally disturbing, beautifully paced; this is a certifiable Cox masterpiece.

Gripping drama has been criticised for its lack of originality - this may be so, but it is still a wonderful production. Based on a stage play, the script is watertight and covers many of the smaller details of life, as three sisters with long-standing grudges meet, and are torn between their love for their father and their resentment for each other. Light, with a deceptively poignant message, some comic relief is provided by Plowright, who manages to steal every scene she's in. Missed out on BEST FILM to "Angel Baby".

Entertaining and fast-paced caper-comedy is entirely better than it first looks ? Kazantzidis has followed "Russian Doll" with another film that had reasonable success at the box office. Graham and Donovan are surprising in their comedic roles, but the show is once again stolen by screen icon Bill Hunter in a part that is instantly recogniseable. The film?s major drawback is its treatment of women, as either complete ditzes or emotionless, scheming bitches. Well worth a look, though predictably ignored at the AFI Awards, the film, a commentary on Melbourne?s social classes, borrows extensively from pop-culture, notably the Tarantino-style wigs ? and the cigarette-after-sex has been replaced by something far more hilariously PC!

Incredibly powerful film from Woods, his first since "The Boys", and Blanchett's first Australian film since "Thank God He Met Lizzie". And while Blanchett is very good in the lead role, her role is fairly straight, at least relative to Weaving?s and Hazlehurst's. Both latter actors are at their very best; Weaving in particular has probably never been better, in his portrayal of an ex-sporting hero-turned-heroin junkie. The film's least convincing moments are the crime scenes, but thankfully they don't overtake the film's main focus, which is the lives of a small sample of the Parramatta population. Brilliant.

Brilliant, intense social drama: Lawrence's second feature (after 1985's Best Film winner "Bliss"), based on Bovell's play, is a real winner. The fact that it scooped the pool with seven major awards from thirteen nominations while up against Luhrmann's "Moulin Rouge" and crowd favourites "The Dish" and "The Bank" says a lot. Every single performance is exceptional, from LaPaglia, in his best role ever, right down to Robbins, whose cameo scenes inject some welcome humour just with his presence: the mutual respect between the cast and Lawrence is obvious, and the director always maintains the film ahead of any individual performance, a difficult thing to do with such a large all-star cast. Pre-Oscar buzz in Hollywood even predicted that LaPaglia would be a dark horse for an Oscar in 2002 ? unfortunately he missed out on a nomination. Armstrong earned two Best Actress AFI awards on the one night, for this and also her character Heather Jelly in "SeaChange": the first person to do so. A definite landmark Australian film, it was the second-highest grossing Australian film in Australian box offices in 2001 with $9.9m, behind only "Moulin Rouge" ($27.4m).

Spanish title paves way for this 'very different' Australian film, which is spoken more than partly in Spanish and Italian, heralding perhaps a whole new field for exploration by this country's film industry (see also Beware of Greeks Bearing Guns). Literally "The Spanish Woman", Spanish actor Mercela, in her first starring role (and 19,000km away from home, to boot!), is a hoot, enjoying herself every bit as much as the audience. The story is good and fun (though with the occasional foray into darkness, for example Marcela's self-abortion scene), and the success of the film relies much on the sincere performances and the cracker script.

Rollicking, sweeping updating of Beaumont Smith and John K. Wells? 1920 silent adaptation of Banjo Paterson?s immortal bush ballad, first published in 'The Bulletin' on 26 April, 1890, retains the ?new? elements ? such as the introduction of Jessica Harrison?s character (perhaps ?borrowed? from another Banjo poem, "The Mylora Elopement"?). The film, in effect, added to the legend of "The Man From Snowy River": it spawned a sequel in 1988, and a long-running television series which began in 1993 ("The McGregor Saga"). All performances are good, and American film icon Douglas has a wonderful time in two roles. Both Thornton and Burlinson are in their breakthrough roles in the film which is arguably Australia?s best western. Amazing scenery is complemented by a stirring score by Bruce Rowland and magnificent horse chase scenes; director Miller (not to be confused with the "Mad Max" director) was previously involved in television drama. Incredibly, it missed out on a Best Film nomination at the AFI Awards ? though this is perhaps testiment to the fact the film was initially far better accepted overseas. Simon Wincer was executive producer.

Surprise hit with critics and audiences alike, "Malcolm" was a deserving winner of the AFI Best Film award. Friels is in arguably his best role as the teddy bear-like Malcolm, and director Tass's handling of the character scenes is near-brilliant. But it's the incredible mechanical contraptions that Malcolm has built to help himself through daily chores that steals the show. It's difficult to find much wrong with this film, for pure entertainment. Incredibly, the film won all eight awards for which it was nominated in a disappointing year for Australian film.

Second sequel is again very different from either of its predecessors, but no less brilliant, as loner Max learns to once more hope for the future as he becomes the leader of a group of lost children. Compelling viewing is rounded off with desolate images of nuclear war-destroyed Sydney. Interestingly, Gibson regains his Australian accent in this US coproduction, which has nevertheless been called ?the final Americanization of Mad Max?, and which has a cult following among 1980s rock fans as Turner and Anderson are cast in major supporting roles. Dedicated to Byron Kennedy, who passed away after "The Road Warrior".

Sequel to the successful "Mad Max" was in fact the first of the series to be released in the USA, under the title "The Road Warrior". It is almost universally regarded as the best of the trilogy, with its portrayal of a terrifying post-apocalyptic world in which a lonely young man becomes a hero to many, combined with some brilliantly filmed car chases. Followed by "Mad Max: Beyond Thunderdome". Certainly not for all tastes, it is violent, but for Gibson fans in particular it is a must. Incidentally, director Miller was later in charge of the family sequel "Babe: Pig in the City" (!!).

Brutally violent and sexually suggestive, former medical doctor Miller?s "Mad Max" succeeded where "Stone" and, to a certain extent, Weir?s "The Cars That Ate Paris" failed: not only did it develop a huge cult following, but after the success of its sequel in the United States, it transcended into mainstream appeal, and is now widely regarded as a major turning point in the Australian film industry. Gibson is okay as the hero, but the show is stolen by Keays-Byrne (who later directed "Resistance") in an AFI-nominated performance. Grisly, pessimistic, unpleasant and gritty, the film is particularly notable for the amazing stunts and chase sequences, filmed without the aid of computer-generation and on an ultra-low budget. It?s apparently banned in Sweden, and is followed by two sequels (with rumours of a third).

