Watch this blog site for film reviews, whether blockbusters, box office bombs or highly obscure. Our genres will include science fiction, animation, musical, action, fantasy, drama, documentary, thriller, horror, romance, western and comedy.
Box Office Gross: $412,642 (Australia - figure subject to change)
Plot Summary
Chris Masterman, a former
TV personality, becomes
stranded in a town in the
Australian Outback near
Alice Springs. There,
he meets a 12-year-old
Indigenous girl named
Charlie. An unlikely bond
forms between the pair as
they work together to save
and rehabilitate orphaned
joeys in a remote yet
spectacular Outback
settlement. This undertaking
proves to be life-changing
for both of them.
Cast
Ryan Corr - Chris Masterman
Rachel House - Jesse
Lily Whiteley - Charlie
Brooke Satchwell - Liz
Deborah Mailman - Rosie
Rarriwuy Hick - Brenda
Rick Donald - Trap
Ryan Clark - Lifeguard Jacko
Wayne Blair - Ralph
Trisha Morton-Thomas - Gwennie
Emily Taheny - Dorinda
Ernie Dingo - Dave
Genevieve Lemon - Bernadette
Salvatore Coco - Phil
Shaun Martindale - Joel
Matt Burton - Trap's Mate #1
Warren H Williams - Warren
Catherine Mazur - Studio Assistant
Lucy McLeod - ABC Reporter
Anthony Ritossa - Host
Steve Kidd - Neil the Butcher
Yalyal Hick - Casper
Phoenix Cunningham - Freddy
Lene Clarsen Walters - Ruby
Luke Follayttar - Silver Gum Kid
Jaimee Morettti - Studio Employee
Charlotte Walters - Grace
Luca Saunders - Lifeguard #1
Zoe Walters - Bowling Lady #2
Sam Follayttar - Silver Gum Kid
Kristina Kidd - Bowling Lady #1
Crew
Director - Kate Woods
Writer - Harry Cripps
Additional Material - Peta-Lee Cole-Mandolis and Danielle Maclean
Additional Writing - Melina Marchetta
Executive Producers - Aaron Ensweiler,
Marcus Gillezeau, Ron Halpern,
Marian Macgowan, Anna Marsh,
Louise Smith and Elizabeth Trotman
Producers - Rachel Clements,
David Jowsey, Angela Littlejohn,
Tristan Morton-Thomas and Greer Simpkin
Casting Director - Anousha Zarkesh
Production Designer - Sam Hobbs
Art Director - Jodie Whetter
Costume Designer - Edie Kurzer
Makeup Supervisor - Helen Magelakis
Hair and Makeup Designer - Sheldon Wade
Director of Photography - Kieran Fowler
First Assistant Director - Danielle Blake
Second Unit Director - Warwick Thornton
Stunt Designer/Coordinator - Dean Gould
Editor - Chris Plummer
Visual Effects Supervisor - Jonathan Hairman
Supervising Sound Editor - Angus Robertson
Sound Designer and Re-Recording Mixer -
Sam Hayward
Music - Josie Mann and Matteo Zingales
Review
In 2000, Kate Wood launched her directorial career with her film adaptation of Looking for Alibrandi, which won critical acclaim and box office receipts.Since then, her work has taken her overseas, directing episodes of television series such as Law & Order, Without a Trace, Person of Interest, and The Lincoln Lawyer. The motion picture that has prompted her return to Australia and the silver screen is KANGAROO, a heartfelt family comedy loosely based on the true story of Chris "Brolga" Barns, a one-time tour guide who established a kangaroo reserve near Alice Springs in 2011.
Although the film's narrative arc is somewhat predictable, it remains captivating. The film navigates the emotional themes of the story with sensitivity,
while maintaining the comedic charm and friendly atmosphere of small
country towns. Kieran Fowler's cinematography brings KANGAROO to life. His warm and bright approach captures the grandeur of the Northern Territory's spectacular landscapes and conjures up the fictional town of Silver Gum.
