Summary: A black comedy set during the aftermath of the Cronulla riots, it is the story of two carloads of hotheads from both sides of the fight destined to collide.
Australian Cinema Release Date: 11th August 2016
Australian DVD Release Date: TBA
Director: Abe Forsythe
Screenwriter: Abe Forsythe
Cast: Fayssal Bazzi (D-Mac), Josef Ber (Sgt.Bryce Halliday), Chris Bunton (Evan), Ruby Burke (Destiny), Suppakorn Chuwongwut (Nutt), Arka Das (Steve), Michael Denkha (Ibrahim), Harriet Dyer (Stacey), Alexander England (Shit-Stick), David Field (Vic), Damon Herriman (Jason), Josh McConville (Gav), Marshall Napier (Graham), Henry Nixon (Sgt. James McFadden), Julia Ohannessian (Rashida), Lap Phan (Terry), Robert Rabiah (Amir), Rahel Romahn (Nick), Justin Rosniak (Ditch), Anthony Taufa (Taufa), Christiaan Van Vurren (Doof), Lincoln Younes (Hassim), Dylan Young (Az)
Runtime: 90 mins
OUR DOWN UNDER REVIEWS & RATINGS:
Sometimes the best comedy is the darkest. In Duck Soup, The Marx Brothers’ led Freedonia into a good old fashioned knees up to celebrate the oncoming war that will swamp the country. The terrorists in Chris Morris’ Four Lions are shown to be petty, back stabbers that argue about Mini-Babybels and struggle to align their separate ideologies. And now we have Abe Forsyth’s Down Under, a violent, gut-bursting farce set against the backdrop of the Cronulla Riots.
We follow two separate groups of men chomping at the bit to get into a boot party. In the Cronulla corner, we have family man Jason (Damon Herriman) and Ned Kelly’s biggest fan Ditch (Justin Rosniak) on the prowl for anyone looking vaguely middle eastern. And vague is the operative word, as at one point it becomes apparent that they’re not even sure who they’re really after. To bulk up their numbers, they drag along dope head Shit-Stick (Alexander England) who would rather watch Lord of the Rings with his cousin from Nimbi, Evan (Chris Bunton)
Playing for the Sydney West team is the fiery Nick (Rahel Romahn), insufferable beat-boxer D-Mac (Fayssal Bazzi) and deeply religious Ibrahim (Michael Denkha). Tagging along with them is Hassim (Lincoln Younes), whose brother went missing the day the riots started.
Neither group is treated as the heroes of Down Under. Instead Forsythe highlights how their need to bash people because of a perceived difference really comes from the same misguided rage. And in the film, as in real life, this rage only begets more rage until no one is listening to anyone. It’s interesting to note that the director never allows the violence committed by the men to be diluted by the comedy. Each punch and bat swung connects viciously, there’s consequences to what they deal out. Instead, he bursts their bubbles by highlighting their naivety and hypocrisy, such as when Jason takes a break from bashing to get his pregnant girlfriend a kebab, or when Nick’s bravado reveals a violent resentment of immigrants. Other times, Forsythe soundtracks his characters’ actions to inappropriate pop songs from the era, including a rather wonderful rendition of Natalie Imbruglia’s Torn.
Where Down Under falls flat, at least for me, is Nick and Hassim’s interactions with drug dealer, Vic (David Field). Vic’s lascivious advances towards Hassim whilst surrounded by well-oiled, well-muscled young men feels trite and, in a film that lampoons stereotypes, feels, well, stereotypical. Because despite how the film’s trailer portrays them, these aren’t stupid men. Sure they say stupid things, but they’re clearly caught up in the chest beating and hubris that’s permeating in the streets. One of Jason’s team is revealed to have a white collar job, whilst Hassim is shown from the off-set to be studying for uni. These are not all thick men, and that’s what makes them scary. They’ve found an opportunity to release they deep-rooted beliefs.