Sardi?s followup to "Shine", set in beautiful countryside in the late 1950s, is a major disappointment. Garcia?s return to his native Australia for the first time since 2000?s "Bootmen" is all too obvious, the accents are terrible, and the film finishes in a gush of goodness that couldn?t be any more predictable if it tried. Escapism is great if it?s engaging; certainly some parts of the film are brilliant (Sardi hits a chord with her use of the ever-changing mural in the community?s caf?), but it?s far too disjointed. A pity; "Love?s Brother" continues a multicultural narrative in Australian cinema that took a major step forward with the releases of "Russian Doll" and "La Spagnola". Still, it is entertaining as pure escapism, though not captivating, and it does raise a chuckle or two. You could do worse.

Winning comedy from Barrett in the same tradition as "The Castle" was surprisingly more popular overseas than it was in Australia. Otto steals the film in one of her ?born-for? roles as 20-year-old misfit Dimity, but the supporting cast of Frith, Shevtsov and particularly Alansu, in his biggest role since "All the Rivers Run", provide wonderful moments, even if there is a noticeable lull midway through. Notably, the stuntman used in the final sequences died while shooting the scene, and this scene was retained for the finished product: consequently Barrett, distraught, did not make another film for four years, and then it was the disappointing "Walk the Talk".

Outstanding coming of age story, based on Marchetta's award-winning novel of the same name (which was nominated as ?Most Stolen? from Australian school libraries), was a deserving winner of Best Film over "Chopper", "Better Than Sex" and "Bootmen". Miranda is perfect in her first starring role, fully depicting the melodrama of teenage girls? lives, and LaPaglia is in his best supporting part. Cotta, cast as Josie?s Italian grandmother, actually comes from Rome: Woods and Kershaw took a flying trip to Italy just weeks before filming was due to start to find the authentic immigrant woman. But Cotta had to learn her part by phonetics ? she can?t speak English! Coupled with three thousand auditions for the parts of Josie and Jacob Coote (Gurry), the casting process was a bit of a nightmare, according to Kershaw, whose daughter was four months old when preparations for the film began. The result is a warm, heartfelt story of growing up, accepting yourself for who you are, and focussing on the things that really matter.

Brilliant debut feature from Watt, whose numerous short films, including "Living With Happiness", "Small Treasures", "The Way of the Birds", "Catch of the Day" and "Brain", had already earned her extensive acclaim. The first feature produced out of a fund made available for the 2005 Adelaide Film Festival, this film was that festival?s opening night attraction ? and it didn?t disappoint. Watt captures expertly life?s tragedy, its humour, and its neuroses; reminiscent of "Lantana" and "Walking on Water". McInnes and Clarke give superb performances against a feel-good soundtrack featuring songs by the Waifs, etc.

One of the better Australian road movies is packed with a terrific cast and a bumper soundtrack (featuring songs by Nick Cave, Blondie, Ash, Tom Jones and Powderfinger). Otto is, as ever, fantastic in the lead role, and obviously relishes the chance to play a ?normal? character for a change. Andrews (from "The English Patient") makes a welcome addition to the otherwise Aussie outfit in a film about love, learning to love, and learning to overcome some of life?s obstacles. Surprisingly ignored at the AFI Awards, despite huge critical praise, one in particular calling it 'the best Australian film for some years'.

Australian update of the 1939 Hollywood classic "The Wizard of Oz", based on the children?s novel by L Frank Baum, is only marginally better than New York?s effort two years later ("The Wiz"). Lofven, a cult movie-musical director who was previously responsible for "806: The Beginning", has created a campy adult remake that suffers for its lack of multi-dimensional characters, relying on exploitation for much of its humour. Cinematographer Dan Burstall is the son of the late legendary filmmaker Tim (whose other son, Tom, is a producer and risk manager for Australian films, and is married to Sigrid Thornton).

Sequel to "The Harp in the South", shot at the same time with the same actors, continues the saga of the Darcy family, who live below the poverty line in Surrey Hills, just south of Sydney?s city centre. There?s not much new to rave about, but the sheer energy of the characters endears them to us for another three hours.

Controversial early Beresford film, based on a true story, that provides a remarkable picture of Australia in the late 1970s. That picture is grim: high levels of corruption within the police force and other security services; male boys? clubs and related sexism; and inferred racism. Donovan heads an all-star cast that includes many actors from favourite television cop shows, as well as a young Bryan Brown in one of his first roles. The film created controversy as one of the most violent released after the relaxation of Australia?s strict censorship laws; as a result, the gore and sex, which is perhaps unnecessary though it does add to the overall effect, was sensationally received. The final shootout is legendary; otherwise, the film remains highly undervalued.

McKenzie's definitive role is just one of the many reasons to watch this wonderful miniseries, that has fast become one of this country's favourites. The group of individuals that initially set off for this unknown adventure was nothing like the group that reunited in the same town many years later - as far as coming of age dramas go, this is up there with the best of them. Executive producer Gibney reprises, to an extent, her role from "Come In Spinner". Somehow, this film lost a Best Miniseries or Telefeature award to an episode of "Good Guys Bad Guys" - even more staggering when you consider that "Kings in Grass Castles" was also screened that year. Steve Vizard also executive produced.

Dark, ambiguous adaptation of Tim Winton's novella is accentuated by brilliant acting, particularly from Barrett, who never seems to disappoint. Worth a repeat viewing.

Nineteen-year-old hairdresser Angela (Thornton) with a protective mother is lured into the glamorous world of modelling, her first assignment being a topless shoot on a beach in the middle of winter. Terrified of her mother finding out, she moves into the agency?s studios, but her real problem remains: her ex-boyfriend of four years is stalking her for revenge. Average genre entry is most notable for young Thornton, who delivers a good performance with a weak script.

This wonderful little charmer will take you back to the ?good old days? of film-making. Note expatriate Taylor, who starred in numerous British and American films during the 1960s including Hitchc*ck?s "The Birds", here as competition to our ?hero?, with an American accent. Geoff Burton was director of photography.