Woods has enlisted a talented group of actors to lend weight to their characters. Ryan Corr delivers an outstanding performance as an egotistical weatherman who transforms into a kangaroo conservationist. However, the best cast member in this film was Lily Whiteley, who plays Charlie. Despite her lack of experience, the first-time actress delivers an engaging performance that defies her age. Deborah Mailman brings warmth and sympathy to her role as Rosie, Charlie's grief-stricken and struggling mother.
The other actors also perform well. Wayne Blair, Ernie Dingo, Rachel House, Genevieve Lemon, Trisha Morton-Thomas, and Roy Billings play some of the strange people of Silver Gum. While there are real joeys in the film, many adult marsupials came to life through its minimal yet impressive CGI, demonstrating how far we have come since the release of Kangaroo Jack in 2003.
KANGAROO is one of those family-friendly films with cute animals that local audiences tend to love, similar to Babe, Red Dog, and the classic Storm Boy. I recommend it to those who want to see it, as you will take your kids there.
The legendary actor Robert Redford has died. He was 89 years old. He is most famous for roles in films such as "Butch Cassidy and the Sundance Kid," "All the President's Men," and "The Sting." One of the most iconic movie stars of the 1970s, Redford bridged the gap between the Hollywood new wave and the mainstream film industry with ease. Over the ensuing decades, he also became an Oscar-winning director and producer. He also spearheaded the development of American independent cinema by co-founding the Sundance Film Festival, whose platform showcased films such as "Reservoir Dogs," "The Blair Witch Project," "Donnie Darko," "Fruitvale Station," and "Coda."
Born in 1936 as Charles Robert Redford, he grew up in Los Angeles, California. After being expelled from the University of Colorado, he took up a course in acting at the American Academy of Dramatic Arts. Following a series of minor roles on television, in theatre, and in film, he began to gain recognition in the early 1960s. In 1962, he earned an Emmy nomination for Best Supporting Actor for his role in "The Voice of Charlie Pont," after which he secured a lead role in the original 1963 Broadway production of Neil Simon's renowned play "Barefoot in the Park." Redford's big break came in 1965, when he played a bisexual film star opposite Natalie Wood in "Inside Daisy Clover." For this performance, he received a Golden Globe nomination.
Fame came to Redford after a period of successful Hollywood films, including "The Chase" and the screen adaptation of "Barefoot in the Park." His career reached new heights with "Butch Cassidy and the Sundance Kid," the hugely popular 1969 outlaw westernin which he starred alongside Paul Newman and Katherine Ross. It received seven Oscar nominations, though not for the actors. In the 1970s, he appeared in such films as "The Way We Were" with Barbara Streisand, "The Sting" again with Paul Newman, "Three Days of the Condor," "All the President's Men" with Dustin Hoffman,and "The Electric Horseman."
Following an extended hiatus from acting in the late 1970s, Redford launched his directing career with the ensemble drama "Ordinary People," based on the novel of the same name by Judith Guest. It performed well at the box office, winning four Oscars in 1981, including Best Picture and Best Director for Redford. It remained the only recognition he never received for his acting. In the 1980s and 1990s, he continued to enjoy success as an actor, although perhaps with less of the groundbreaking impact than he had in the 1970s. He appeared in "The Natural" and "Out of Africa" before resuming his directional career with "The Milagro Beanfield War" and "A River Runs Through It," both of which tackle rural America in different ways.
A year later, he reached a turning point of sorts with the erotic thriller "Indecent Proposal," a pure Hollywood venture in which his character, a businessman, offers a million dollars to sleep with Demi Moore's character. It reinstated Redford's status as a commercial presence. In the 1990s, he directed two films: "Quiz Show" and "The Horse Whisperer," for which he also starred.
During this period, the Sundance Film Festival, co-founded by Redford's production company in 1978 as the Utah/US Film Festival and renamed after Redford's Sundance Institute in 1984, emerged as a prominent showcase for American independent cinema. The festival promoted the work of renowned filmmakers such as Steven Soderbergh, Quentin Tarantino, Robert Rodriguez, and Kevin Smith. Its impact increased further in subsequent decades, establishing itself as a platform for promoting movies and helping them to achieve commercial success and awards recognition. Notable films showcased include "500 Days of Summer," "Napoleon Dynamite," "Whiplash," "Fruitvale Station," and "Coda."