With an ending that will pull the rug from under you, Down Under exposes the underbelly and idiocy of racism through laughter, violence, copious amounts of swearing and B*Witched songs. Sure to be controversial, you need to see it.
Average Subculture Rating (out of 5):
Other Subculture Entertainment Down Under reviews: Nil.
Summary: Divorced real estate agent Frank Mollard’s (Anthony LaPaglia) is struggling to deal with divorce and his place in the world when he is suddenly surprised from a phone call by Sarah (Julia Blake) an elderly woman who reminds Frank of his own mother who is now deceased.
Australian Cinema Release Date: 28th April 2016
Australian DVD Release Date: TBA
Director: Matthew Saville
Screenwriter: Matthew Saville
Cast: Wayne Anthony (Noel Lang), Julia Blake (Sarah), John Clarke (Phillip Lang), Justine Clarke (Wendy), Terence Crawford (Staurt), Indiana Crowther (Frank Jnr.), Mikaela Davies (Olivia), Donal Forde (Damian), Patrick Graham (Ian Treggoning), Anthony LaPaglia (Frank Mollard)
Runtime: 110 mins
OUR A MONTH OF SUNDAYS REVIEWS & RATINGS:
A film is supposed to make you feel a range of different emotions when you watch it, but very often it’s how you feel as you leave the cinema that is the most important. Will you leave feeling entertained? Informed? The one thing you probably shouldn’t be feeling when you leave the cinema is empty… but sadly that is the way I found myself feeling as I left the cinema after a screening of A Month of Sundays… something that I should add that the friends with me were feeling as well.
To be honest that completely surprised me because in the past I have adored the films made by Australian director Matthew Saville. His debut feature Noise was a fresh alternative Police drama that had me really raving about the brilliance of the film, while his last film Felony again visited the boys in the blue and kept its audience guessing from start to finish.
That is the first thing that hits you about A Month Of Sundays it is very different to anything that Saville has done before. Instead of going down the crime path this film centres around Frank Mollard (Anthony LaPaglia – Without A Trace) a real estate agent who has found himself in a deep funk as he struggles to see any importance in his work and is also dealing with the fact that his now famous wife, Wendy (Justine Clarke – Look Both Ways), has left him and he has no idea how to connect with his son, Frank Jnr. (Indiana Crowther – newcomer).
Then along comes something that sparks a little bit of interest in Frank’s life. He receives an accidental phone call from Sarah (Julia Blake – Don’t Be Afraid Of The Dark), a retired librarian who reminds him of his mother. While Frank’s uncaring boss, Phillip Lang (John Clarke – The Man Who Sued God) warns him against it Frank finds himself drawing closer to Sarah.
A quick read through of the summary of the film and you see that it could have been possible for A Month Of Sundays to have been a very thought provoking film. To its credit the film does explore topics such as how an older male deals with the break-up of a marriage, the loss of his mother and also trying to relate to his teenage son, but the film just does not go deep enough into any of those topics to make it worthy film. The film also doesn’t allow its audience to feel sorry for Frank enough, we simply see him as a morose (and kind of boring) individual and as a result you just never really develop a connection to him. Worse still is the fact that the filmmakers obviously think that the audience with side with Frank and not support Sarah’s son in his belief that Sarah and Frank’s friendship is a little strange. Truthfully it is easier to see the son’s point of view than it is to see Frank’s.
One of the biggest problems with the film though is that it just seems to cruise along at a steady pace with very little highs. The major high throughout the film is the comedic style of John Clarke, which most Australians would have come to know and love with his political satire on A Current Affair. Clarke’s style steals nearly every scene that he is in and it is often his one liners that are the stand out. He even manages to deliver some good emotional scenes as we see his character battle with dealing with the fact that his elderly father has lost his mind.
As usual Anthony LaPaglia is good but really doesn’t get a lot to work with. He breezes through his scenes while wearing the same emotion on his face in nearly every scene. He is well supported by Justine Clarke and newcomer, Indiana Crowther. The clear standout here though is Julia Blake who commands the screen in every scene she appears in and once again she has managed to deliver another great performance.