Slow mystery focussing on failed relationships and complex characters had its essence perfected in Lantana seven years later. The cinematography is beautiful, as Hughes uses a collage of de-coloured photographs that break up his film, but the first half borders on tedious, before we discover, we think, precisely where the film is going. Brilliant use of plot twists towards the finale, the film succeeds in portraying the complex emotions and relations of its characters.

Jane Halifax is called in to profile a wanted serial killer who is abducting young women on Fridays, raping and murdering them over the weekend and then dumping them on Sundays with their faces crudely made up. Good early "Halifax" instalment is perhaps more like the TV series "Profiler" (from America, starring Ally Walker) than anything. O'Connor steals every scene she's in as she overacts her part with a zenith.

Murky mystery-drama has good performances from Friels and Waters in particular, but the story lets it down badly. After initial confusion, the film melts into a rather mundane chase for the truth, and its climax resembles a poorly-scripted episode of "Days of Our Lives" rather than an AFI Best Film-nominated masterpiece. Incidentally, this was produced by the same team which was previously responsible for "Boulevard of Broken Dreams", and later for "Hunting" and "Heaven Tonight".

Snappy, dialogue-driven crime caper with a typically Australian twist, this latest Tarantino-inspired effort is anything but run-of-the-mill. Notable for its brilliant casting and overacting, particularly by Wenham (who starred in Teplitzsky?s first feature "Better Than Sex" and was happy to take a support role here), whose portrayal of the dim-witted junkie Spit is sure to go down as one of the greatest performances in Australian cinematic history. The vast majority of the crooks here are not highly intelligent, but make no mistake: this film critiques Australian society rather than individual ?criminals?, in painting a picture of the justice system from the point of view of those who are trampled by it, using the emptiness of the capitalist nightmare that is the Gold Coast as an effective backdrop. The thinly-disguised references to the Australian Security Intelligence Organisation (called the ?Criminal Intelligence Commission? in the film) and its new powers afforded it by the Howard government are particularly worth noting, particularly if one is lamenting the frequent lack of explicit political comment in Australian films. It?s an ambitious project by Teplitzsky and, for the most part, he pulls it off, despite getting a little bogged down in plot hyper-detail ? he even slides into Hollywood-inspired fantasy for the final sequence. Sweet is now just one or two major roles off developing a Bryan Brown-esque superstardom in Australian cinema.

Landmark film which was among the first (after "Backroads") to portray Aboriginal Australians in contemporary settings. Beresford nearly got it right here without suggesting for a moment that there is an easy answer to the problems faced by modern-day Aboriginal communities such as the one portrayed in this film, he does describe some of the effects on a generation which has had to deal with being brought up during the period of the White Australia policies, which included Assimilation. There's a deceptive depth to the film: while the local white people are very stereotyped (and let's face it, many still are), here is a genuine, compassionate storyteller at work, giving white, middle-class Australia a glimpse into a completely different, yet not totally foreign, world. An important film, it has come under much criticism for its seemingly sentimental climax; depending on how you view it, however, the sentimentality may not appear overtly excessive at all. Good performances all round are led in particular by Nehm, who would, two years later, feature as an angry ghost in the psychological horror film "The Dreaming".

Series of sketches put together as a feature film, based on the hit SBS series "Pizza", with most of the regular cast. Billed as 'politically incorrect', it does little more than feed off stereotypes; if you think badly-portrayed stereotypes are funny, then this is the film for you: minorities which receive a pasting include non-anglo ethnic groups (mainly Greeks, Italians, Chinese, Indians and Lebanese), asylum seekers and refugees, dwarfs, physically disabled people, women, and queer people. Cameos from various Australian celebrities, among them Merv Hughes, Red Symons, Tim Ferguson, Hung Le, Shane Porteous, Costas Kilias, Kamahl and Jeff Fenech, make it watchable, but it really is a cringefest that tries too hard to be insensitive. For teenage boys only.

FANTASM Unfunny sexploitation pic made to capitalise on the new 'R' classification, and the commercial success of recent Scandinavian and American soft-porn films. Shot in Los Angeles due to an inability to find a suitable cast in Australia. Although Ginnane, Franklin et al made this $50,000 cheapie to launch their careers financially, no-one associated with the film is particularly proud of it thirty years on and it's easy to see why. It simply could not be made and released theatrically now, yet it remains important in the dubious history of Australia's cinematic renaissance. FANTASM COMES AGAIN The incredible commercial success of the 10-day, $50,000 "Fantasm" brought about an inevitable sequel, minus director Franklin, who was ambivalent about the original. A bigger budget meant a slightly better script, and more blue-movie star power ? lots of these actors were well-known in such Los Angeles films at the time. I, for one, appreciate "Fantasm Comes Again" slightly more than its predecessor; while still offensive from a gendered viewpoint, it has less of the Freudian ?female fantasy? crap which framed the original. This one even has some male letter-writers!

Slightly disappointing film with similarities to "The Boys", "Idiot Box" and "Little Fish" in that it's more or less a study of a working-class culture living in low-rent accommodation, but as far as these films go it's definitely lacking that special something. Deliberately focussing on mateship, and in particular the subtle differences between twentysomethings and slightly older males, the film reflects American independent productions "Ordinary People", "Secrets and Lies", "Manhattan" and "12 Angry Men", four films in particular that director White had in mind when making it. The actors do a good enough job, Jackman in particular (he used the film as a springboard to Hollywood fame), but there's just too much material here that's glossed over by writer Chooney and White, who used his own experiences in Sydney's band scene to create some of the music for the soundtrack. White, a former director of commercials and music videos, is based in Los Angeles he's hoping this will help people to see him as more than just a commercial director. Note the film's complete lack of any trees a deliberate attempt by White to focus on Australian city's allegiance to British architecture and his decision to base what is essentially a Melbourne film in the Sydney suburb of Erskineville, which he describes as a place that the yuppies tried to fix up, but it never worked. So it's always retained its slightly bohemian nature.