While "Lions for Lambs," his 2007 film about the Afghan War, was a failure,Redford's 2013 survival-at-sea drama "All is Lost," in which he delivered an exceptional solo performance, was a notable improvement. In 2014, Redford signed up to the Marvel Cinematic Universe, playing the role of Alexander Pierce in "Captain America: The Winter Soldier." He played the same role in a cameo appearance in "Avengers: Endgame" in 2009. Redford cut back on his directorial work in the mid-2010s, relinquishing his role as steward of the Sundance Film Festival and confirming his retirement from acting. His last significant role was in the David Lowery-directed 2018 crime drama "The Old Man & The Gun."
Throughout his lifetime, Redford received numerous accolades, including an Honorary Oscar in 2002.
Australian Broadcasting Corporation (produced with the assistance of)
Energee Entertainment
Icon Entertainment International
New South Wales Film & Television Office (developed with the assistance of)
Premium Movie Partnership (produced with the assistance of)
RTV Family Entertainment AG (produced with the assistance of)
Genre: Animation/Family
Rating: G
Runtime: 80 minutes
Budget: A$12,000,000 (estimated)
Box Office Gross: A$1,001,000 (Australia)
Plot Summary
Bunyip Bluegum is a
splendid young koala on a
quest to find his missing
parents when he comes
across a magic pudding named Albert and meets a loud sailor, Bill Barnacle, and his penguin mate, Sam Sawnoff. Together, they form the Noble Society of Pudding Owners, as they constantly thwart the attempts of the Pudding Thieves.
Voice Cast
Sam Neill - Sam Sawnoff
Hugo Weaving - Bill Barnacle
Geoffrey Rush - Bunyip Bluegum
John Cleese - Albert the Magic Pudding
Dave Gibson - Uncle Wattleberry/Possum/Additional Voices
John Laws - Rumpus Bumpus
Greg Carroll - Watkin Wombat
Peter Gwynne - Benjamin Brandysnap
Michael Veitch - Bandicoot
Robyn Moore - Henrietta Hedgehog/Additional Voices
Jack Thompson - Buncle
Mary Coustas - Ginger
Sandy Gore - Frog on the Log
Toni Collette - Meg Bluegum
Roy Billing - Tom Bluegum
Martin Vaughan - Parrot
Gerry Connolly - Dobson Dorking
Lee Perry - Additional Voices
Marg Downey - Additional Voices
Crew
Story Development/Director - Karl Zwicky
Based on the Story "The Magic Pudding" - Norman Lindsay
Story Development - Morris Gleitzman
Screenplay - Harry Cripps,
Greg Haddrick and Simon Hopkinson
Executive Producers - Paddy Conroy
and Carmel & John Travers
Executive Producers: Icon - Bruce Davey,
Ralph Kemp and Mel Gibson (Uncredited)
Producer - Gerry Travers
Production Designer/Background
Style Development/Drawn Background
Artist/Digital Background Supervisor/Artist -
Helen Steele
Production Designer/Background Style
Development/Key Color Stylist/Digital
Background Artist - Kelly Wallwork
Character Designer/Storyboard/
Timing Artist/Animation Director -
Robbert Smit
Character Designer/Storyboard Artist/
Key Layout Design - Daniel Foley
Character Designer/Storyboard/Layout Artist -
David Wilkinson
Character Designer/Layout Artist - Jo-Anne Boag
Storyboard/Layout Artists - Stephen Doric
and Joe Wylie
Storyboard/Layout Artist/Mouth Breakdown -
Astrid Nordheim
Layout Director/Animation Supervisor -
Margaret Parkes
Editor - Richard Hindley
Sound/Re-Recording Mixer - Phil Judd
Re-Recording Mixer - Peter Purcell
Music/Original Songs/Keyboards/
Programming - Chris Harriott
Original Songs - Dennis Watkins
Conductor/Orchestrator - Christopher Gordon
Concert Master - Phillip Hartl
Review
As a young kid, I was unfamiliar with the children's classic, The Magic Pudding, having never read it, but having seen the animated movie only once a long time ago. I have good memories of it and can't wait to see the film again. While it had decent production values, a tremendous voice cast, and terrific animation, the character designs remained true to the book illustrations. Unfortunately, the plot is unfaithful to the original story Norman Lindsay wrote. It lacks the wit and the surrealistic charm that make it so great. Perhaps the filmmakers got the recipe wrong and substituted their interpretation for the original storyline.