A Month Of Sundays is a little bit of a letdown for all the Matthew Saville fans out there. Slow and unremarkable this is a film that I doubt that I will revisit.
A Month Of Sundays is the third film from writer/director Matt Saville (a veteran of television with credits ranging from the telemovie The King to sitcom Please Like Me), and is something of a change of pace for a filmmaker widely considered as one of our best. His first two films were the multi-award winning Noise and Felony, both character-driven police dramas that explored themes of guilt, responsibility, family and secrets. A Month Of Sundays is a more introspective drama about a man undergoing a midlife crisis who gets a new lease on life after he meets an elderly woman. It deals with universal themes of family, loss, grief, mortality, dysfunctional relationships, the dream of owning your own home, regeret and redemption, and a variety of complex mother/son relationships.
The central character here is Frank Mollard (played by Anthony LaPaglia, from tv series Without A Trace, the recent Holding The Man, and AFI award winning dramas Balibo, Lantana, etc), a real estate agent who has fallen into a pit of despair and is sleepwalking through his life at the moment. He is having trouble selling houses, even in the midst of a real estate boom. His mother has recently died, he is still dealing with the breakdown of his marriage to Wendy (Justine Clarke), who is finding fame as the star of a new television medical drama, and is having difficulty relating to his teenaged son (newcomer Indiana Crowther). His job is selling houses that belong to the soon to be deceased, which further adds to his emotional turmoil and sense of grief.
Then he receives phone call from the elderly Sarah (Julia Blake), who accidentally rang his number when trying to call her own son. Intrigued by their brief conversation and the sense of comfort it briefly provided, Frank arranges to meet Sarah and through her he explores his own grief and emotional confusion. His presence soon proves an irritant to her real son Damien (Donal Forde), who works as an IT expert. But eventually Sarah becomes something of a surrogate mother figure and her wisdom and life experiences eventually help snap Frank out of his ennui and he begins to reconect with the world around him.
But unfortunately this earnest and well meaning but contrived melodrama is the lesser of Saville’s three films. It is uneven in both tone and pacing. There are problems with the script and the characterisation as we don’t really identify with some of the characters here or even care that much about them.
Veteran cinematographer Mark Wareham (Felony, BoyTown, etc) makes good use of the leafy tree lined suburban streets of Adelaide and gives the film a strong sense of location and a strong visual surface.
LaPaglia is good at conveying the fragility and vulnerability of the male psyche and he does a good job here bringing some unexpected layers to his nuanced portrayal of Frank. A nice touch sees Frank describe every location he enters in terse real estate terms: “Meticulously renovated family home; untouched period charm; late Victorian style; scope to further improve…” Although 79, Blake is still a formidable screen presence and she brings gravitas to her role as Sarah. But the best moments of the film centre around Frank’s shifty boss Philip (a scene stealing performance by comic John Clarke), a shifty hustler with a heart of stone. Clarke brings his usual dry, deadpan wit to the role and I wanted more of his character and less of the melodramatic stuff about dysfunctional families and midlife crises that we have seen in numerous other similarly themed films.
But overall A Month Of Sundays is a rather trite and pedestrian affair that will struggle to resonate with a wider mainstream audience.
Anthony LaPaglia plays sour faced estate agent, Frank Mollard, who could be a human stand in for Droopy the Dog should he ever fail to turn up for work. Frank is still wrestling with unaired feelings about his mother’s death the previous year, his ex-wife is carving a successful career as an actress and his distant son appears to be following suit. He’s also become disenfranchised with his job; watching potential first time home owners lose out to middle-aged hipster property tycoons. When he receives a call from a sweet old lady called Sarah (Julia Blake) who has misdialled, Frank spies an opportunity to claw back some of the happiness he once had.