Those expecting a third "Alvin Purple" film would have been surprised at this more ambitious offering (it was the first million-dollar Australian film) from Village Roadshow's Hexagon team that had sparked the local film industry?s revival with that 1973 sex comedy. While it could have been tighter, "Eliza Fraser" is a quality historical piece; though it retains some of the bawdy "Alvin" humour and so is set apart from the previous year's "Picnic at Hanging Rock". It's not difficult to detect a Monty Python influence here and other credited influences include "Tom Jones" and Stanley Kubric's "Barry Lyndon". The exceptional and popular cast, including York, Howard and Castle from England, works well to Williamson's script, which, as that writer always does, re-works stereotypes and prejudices with wit and humour. This was Williamson's fifth film, after "Stork", "Libido", "Petersen" and "The Removalists". Ferrier is in particularly fine form, and Howard, after a distinguished career as a heroic figure in British war films, lets his hair down in the colony. Based on a 'true' story (though just how true we will never know, given the real Eliza Fraser's penchant for tall tales), the film was given a new lease on life with its DVD release in 2004, so we can watch the memorable bedroom scene over and over again! Filmed in Sovereign Hill, on Fraser Island, and at Emu Bottom.

The 'Working Dog' team (Rob Sitch, Tom Gleisner, Santo Cilauro and Jane Kennedy), known and loved in this country for their TV series including "Frontline" and "The Panel", make their second foray into feature film (after the cult classic "The Castle") with this charming comedy-drama about four men who were essentially responsible for making sure the world saw Armstrong walk on the moon. Those expecting "The Castle 2" will be surprised - but certainly not disappointed. "The Dish" reaches a wider audience, and was even successful in America: it mixes amazingly perceptive character development with cheeky humour and a huge, world-wide event...there's something here for everyone, although the messages are certainly in sharp contrast to those of Working Dog's first feature, the little people are most definitely being dictated to by the 'big' guys (ie, NASA), though their simple charm and belief in themselves averts any major catastrophe.

Caesar's mainstream debut (his previously best-known works included "Idiot Box" and "Mullet") is a classic, old-fashioned crime caper, with industry institution Brown in a role written for him. Ignoring the formalist predictability and the plot holes, it's a wildly entertaining romp with a stellar cast, a mix of young and 'er ' not-so-young. Goodman; whose voice featured in "The Real Macaw" is good, but the show, backed by a ripper baby boomers soundtrack, is definitely stolen (as predicted) by Brown, with Collette, Worthington and newcomer Morassi (expect to see a lot more of her) providing great support. Filmed in Broken Hill, Kings Cross, Potts Point and other Sydney areas. On a sadder note, this was industry veteran Paul Chubb?s final film before surgery for cardiomyopathy resulted in complications from which he passed away, June 9, 2002: his best-loved works included "The Roly-Poly Man", "With Love to the Person Next to Me" and "Stan and George's New Life".

Entertaining, if slow and a little overlong, it's a thoughtful story that is well-told, and should appeal in particular to lovers of jazz. It's a typically atypical de Heer storyline told in typically atypical de Heer fashion (contemplatively) - it's certainly no failure, though you get the feeling it could have been so much better, particularly during the far-too-frequent (and lengthy) cuts to legendary Davis playing sax.

This is how love stories should be told. Minogue?s best screen role before she devoted her career to singing, it improves with every scene; Thomson portrays the welfare and criminal justice systems as arbitrary and, often, ridiculous, and stays away from excessive sentimentality. The cracks are smoothed over by a brilliant 1950?s rock?n?roll soundtrack; this should be a classic of Australian cinema, despite its American influences.

Direct-to-video pulp is quite possibly the worst Australian feature ever made. Car chase in the final scenes lifts it markedly. Apparently based on a true story!

The most commercially recognised Australian thriller (until "Wolf Creek"), it's probably more popular in America than here (thanks largely to the essentially formulaic plot, and the three leads, Kidman, Neill and Zane). Make no mistake, it's a very polished effort, and has been extremely well-received in many quarters. The tension is certainly there, but, after a highly promising beginning, it falls all too rapidly into familiar Hollywood thriller-mode, as Zane is introduced as a one-dimensional psychopath who seems intent on murder. A gaping lack of any discernable twist in the tail is its ultimate downfall. The film is credited as launching the international careers of both Kidman and director Noyce, the latter being previously responsible for such features as "Backroads" and "Newsfront". Noyce, who had previously been experimenting with new ways of making film, realised he enjoyed creating suspense on screen while filming "The Cowra Breakout". As a consequence, Noyce spent the next twelve years in Hollywood (and made such films as "Patriot Games", "Clear and Present Danger" and "The Bone Collector") before returning to command the acclaimed "Rabbit-Proof Fence".

Early Australian biopic is an uneven film, whose low production values and interesting choice of lead role detracts from its intriguing and unconventional nature ? and I?m not talking merely about its subject matter. Sandra McKenzie cast swimmer Mackay-Payne in the lead role; she appears in every scene and it?s here that the film fails. The narrative, however, is exceptional - instead of a blow-by-blow description of what we already knew about Dawn Fraser, we get an inside account of her life between and after her amazing feats.

One of the year's best romantic comedies, this fun, lighthearted but expertly crafted film is good, clean fun for the family. If you might remember him as Hugh Grant's housemate in "Notting Hill" and relish the chance to see him play lead, and Otto returns to more familiar territory, the film bearing distinct similarities to her previous films "True Love and Chaos", "Daydream Believer", "Doing Time for Patsy Cline" and "Dead Letter Office". It's a fantasy story about yearning for escape, and serves as more than just a cathartic outlet for those missing "SeaChange". With some superb social commentary, writer/director Jeff Balsmeyer has really hit the mark here; it's a real return to the quirky comedy that became an Australian tradition during the 1990s.

A huge cast, top-notch acting and a gripping plot make up for the occasional ambiguity, which perhaps more than anything cost it a Best Film nomination. It may have been better received had it been preceded by the caption 'based on a true story'. LaPaglia; who would later bring down the house with a similar, yet very different, role in "Lantana" and Otto are nothing short of brilliant; they were both recognised with AFI nominations. Incidentally, you can just pick up on LaPaglia?s slight American accent at times ? he had been working in the United States for a decade before returning to make this, his first Australian feature, which was also Davis's first film role. This is one of only two films Dingwall directed; he also wrote for "Sunday Too Far Away".