The songs don't highly advance the plot and are unmemorable and instantly forgettable. Perhaps they were trying to follow in Disney's footsteps, but by the time the film premiered, they were unaware that the Disney formula had ended with the advent of computer animation, thanks to Toy Story. On the bright side, the racist overtones in Norman Lindsay's story are gone to make it more politically correct.
There are some good things about this film, especially the voices with actors like John Cleese, who is fitting as Albert, the irascible magic pudding, and Geoffrey Rush, who is appropriately sincere as the plucky young koala Bunyip. The rest of the cast, including Hugo Weaving, Sam Neill, and Jack Thompson, is also good, to be honest. I never knew Toni Collette could sing, and she is heard briefly as Bunyip's missing mum.
THE MAGIC PUDDING is an average but watchable film. Young children unfamiliar with the book will likely enjoy this movie. Those who have read the classic Australian book will be disappointed by this film, as its story differs significantly from the original.
Associate Producer/Production Designer/Second Unit Director - Joe Alves
Producers - Richard D. Zanuck and David Brown
Technical Advisor - Fred Zendar
Art Directors - W. Stewart Campbell and Gene Johnson
Set Decorator - Phil Abramson
Costume Designer - Bill Jobe
Director of Photography -
Michael C. Butler
Live Shark Photography - Ron & Valerie Taylor
Unit Production Manager - Bill Badalato
Production Manager - Tom Joyner
First Assistant Directors - Scott Maitland and Don Zepfel
Second Assistant Directors - Katy Emde and Beau Marks
Stunt Coordinator - Ted Grossman
Special Mechanical Effects - Roy Arbogast and Robert A. Mattey
Film Editors - Steve Potter,
Arthur Schmidt and Neil Travis
Sound - James R. Alexander
Sound Re-Recording - Robert L. Hoyt
Sound Effects Editor - James Troutman
Music - John Williams
Review
When Jaws came out in 1975, visitors to the beach were so terrified by the film that they were afraid to go into the water. It was a career boost for young Steven Spielberg as he would later direct big successes like Close Encounters, Raiders of the Lost Ark, E.T. the Extra-Terrestrial, Schneider's List, Jurassic Park, and others. Meanwhile, JAWS 2 came into being without Spielberg's involvement in 1978. Due to the first instalment's success, Universal was keen to capitalise on its popularity, and audiences asked for more bite-sized thrills. Looking back at the sequel, it's just your typical shark movie, and there's nothing new and more thrilling than the original. What also disappointed me about the film is that Richard Dreyfuss didn't return (which is why he refused to return without Spielberg).
While a decent director, Jeannot Szwarc, falls far short of Steven Spielberg's standards. He doesn't have as much enthusiasm as Spielberg did when he filmed the first Jaws movie. All things considered, he did a decent job with the material at his disposal. The plot is too similar to that of the original film. Yet, the suspense of the first instalment remains, especially in the second half. The shark appears as good as it did in the first one. However, its behaviour is more akin to that of a serial killer than an enraged beast. Even the teenage characters are rather one-dimensional. You don't get to know many of them well enough to care whether they survive or become shark food.
The ensemble cast is solid, with Roy Scheider's performance as Chief Brody standing out in particular. The only reason Roy agreed to appear in this sequel was that he remained under contract with Universal for multiple films. According to outside sources, JAWS 2 was his way out of that situation, even if it meant clashing with the new director.
The series should have ended when Roy Scheider refused to continue playing the role. While this sequel may appear to be a cash-in on the original film, the poor quality of the following two films proves that this is indeed the case. JAWS 2 was so popular with audiences that it didn't need any more follow-ups.
Although it's not as good as its predecessor, JAWS 2 is undoubtedly the least disappointing of the series and the only watchable sequel. I'd recommend this to fans of the original.
British actor Terence Stamp has died at the age of 87. He was best known for his roles as General Zod in the first two "Superman" films and Bernadette in "The Adventures of Priscilla, Queen of the Desert."