There’s something about A Month of Sundays, the latest film from director Matthew Saville, that doesn’t quite stick. For all intents and purposes the goods it puts on display are tempting; great cast, sunny locale and a touching underdog story that often resonates with Australian audiences. And yet it all feels a bit too light, particularly when stacked up against Saville’s previous work, such as Felony and Noise.
The trailer suggests that this will be a bittersweet drama about two people forming a cross-generational friendship in which they’ll laugh, cry, and possibly even learn something at the end of the day. However, Sarah, played wonderfully by Julia Blake, is merely one of several characters who walk in and out of scene to validate Frank’s demeanour. We learn an awful lot about the bitter agent, but very little about the dear OAP who likes to use the Dewey decimal system to keep her books in order at home. Affectations do not a personality make.
When a turning point in the film sees Sarah receive some tragic news, it makes the same misstep as Me and Earl and The Dying Girl, by denying her agency and instead focussing on how poor Frank will cope. LaPaliga is brilliant, but this film should really be more of a two-hander than it is. However, it’s not all doom and gloom, as Jack Clarke steals a number of scenes as Frank’s boss Peter Langdon. Even then though his acidic one-liners are hampered by scenes involving his mentally ill father that feel like they were taken from another film.
As feel good movies go, this is pretty much by the numbers stuff and it’s such a shame that a talented person like Saville would make such a misstep. However, in the right mood, A Month of Sundays is perhaps a non-taxing classic Sunday arvo film waiting to happen.
Summary: Continuing his “legendary adventures of awesomeness”, Po must face two hugely epic, but different threats: one supernatural and the other a little closer to his home.
Australian Cinema Release Date: 23rd March 2016
Australian DVD Release Date: TBA
Country: USA, China
Director: Alessandro Carloni, Jennifer Yuh Nelson
Screenwriter: Jonathan Aibel, Glenn Berger
Cast: Jack Black (Po (voice)), Jackie Chan (Monkey (voice)), Radzi Chinyanganya (Mi (voice)), Bryan Cranston (Li (voice)), David Cross (Crane (voice)), Barbara Dirickson (Grandma Panda (voice)), Steele Gagnon (Bao (voice)), Willie Geist (Dim (voice)), Dustin Hoffman (Shifu (voice)), April Hong (Mrs. Chow (voice)), James Hong (Mr. Ping (voice)), Kate Hudson (Mei Mei (voice)), Angelina Jolie (Tigress (voice)), Knox Jolie-Pitt (Ku Ku (voice)), Pax Jolie-Pitt (Yoo (voice)), Shiloh Jolie-Pitt (Shuai Shuai (voice)), Zahara Jolie-Pitt (Meng Meng (voice)), Randall Duk Kim (Oogway (voice)), Liam Knight (Lei Lei (voice)), Wayne Knight (Big Fun/Hom-Lee (voice)), Lucy Liu (Viper (voice)), Seth Rogen (Mantis (voice)), Al Roker (Sum (voice)), Lindsey Russell (Peony (voice)), J.K. Simmons (Kai (voice)), Fred Tatasciore (Master Bear (voice)), Ming Tsai (Ming (voice)), Jean-Claude Van Damme (Mast Croc (voice))
Runtime: 95 mins
OUR KUNG FU PANDA 3 REVIEWS & RATINGS:
Five years since he last skiddooed onto the scene, Po the Panda is back and this time, for fear of sounding like a movie poster, he’s bringing the whole family. Yes, a chance encounter at his adoptive father’s restaurant leads Po (Jack Black) to meeting up with his long lost Dad, Li Shan (Bryan Cranston). Meanwhile, the vengeful spirit of a great warrior known as Kai (JK Simmons) has returned to the mortal realm and is seeking to steal Po’s chi.
This is the second sequel to DreamWorks’s 2008 hit and it’s amazing to see the difference between this and their previous flagship series, Shrek. By the time Shrek coughed and spluttered into his third sequel, the franchise was nothing more than weak storylines on which to pin dated pop culture references and Eel songs.