Released thirteen years after the first sequel, this is definitely more of a lightweight comedy than the first two, but Hogan tries his best (even though he is looking a little worse for wear), and it's actually not too bad (try to ignore that tacky title!). It won't win many awards (except maybe a Razzie), but if you're after a bit of good-natured entertainment, you could do worse than this. And, yes, thankfully the knives return. The third "Crocodile Dundee" film became the fourth-highest grossing Australian film of 2001, with $7.8m in box-office receipts . Score composer Poledouris is one of Hollywood?s greatest, having written the music for Schwarzenegger?s "Conan" films, "The Blue Lagoon", "The Hunt for Red October", "Free Willy", "The Jungle Book", "Starship Troopers" and "For Love of the Game", among his many film credits.

Low-budget affair was written by popular comedian McKeown, better known as simply 'Jimeoin' after his sketch comedy TV series. As expected, it has minimal story and nearly no plot, as various sketches (some funny, others falling flat) are loosely tied together by a simplistic 'on the run' premise. But some of it is genuinely amusing: the parody of 80's icon "Perfect Match", and the scene in the back-of-Burke Queensland pub (which features comedian Walker, probably best known for his 'portrayal' of Prime Minister John Howard on "Full Frontal", are two skits which are worth waiting for. Backed by a quality soundtrack of 80s Australian rock, including Down Under not surprisingly, seeing Men at Work's frontman Colin Hay appears as an SAS soldier on Jimeoin's trial.

"Crackerjack" succeeds in "The Castle"?s footsteps where "The Nugget" failed: a spoof on "Rocky"-inspired victory-from-the-jaws-of-defeat films, the principal players are an overweight, obtrusive Molloy, his pot-headed younger brother Johnson and a sharp-tongued Lucy (playing pretty much herself!), surrounded by a club of Australian film and television favourites led by Hunter and Clarke. There are some cheap laughs here (hearing old ladies swear is assured to tickle a few ribs) but many are genuinely funny, if a little ageist, and excessive drug use, including alcohol and marijuana, isn?t exactly frowned upon. Politically incorrect and largely unoriginal, it?s a guaranteed crowd-pleaser from the long-time regular Triple J comedian. Let?s hope Molloy doesn?t stop at just one. Clarke was script editor, and lawyer Greg Sitch (brother of Rob) was executive producer.

Uplifting, inspirational film - which is more than a little amusing to boot - exemplified by outstanding performances from all involved. Mendelsohn is terrific as the apathetic amateur, starved artistically, and frustrated at the task he's been given. Yes, it's a little formulaic (and reasonably predictable), but that's the fun of it - but don't worry, Hollywood couldn't even get remotely close to what Joffe has created here with a huge all-star cast.

Enthralling, well put-together sporting film which (thankfully) stays away from the "Rocky"-inspired formula of one man defying the odds to clinch an improbable victory. It focusses more on the relationships between Joe Lucas (Tate) and his two sons, Steve (McWilliam) and Adam (Friels), as they both struggle to gain their father's acceptance by punishing themselves in the name of sport. All deliver a credible performance in a low-budget film which casts Kenny as himself (thank goodness he stays silent!!), and even features former "Hey Hey It's Saturday" performer Wilde as the lead singer of a band.

Hilarious adaptation of Williamson's play by director Beresford is not just for football or even sporting fans - the story could be easily adapted to any organisation where politics are involved. Kennedy absolutely steals the show as Collingwood's president (the guy's certainly no Eddie McGuire), while fans of "SeaChange" and "Always Greener" should note that Howard wasn't always overweight. For Aussie Rules fans, though, this film adds an extra dimension: it is a throwback to the days before indiscriminate trading, before million-dollar contracts, and before trial-by-video - although each of these things could be attributed to events that were taking place at the time this film was shot. To gain a larger, Australia-wide audience, the South Australian Film Corporation - on a run of smash hits at that stage - wisely chose to focus on the VFL's Collingwood rather than the SANFL's Port Adelaide...same colours, similar records, but one more recogniseable than the other.

A truly remarkable film, this dark, gritty, violent and very gruesome portrayal of "Chopper" Read was just pipped at the post for the AFI Best Film by the universally loved "Looking for Alibrandi": a surprise, considering the previous three winners had all been thrillers: "Two Hands" (1999), "The Interview" (1998) and "Kiss or Kill" (1997). But a stunning Bana still walked away with the trophy for Best Actor in a dramatic career change that saw him take two years off after his light comedic roles in "Full Frontal", "Eric" and "The Castle". His portrayal of the hitman is so visually accurate it is easy to forget that he is, in fact, acting, and it was enough to win him a passport to Hollywood, where he would star in the likes of "Black Hawk Down" and "Munich". It's not a film for the feint-hearted: if you don't like the sound of seeing ears ripped off and inmates being stabbed to death by small pointy objects, steer clear of this one! For everyone with a slightly steelier stomach, though, it's a must-see re-enactment of a scummy life set against a backdrop of gritty Melbourne and Pentridge in the 1970s and 80s.

Previously responsible for such television series as "Frontline", "A River Somewhere" and "The Panel", the "Working Dog" production company (consisting of Rob Sitch, Santo Cilauro, Tom Gleisner and Jane Kennedy) spent all of ten days shooting this ultra-low-budget entry into feature-length film...and finished with a sleeper that would become arguably the most well-known and much-loved Australian comedy ever. Its well-trodden theme of small guys taking the big business to the cleaners, in the form of a conservative family structure with "old-fashioned" morals straight out of White Australia, made it instantly popular, as nostalgic escapism for audiences whose lives are moving far too quickly. The way the writers found the very heart of Australia's working-class myth and transferred it to film contributed largely to its success. The characters are brilliantly written and expertly portrayed by all actors. Yes, "The Castle" is predictable and, in appealing to both ?sides? of politics, promotes very conservative, ?battler? values, but it is a testament to how films should be made - and it's hilarious to boot.