Born on 22 July 1938 in Stepney, East London, to a working-class family, Stamp initially attended a grammar school before embarking on a career in advertising. After winning a scholarship to study at the Webber Douglas Academy of Dramatic Art, he secured his first film role in "Billy Budd" in 1962. He later received an Oscar nomination for Best Supporting Actor and a Golden Globe for Most Promising Male Newcomer for the movie. Stamp subsequently starred in "The Collector," "Modesty Blaise," and "Far From the Madding Crowd," as he emerged as one of the most prominent icons of 1960s London. He had romantic relationships with supermodel Jean Shrimpton and actresses Brigitte Bardot and Julie Christie, the latter of whom was his co-star in "Far From the Madding Crowd."
In 1978, after being out of work for eight years, Terence Stamp jumped at the opportunity to play the malevolent Kryptonian General Zod in Richard Donner's "Superman" and its sequel, "Superman II." Stamp's role as Zod was not his only appearance in a DC Comics production, as decades later, he lent his voice to Jor-El in the 2000s TV series "Smallville."
Stamp appeared in several mainstream films during the 1980s, including "Wall Street," "Young Guns," "Legal Eagles," and "Alien Nation." He shared the screen with John Hurt and Tim Roth (making his debut) in director Stephen Frears' 1984 crime film, "The Hit."
In 1994, he impressed critics and audiences alike with his groundbreaking portrayal of trans woman and drag queen Bernadette Bassenger opposite Hugo Weaving and Guy Pearce in the Australian road comedy "The Adventures of Priscilla, Queen of the Desert," which earned him Golden Globe and BAFTA nominations. In 1999, he played Supreme Chancellor Valorum in "Star Wars: Episode I - The Phantom Menace," which he later described as a "dull experience." That same year, he was also one of the actors in the comedy "Bowfinger" opposite Steve Martin and Eddie Murphy. He also starred in Steven Soderbergh's crime thriller "The Limey," playing an English criminal who comes to the US to uncover the truth behind his daughter's death. For this role, he earned more recognition.
After appearing in "The Phantom Menace" and "The Limey," Stamp made further film appearances in "Red Planet," "The Haunted Mansion," and "Elektra," in which he played the blind sensei Sticks alongside Jennifer Garner as the eponymous Marvel Comics assassin.
In recent years, he appeared in films such as "Wanted," "Get Smart," "Yes Man," "Valkyrie," "Big Eyes," "The Adjustment Bureau," and "Miss Peregrine's Home for Peculiar Children." His last film role was in the 2021 psychological thriller "Last Night in Soho," directed by Edgar Wright. In addition to appearing on television and stage, Stamp also lent his voice to video games, such as "Halo 3" and "The Elder Scrolls IV: Oblivion."
Dear moviegoers and fellow critics, it is with a heavy heart that I must convey the unfortunate news that has led us to this point. David Stratton, 85, a veteran film critic, writer, and lecturer known for his decades-long collaboration with Margaret Pomeranz on Australian television, has passed away. I never had the chance to meet him in person, but I wish I had because I would have loved to chat with him about his style of film critique.
David Stratton was born in England in 1939. He immigrated to Australia in 1963 as part of an initiative known as the 'Ten Pound Poms' migration scheme. His passion for film began in his youth and blossomed into a career that garnered acclaim from the industry's most renowned figures.
Between 1984 and 2004, he appeared alongside Margaret Pomeranz on SBS's "The Movie Show," using a format popularised by US film critics Gene Siskel and Roger Ebert. Together, the duo became a fixture of Australian culture, regularly appearing on screen to offer their opinions even though many viewers had no intention of watching the films in question. In particular, the disagreements between Strattom and Pomeranz proved memorable – to the extent that viewers identified as either a "David person" or a "Margaret person."
In 2004, Stratton and Pomeranz began hosting "At the Movies" on ABC, a role they held for a decade before stepping down in 2014.
In 2015, Stratton earned the title Member of the Order of Australia. However, among his many achievements, arguably the one he was most proud of was his lifelong battle against movie censorship, which he fought long after ceasing to appear on the Australian screen.