Conversely, Kung Fu Panda 3 allows Po and his pals to grow organically. Despite being declared Dragon Warrior in the previous film, there’s still much for the young panda to learn. Including it seems, that of how to be a panda. With his newly found father, Po ventures to their secret village in the hills to understand panda nature (tips include that they don’t do stairs and they don’t get up before midday) and potentially learn something that can defeat Kai.
Yes, this ‘just be yourself’ through line is a tried and tested formula, but it’s yet to feel derivate in the Panda universe. Po, despite his prowess, is a still a student. He has questions about his place in the universe that he hopes to answer. Meanwhile, there is only so many ways to you teach an ogre that’s okay to be an ogre, as long as you change yourself a bit.
Kung Fu Panda 3, as has become expected, is beautiful with traditional animation – admittedly done by computers – used for line drawn flashbacks. It’s a simple trick, but one that is used to great and emotional effect. Elsewhere the vocal talent is uniformly brilliant, with JK Simmons sounding like he’s channelling the angriest of angry John Goodmans, whilst James Hong steals every scene as Po’s adoptive father, Mr Ping; who doesn’t take kindly to others cutting his grass.
Rumours are that DreamWorks’s have at least another three chapters in the story of Po, and whilst that is a tempting offer, should they never surface, rest assured Kung Fu Panda 3 is a wonderful and joyous ending to a truly enjoyable series of films.
Average Subculture Rating (out of 5):
Other Subculture Entertainment Kung Fu Panda 3 reviews: Nil
Summary: When young Detective Chris Allen (Casey Affleck) is moved into a tough squad of the Atlanta Police Department he is unaware that his new partner, Marcus Belmont (Anthony Mackie), is corrupt and working with a group of criminals including Gabe Welch (Aaron Paul), Michael Atwood (Chiwetel Ejiofor), Russell Welch (Norman Reedus) and another corrupt officer, Franco Rodriguez (Clifton Collins Jnr.).
With the group running a series of robberies for Russian Mafia boss Irina Vlaslov (Kate Winslet) they find themselves stretched to the limit and it is decided that the only way to pull off the hardest of the robberies is to have Triple 9 (Police officer down) call put across the airwaves. Their chosen target is Chris because they know his uncle, respected Detective Jeffrey Allen (Woody Harrelson) will pull every officer onto the case.
Australian Cinema Release Date: 3rd March 2016
Australian DVD Release Date: TBA
Director: John Hillcoat
Screenwriter: Matt Cook
Cast: Terri Abney (Leah Green), Casey Affleck (Chris Allen), Armando Alonzo (Emilio), Michelle Ang (Trina Ling), Carlos Aviles (Fernando Rivera), Alexander Babara (Ben Feldman), Anthony Belevstov (Yussel Gotlib), Ian Casselberry (Gomez), Clifton Collins Jnr. (Franco Rodriguez), Luis Da Silva Jnr. (Luis Pinto), Chiwetel Ejiofor (Michael Atwood), Gal Gadot (Elena Vlaslov), Michael Harding (Walter Sims), Woody Harrelson (Jeffrey Allen), Karen Kaia Livers (Shanice), Anthony Mackie (Marcus Belmont), Blake McLennan (Felix), Valiant Michael (Sergio), E. Roger Mitchell (Smith), Teresa Palmer (Michelle Allen), Aaron Paul (Gabe Welch), Norman Reedus (Russell Welch), Terence Rosemore (Joshua Parks), Labrandon Shead (Sgt. Pete Nelson), Christiana Simonds (Christina), Michael Kenneth Williams (Sweet Pea), Kate Winslet (Irina Vlaslov)
Runtime: 115 mins
OUR TRIPLE 9 REVIEWS & RATINGS:
Yes it might be a year when we are getting films like Batman vs Superman and of course another Captain America film but one of the films I was most excited to see this year was Triple 9. Triple 9 looked like it would be interesting watch, not only did it have a stellar cast involved including two of my favourites Woody Harrelson and Kate Winslet (who never normally chooses a bad script) but was also directed by John Hillcoat whose filmography contains films like TheProposition, The Road and Lawless all films that have revealed that he is gritty director certainly worth watching the work of. Throw in a healthy dose of Police corruption and this was well and truly on the road to becoming one of my fave films of the year. That was until I sat down and watched it.