THE CARS THAT ATE PARIS (3 stars) You could be excused if you couldn?t quite find the very dark humour in this early Weir effort, which is a must for every fan of the director, who would later bring us "Picnic at Hanging Rock", "Gallipoli", "Dead Poets Society" and "The Truman Show". Meillon is magnificent as the Fuhrer-like mayor who would go to any lengths to ensure the prosperity of his beloved town. Characteristic of Weir films, the story begins "innocently" enough, and builds to, in this case, a very violent climax, with the Cars - so often written about as another character in the film - exacting their revenge on the oppressive town society THE PLUMBER (2 stars) Average, suspenseful yet unconvincing early thriller from Weir, went straight to television release. Plot holes are iced over with commanding performances from Morris and Kants, and good support provided by Coleby, Raymond and Szeps.

Quality adaptation of "Caddie's" autobiographical novel was one of the first of its kind in this country during the mid-70s ? and it has stood the test of time, through high-class performances from a well-known cast, superbly written characters, and a genuine throwback to depression-era Sydney in the late 1920s. Morse is terrific in the lead role, and the film has a remarkable stage quality, reflected in the supporting cast of Thompson, Emmanuel and Jaffer. Winner of four AFI Awards (seven of the remaining eight went to "The Devil's Playground").

Popular at the Berlin Film Festival, it was also chosen as one of four Aboriginal-themed selections for the Adelaide Festival?s inaugral film section, before being officially released in Australia in mid-2002. Hall and Pitt are nothing short of brilliant in their respective roles in a film that tells two difficult stories ? first we had "Rabbit-Proof Fence", which told us what happened to many Aboriginal families throughout the better [sic] part of the twentieth century, and now "Beneath Clouds" points out the effects, a generation or two down the track. Sen has moulded this understated drama ? a culmination of his short films, "Dust", "Wind", "Journey", "Warm Strangers", "Vanish" and particularly "Tears", ? with outstanding scenic photography, depicting the vastness of the land west of the Snowy Mountains. Sen?s personal ?reconciliation? story is one which would make a good film in itself: his Aboriginal mother moved the immediate family away from their Koori mission community to Inverell, where the boundary between the Kooris and the whites was well-defined. It was not until he began photography and returned to his mother?s original mission that he also began to take an interest in his Aboriginal heritage. The film, in which Sen has obviously drawn on many of his own experiences, is definitely one step closer toward the goal of reconciliation (though that might not be quite the right word)?

A landmark in Australian film, it's an obscene, dirty story focussing on the xenophobic outback culture, loosely moulded on existing road movies (in particular, Monte Hellman's US "Two Lane Backdrop" and Wim Wenders? West German "Im Lauf der Zeit"). It was the first film that was inclusive of the views of Indigenous people in its production; as such, it's one of the first that portrayed the fringe dwellers' as they were, rather than "noble savage" fantasies of white filmmakers (and audiences). The film, which was going to be of feature-length before the money ran out (its budget was a paltry $25,000 ? though the film was eventually shot for $30,000, the extra 5 being compensation for a lost reel of film in a Sydney lab ? and the only people paid award wages were the local Indigenous actors), attracted favourable reviews both in Australia and overseas upon its release, perhaps most notably from Padraic P ?Paddy? McGuinness in the National Times: by the time Backroads was released on DVD in 2004, McGuinness was the (rather extreme) right-wing editor of Quadrant magazine and occasional columnist for the Sydney Morning Herald who had published articles attacking the ?black arm-band view of history? that places Indigenous Australians as the victims of dominant racism in the public policies of Europeans.

Spot-on title says much about the film, which has a fantastic, almost surreal, stage-like quality, thanks to Williamson's sharp and perceptive script. Essentially, we are fed lie upon lie as we form our own opinions as to what really happened between Susy and her boss, before each character is stripped down, layer by layer, revealing more and more (or less?)...and we are asked to make our final judgement. The climax works particularly well, capping off a higly stylised and rewarding film. Aging screen icon Barrett gives a wonderful performance as the sisters' father, and Veitch (from "Full Frontal") revives his career with a more widely accessible role. Geoff Burton was director of photography.

Brilliant, impacting drama takes the facts and combines them with a great script and a superb cast to create one of this country's most respected and revered films worldwide. While Woodward, as Morant, is the lead, Thompson and Brown are each in arguably one of the best performances of their respective careers. This one fits the definition of a true classic, that is certain to be remembered for years to come. The film made history as the first from Australia to be nominated for an Oscar. Winner of 10 AFI Awards; shot in Burra, where the historic gaol houses a lasting memorial to the film that helped put the town on the international map. See also FM Cutlack?s historical novel, "Breaker Morant".

Gritty drama is well played by the principle cast (future Hollywood director Polson won an AFI Award for Best Actor) in a film that examines Sydney's forgotten "working" class, where the men (brothers Wenham, Polson and Hayes) cling to their historical role of dominance over the women in compensation for their multitudes of other inadequacies. Thus, they are trapped in their own home: outside those four walls, the three brothers are powerless against the middle- and upper-classes, who rely on knowledge and wealth for their influence. There are strong performances all-round in this highly sensitive film which won praise from all quarters - including (perhaps surprisingly) the very group of people that is portrayed on-screen. The initial performance of Gordon Graham's "The Boys", by the Griffin Theatre Company at the Stables Theatre on 28 February 1991, included Curran and Wenham, as well as acclaimed actor David Field.

Director Dien Perry's own experiences make for a hipper, more lightweight version of "Strictly Ballroom" which has charm, charisma, a simple but effective story, and spectacular dance scenes. Its popularity is reflected in the fact it won 5 AFI Awards, and was subsequently released on DVD. The characters are handled well - only two are developed in any form; the others are merely supporting roles which work well. Some of Perry's original group appear in the film which is, all in all, a triumph, and a must-see, particularly for Garcia fans who have come to know him through Hollywood, though it has absolutely nothing on the original stage show, Tap Dogs.