After 30 years of hosting TV programmes, 35 years teaching world cinema at the University of Sydney, and 33 years writing reviews for The Weekend Australian, Stratton announced his retirement in 2023 due to poor health.
Here is a clip of his infamous review of "The Castle."
Hollywood is in danger of losing its audiences due to its recent reliance on remakes, reboots, cash-grab sequels, and unsuccessful attempts at creating franchises, which have threatened to undermine its standing. Thankfully, it's all about to change with the blockbuster release of F1, which embraces the classic storytelling conventions that Hollywood has forgotten. As you know, Formula One is the world's most popular motorsport. It has experienced a resurgence during the pandemic, thanks to the Netflix docuseries Drive to Survive. However, I was never a fan of this huge racing event, as I only watched the Supercar races at Mount Panorama.
Riding the wave of success from Top Gun: Maverick, Joseph Kosinski returns to deliver another thrilling spectacle in F1. Kosinski expressed interest in directing a racing film after the one about the 1966 Le Mans event, featuring Tom Cruise and Brad Pitt, fell through due to budget concerns. That movie later became Ford v Ferrari, directed by James Mangold and starring Matt Damon and Christian Bale in the lead roles. His regular collaborators from the previous film, including writer Ehren Kruger and producer Jerry Bruckheimer, return to assist him with this latest outing, thus reassembling the dream team. But one question remains? Will this movie offer a cinematic experience similar to Kosinski's offering from 2022? The answer is yes.
While the film is similar to the director's previous movie, it reminds me of Days of Thunder, as both films fall under the description of "Top Gun on wheels." Interestingly, Bruckheimer and legendary composer Hans Zimmer worked on that film before F1. Unfortunately, the biggest issue within F1 is its plot, which relies on familiar narrative beats from other inspirational sports movies because it is formulaic and predictable. However, its complex character moments, depth, and themes of resilience, redemption, the pursuit of greatness, and the power of teamwork make up for it. Lewis Hamilton's involvement as a producer is evident, with his guidance playing a pivotal role in ensuring the authenticity of the racing scenes. This commitment to accuracy extended to even the subtle details, such as the gear changes made during cornering.
Acting legend Brad Pitt headlines the cast, lending his magnetic charm and effortless charisma as the veteran race driver Sonny Hayes. The two-time Oscar winner's passion for racing is evident in his character, whose enthusiasm for the sport is infectious. Like Tom Cruise before him, he is one of the last movie stars of his generation. Although he was 61, he still kept his rugged good looks for the part. Damson Idris excels as the overconfident young driver, Joshua Pearce, adding depth to the role with his precise facial expressions and an air of confidence that matches Sonny's. The chemistry between him and Pitt is explosive, with a "veteran versus rookie" dynamic that evokes the intensity of a high-speed race.
Javier Bardem shines as struggling team owner and former Formula 1 driver, Ruben Cervantes, a role that could have amounted to mere bravado. Kerry Condon steals the show as technical director Kate McKenna, who acts as the team's voice of reason. Additionally, the Irish actress shares romantic chemistry with Pitt on screen. Formula One fans will recognise Hamilton and his peers, such as Max Verstappen, Charles Leclerc, and Lando Norris, in short cameo appearances during the off-track scenes.
The movie stands out for its consistently exhilarating racing scenes, which provide an adrenaline rush for racing fans and propel the narrative forward at top speed. Claudio Miranda's cinematography establishes the film's realistic visual style. Whereas the cockpit camerawork in Top Gun: Maverick is impressive, F1 takes it to the next level, delivering an immersive, high-impact viewing experience. The editing and sound design are top-notch, enhancing the racing sequences quite well, as do the film's striking visuals. Hans Zimmer, who incidentally composed the score for Rush, another Formula One movie, delivers a killer, heart-pounding, electric score featuring songs by Queen, Led Zeppelin, Ed Sheeran, and others.
Arguably, F1 is a full-throttle sensation for audiences that captures the visceral thrills of the motorsport and is close to dethroning Ford v Ferrari as the best racing movie. It's an absolute reminder of why I love popcorn movies. Whether you're into cars or not, this is a must-see film.