To be honest Triple 9 isn’t a bad film, in fact many elements of the film do in fact work. Hillcoat is at his normal gritty best with some realistic action sequences in which a normal cops and robbers chase across Atlanta becomes something of violent beauty, while some of the urban shoot-outs will have the audience on the edge of their seat. The problem with Triple 9 though is that it tries to do too much and is sadly let down by a script that needed just a few more re-writes.
It’s not surprising to learn that Triple 9’s screenwriter Matt Cook is a first time feature writer. The idea behind Triple 9 is sound but still the screenplay itself has some very big holes. First of all there is way too much happening and too many of the characters are too similar, so similar in fact that some of the critics at the Melbourne media screening were turning to each other and asking ‘who the hell was?’ after the screening… never a good sign.
As a screenwriter Cook seems to created quite a good world with a massive amount of back story that just doesn’t come through during the film. Just how did Michael start having a relationship with Elena, what ended etc are just never fully explained. Then there are huge plotholes like if all the team need is for a Triple 9 call to go over the airwaves do they really need to shoot a cop or can they just ‘pretend’ a cop has been shot? A seasoned screenwriter would have known to have ironed out things like that during the writing process but sadly that is something that Cook has overlooked. Hillcoat does all he can to make the screenplay watchable but just falls short of making this a decent film.
Likewise the weak screenplay also leaves some of the cast floundering as well. Luckily Casey Affleck and Kate Winslet are there to save things. Affleck does a more than admirable job playing the fresh faced Chris, but it is Winslet that really excels herself. Casting Winslet as a Russian Mafia boss was a risky pick. A pick so risky that if she had failed she could have been looking at finding herself in Golden Razzie territory, luckily though she is up to the task and Winslet delivers another fine performance… this time showing that she can pretty much handle anything that is thrown at her.
Also up to the task is Harrelson who seems to borrow a little bit from his role that he had in Rampart. Those suffering though are the likes of Antony Mackie, Aaron Paul and Chiwetel Ejiofor who in roles where they are severely hampered by the fact that their characters are dangerously clichéd. Then there are poor Gal Gadot, Teresa Palmer and Michelle Ang whose characters just seem to go missing for huge chunks of the film.
There is no doubt that with a little bit more work on the screenplay Triple 9 could have been a brilliant film. The poor screenplay unfortunately though leaves the audience asking too many questions and dumps this film right in the middle of a heap of other average films. While it may appeal to fans of The Shield don’t expect the writing of Triple 9 to ever lift it to anything near as brilliant.
Australian director John Hillcoat makes visceral, violent, dark and aggressively masculine thrillers, ranging from the bleak prison drama Ghosts… Of The Civil Dead through to the gritty outback western The Proposition, the apocalyptic journey into a heart of darkness with The Road or the prohibition era crime drama Lawless. And he seems to be able to attract A-list actors to work with him. Hillcoat’s latest film is another gritty and morally murky crime drama that is not for the squeamish or faint hearted. Triple 9 features a strong cast, some strong action sequences and a high body count. But it is also something of a disappointment given his body of work.
Written by first time writer Matt Cook, Triple 9 is set on the mean streets of Atlanta, Georgia, a lawless city full of crime and corruption where the gang and gun culture seems out of control. But the script itself raises too many questions and there are some gaping holes in the plot. Some of the dialogue is cliched, and the characterisation underdone.