Excellent premise sets up a gritty, real-life film, with similarities to many teenage novels that deal with choices in exceptional circumstances. Jared is played well by Breuls, who was seen earlier on "Home and Away" but had been in the screen wilderness since, and who manages to hold his own in a bumper cast which includes Hollywood star Ledger, and acclaimed actors Davis, Field, Haywood, Hopkins, Horler, Napier, Lyndon and Howard. The lifestyle of the surfie teens is set up well, giving an accurate portrayal of the hedonistic sex-drugs ritual many of them put themselves through - boredom is suggested as a decisive driving factor here. But the main element of the film deals with Jared's choices - does he stay silent to protect a mate, or will his conscience win over? It's difficult to find a bad component of this film, which was very unlucky not to win Best Film at the AFI Awards for that year. Enright was approached in 1991 by Brian Joyce (director, Freewheels educational theatre company in Newcastle) to write a play about the consequences surrounding the recent rape-murder of teenager Leigh Leigh at a beach party? he initially refused, but eventually wrote the play "A Property of the Clan", first performed in 1992, which he then adapted into "Blackrock" for the Sydney Theatre Company after actor John Howard (who later would appear in the film) and Wayne Harrison approached Enright and offered to help develop it. The initial performance of "Blackrock", at Wharf I on 30 August 1995, included Lyndon, who played Jared, and Smart (Cherie), as well as acclaimed actors Paul Bishop, Daniel Wyllie, Teo Gebert, Joel Edgerton, John Walton, Kym Wilson and Angela Punch McGregor.

Teen angst is the key term here in one of the funniest Australian films ever. The whole thing's hilarious, from beginning to end, and director Tass (later responsible for the brilliant "Amy") knew exactly what she was doing. Mendelsohn is terrific in the lead role as the contemplative teen, whose values demand that he get hold of a used Jaguar in a week, even if that means selling the sensible bomb his parents (neurotic Napier and King) gave him for his birthday. If you haven't yet, see this one.

Adaptation of Tennant?s classic novel, set during the Depression in a mythical shire, is amusing and worthwhile. Sweet, returning to his hometown Adelaide for the shoot, becomes D?arcy Niland?s ?Shiralee? in a role that could easily have been Bryan Brown?s; McKenzie, a year after starring in "Romper Stomper" and winning an AFI Award for "Stark", and a year before winning an AFI Best Actress award for "Angel Baby", is perfect. Tennant?s wonderful characters are put on display, and this is perhaps the real strength of the film, along with its somewhat understated politics of unionism, feminism and the ongoing war between the Irish Catholics and the Anglo ?pigs?. It could be argued that Tennant has successfully weaved first-wave feminism into her novel through the characters of Stray, Ma Tyrell (Phelan) and Mrs Marks (Windsor), but the film certainly contains many affirmations of traditional masculinity. Conspicuously, the mythical 1930s shire contains no hint of Aboriginality or, conversely, any immigrants other than Anglo-Celts; indeed, the only reference to Aborigines in the film is distinctly racist ? a hangover from the novel. The climax is sloppy and unnecessarily, and one is left with the impression of having viewed an affirmation of a particular Anglo-Celtic historical fantasy.

This film is for anyone who has ever been angered, frustrated or annoyed by the conduct of modern banks, whose branch closures and staff sackings in light of ever-increasing profits are the hallmark of the greediest form of capitalism and accounting rationalism which ignores public image and consumer well-being. "The Bank" is a clever mix of sharp sociopolitical satire and good old fashioned thrills; it's well-told, with fitting performances and a concise script. Definitely one of the ?audience? movies of the year, it was the fifth-highest grossing Australian film at the box-office for 2001, with $2.5m in receipts.

The "D-Generation" crew are at it again, but failed to carry the success of "Crackerjack" into this low-brow affair. Becomes mildly amusing after an hour of setting up, if you can wait that long. Lucy's part was apparently written just for her, which it obviously was... though not well. Hunter is at his menacing best as ZTU head, though Micallef, as Victoria's Family First premier, has done better work. Far too many obvious jokes can't hide the rampant conservatism embedded throughout; if you don't mind seeing Molloy and Franklin play off each other with a tired script for an hour and a half, then this one's for you.

With many sequels being mere formulaic reruns of the original, how refreshing to see a different director try something completely off-the-wall for this sequel to the 1995 smash-hit "Babe". The result is darker, and perhaps more sinister (sort of what you?d expect from the creator of "Mad Max", really): the kids may not like it as much, but it's a very well-made film. The bigger budget is reflected in a more surreal production design, as Babe joins up with a motley bunch of animals (including dogs, cats, and even Godfather-like monkeys) to wreak havoc on dog pound owners. It's funnier and more striking than the original - and Szubanski is even wackier with her stunts (and her accent). Received criticism from some quarters following its release, and if you're expecting a repeat of "Babe", you may well be disappointed. But watch it for what it is - a funny, screwball family comedy - and you're bound to enjoy yourself.

Genuine, good-natured family entertainment, from D King-Smith?s novel "The Sheep Pig", a film like this once in a while can be refreshing. It's a live-action film, with real pigs, goats, chickens, cows, dogs and a whole assortment of other farm animals, who talk to each other in the voices of Cavanaugh, Weaving & Co. Szubanski is an absolute hoot as Esme Hoggett - she's in her best role ever, and that's saying something, after her appearances in "Full Fronal", "Big Girls Blouse" and more recently the short-lived "Dogwoman" telemovie series. Adults will enjoy it as least as much as children, given Szubanski's performance, and the frequent "asides" which will be too quick (and too complex) for many youngsters. The singing mice are just the icing on the cake...

Exceptional, though controversial, adaptation of Gwynne?s award-winning semi-autobiographical novel "Deadly, Unna". Westaway, in one of his first major Australian productions since "Janus" after numerous roles in cable telemovies, exudes a terrifying persona based on the ignorance of his character, which was loosely based on Gwynne?s own father. Gwynne also admits that the fictional ?town in the book [Prospect Bay] was my town?, and that the ?Aboriginal kid ? the [footy] side?s best player ? was a mate of mine as well?. The controversy is that Gwynne, in his novel, writes about an incident that occurred in his home town of Port Victoria in South Australia years after he had left: the original incident did involve two Aboriginal boys and a white publican, but neither of the boys was the real-life ?Dumby Red? character (who is apparently alive and well), and the publican was not Gwynne?s own father, as depicted in the film. The family of one of the murdered youths was vehemently against the film ever being made. Both Kelrick Martin (a documentary writing/directing student at AFTRS and former producer of ABC?s Message Stick) and David Wilson (then co-ordinator of the South Australian Indigenous Screen Culture Organisation) attack the lack of collaboration between Goldman and Gwynne and the Port Victoria Aboriginal community. Martin links the effects of this lack of collaboration to equally well-intentioned portrayals of Aboriginal Australians as ?noble savages? in films from the 1950s and 60s, including "Journey Out of Darkness". According to Martin, Wilson was undertaking legal inquiries to prevent the film appearing on SBS, despite its worldwide tour of festivals and cinemas. Australians should see the film, but they should do so with the knowledge of the stories behind it.

Stunning, heartfelt film by little-known director Rymer is most notable for brilliant performances by Lynch and McKenzie, the latter in her best role ever. Leonard Maltin called it (incredibly) ?over-elaborate treatment of the subject matter? ? it?s quite the opposite, as mental illness is far too often swept under the carpet in today?s society. Friels? character is expertly written, as a brother who cares for his troubled sibling but can?t offer any solution, and who doesn?t want his family being dragged into Harry?s problems. The film?s significance was reflected in its performance at the AFI Awards, where it won 6 including Best Film.

Bizarre sequel has almost everyone (apart from the late Tim Burstall) distancing themselves from it, despite its commercial success. Although Hopgood denies any involvement in the plot-driven (rather than episodic) nature of the script, such a script somehow came to be; the result is much less funny, more painful and infinitely less watchable even than the original. Still, it claims history: the first feature film to be shot in Australia with special effects. Followed by the little-seen "Melvin, Son of Alvin".

A landmark piece of Australian cinema that combined Australia's quirky reputation in film with its stunning outback setting, a huge cast and a brilliant set and costume design - and, for the first time, wowed audiences with its extravagance and polish, as well as maintaining a hard-hitting storyline that was almost taboo with bourgeouis Australia in the early 1990s. The three leads perform their roles with absolute professionalism, and many regard this to be the greatest film for each of them. It's essentially a gayploitation film, but not in the mould of "Going Down", "Head On" or, from the US, "Shampoo Horns": it retains a warmth and truth not previously seen in this type of film, which displays every attitude imagineable to homosexuality but doesn't let them get in the way of a great story. Shot in Alice Springs, Broken Hill, Coober Pedy, and Sydney.

A cult hit upon release with Australian audiences, it can still be funny today, but its over-the-top political incorrectness and blunt, unsubtle humour puts the cringe-factor on ?extreme?. It runs far too long; some of the content could have been saved for the sequel, "Barry McKenzie Holds His Own", which actually did far better at the box office. Granted, his ocker Aussie attitude is funny, but also becomes annoying as the story drags on. Some say Crocker's songs are the best bits, and they are certainly original, but "hilarious"? "The Adventures of Barry McKenzie" will go down as a landmark in Australian cinema, but we should do everything in our power to make sure that overseas audiences do not see the majority of Australians as Barry McKenzies (or, for that matter, Mick Dundees!).

Above-average telemovie, with TV icon Gibney helping this one through the slow bits. Good mix of supernatural thriller and genuine mystery-drama, you?ll see a lot worse in this genre.

Stereotypical 1980s miniseries adaptation of McDonald?s turn at the Great Australian Novel is superb viewing for fans of the genre. Capitalising somewhat on the success of the previous year?s "Gallipoli", "1915" attempts to show us the Great War as it was, both in Australia and Turkey. It makes no attempt to glorify it, and McDonald and Yeldham do well to incorporate the various views of the time. Directors Thomson and Drew share the duties, with Drew in charge of the war episodes (5-7). The same story was basically retold in the inferior "Anzacs" three years later. The miniseries ?genre? in Australia during the 1980s was highly popular, not least because of a band of staple actors, of whom Thornton was arguably the most adored: here she plays a role she would reprise, in various forms, over and over again (see for example: "The Man from Snowy River", "All the Rivers Run", "Boy in the Bush" and "The Lighthorsemen").

Less an historical drama than an episodic and comedic vehicle for Clarke (who would later achieve fame opposite Guy Pearce in the "Man from Snowy River" TV series) and particularly Hogan, with constant one-liners and even one or two standup routines. From an historical and critical viewpoint, it?s a rather uninspired retelling of the story of Australian involvement in the ?Great War? of 1914-1918, when the Anzac myth was born. While falling short of glorifying the war, it certainly presents the glorified larrikin nationalism of the Hawke era, which would morph rather easily into the military nationalism of the Howard years. As such, it?s little more than one long polemic from the mythic viewpoint of the Anzac soldiers against the portrayed ignorance and ineptness of British officers and Australian politicians. It builds upon the much-celebrated mateship myth whose origins have been appropriated to the battlefields of Europe and the Middle East during World War I. However, purely as a piece of comedic entertainment (in the mould of "M*A*S*H", for example), it?s watchable. It becomes darker through Episode 3 as Hogan fades into a bit-part role. This was Hogan?s first dramatic role (not counting his bit-part in "Fatty Finn"), though of course he played himself, as he would the following year when his privately-financed "Crocodile Dundee" would become the western world?s super-hit. If you can handle seeing history abused to become a mere tool for the mythic Australian nation, by presenting Hogan and Clarke as heroic roustabouts who?ll breeze unscathed through any sticky situation on the basis of their charm, humour and good Aussie spirit, then this one?s for you. Could be renamed ?Hogan?s Heroes? (in more than one sense) without too much difficulty!

Aesthetically pleasing but disappointing adaptation of Pedley?s book relies too much on the rousing sounds of James Reyne (of ?Australian Crawl? fame) and on television myth-making to really pack a punch. Long is surprisingly disappointing in the lead role. Film buff Raymond Mather (who was a dance tutor on Baz Luhrmann?s Strictly Ballroom and who has connections to Abbott?s family) accused the Nine Network of only producing the project with the budget leftover from the canned series Young Lions, which also featured Long. Walton makes a welcome return to Australian screens after a hiatus for a couple of years in a more risqu? role than we?ve come to expect, though her part is not exactly written well. Okay for a DVD night; contains some poignant moments towards the end.