When the film opens a carefully planned bank robbery is in progress. The thieves rob some money but their prime interest lies with a safety deposit box that holds some important documents vital to a Russian gangster incarcerated in a Siberian gulag. The thieves turn out to be a couple of former special forces operatives and a couple of corrupt cops. They have been blackmailed by the powerful Irina Vaslov (Kate Winslet, cast against type), the wife of the Russian gangster, into working for the Kosher Nostra, a criminal gang of Russian Jews. But Irina welshes on paying them, instead she forces them to break into a Homeland Security safe house, an even more secure location, to steal further incriminating evidence. The thieves plan to distract the police by killing honest cop Chris Allen (Casey Affleck).
On the trail of the daring brazen thieves is veteran detective Jeffrey Allen (Woody Harrelson), who happens to be Chris’s cousin.
The title comes from the police code for “Officer Down,” a code that sees police officers everywhere stop what they are doing and respond immediately to the distress signal. The film itself is full of some violent action, double crosses and revenge. But this contemporary heist thriller is also a morally empty film, and its seedy air of corruption and desperation reminds audiences of Training Day and the films of Sidney Lumet (Serpico, Dog Day Afternoon, etc).
Hillcoat certainly directs with energy and he maintains a fast pace throughout. He effectively ramps up the action with a superb urban shootout that imitates Michael Mann’s superb Heat, and an exciting adrenaline charged car chase on the city’s freeway.
Belgian cinematographer Nicholas Karakatsanis (the moody crime drama The Drop, etc) gives the film a grimy authenticity as he has shot the film largely using a restless handheld cameras to take us into the action. This is particularly effective in a couple of tense scenes. He has also shot in muted colours, lots of reds and blacks that is meant to intensify the mood, but the colour scheme also sometimes renders it hard to discern what is happening. The film has also been edited in that rapid, kinetic style by Dylan Tichenor (who has worked with the likes of Paul Thomas Anderson and Wes Anderson) which sometimes renders the action incomprehensible. And too many of the characters seems too similar and we never really get a handle on them and what makes them tick.
Strong performances from Affleck, Winslet and Harrelson bolster the film. Winslet steps into a role originally intended for Cate Blanchett (who wisely said “nyet”), but she adopts a convincing Russian accent and a cool icy demeanour. Affleck delivers one of his best perfomances yet as the fresh faced cop unaware of the corruption surrounding him. Harrelson is also good as the seedy and jaded veteran cop with an addiction problem, a role that has some similarities to his recent work in True Detective and the gritty drama Rampart.
Unfortunately, talented players like Anthony Mackie, Chiwetel Ejiofor, Clifton Collins jr, Breaking Bad‘s Aaron Paul and The Walking Dead‘s Norman Reedus find themselves stuck with cliched, one-dimensional characters ands do not leave much of an impression.
With its convoluted plotting and cliched characters, Triple 9 is unfortunately just another police action thriller that doesn’t really offer anything particualrly new or surprising.
John Hillcoat has an impressive back catalogue to show off. All of them tapping into a vein of masculinity being tested. Whether it be Ray Winstone saving face in The Proposition, Viggo Mortensen going above and beyond fatherly duties in The Road, or literally every cell mate in Ghosts… Of the Civil Dead. Based on a screenplay by Matt Cook, Triple 9 lets Hillcoat return to these themes and, well, triple them. Not always to great effect.
In Atlanta, Georgia, three professional criminals (Chiwetel Ejiofor, Norman Reedus and Aaron Paul) join up with two corrupt lawmen (Anthony Mackie and Clifton Collins Jnr) to rob a bank at the behest of a Russian mob wife (Kate Winslet). She stiffs the group on their reward, politely and violently asking them do one last robbery for the sake of her incarnated husband.
Each of the man has a lot to lose, financially and personally, if they don’t steam ahead. Ejiofor, for example, will lose custody rights to the kid he’s fathered with Winslet’s sister. So, realizing that the robbery is impossible unless they come up with a big enough distraction, the decision is made to kill a cop on the day. With Atlanta’s police searching for a cop killer, they should have plenty of time to get in and out unnoticed. Enter Casey Affleck as Mackie’s new partner, who he clearly doesn’t care for.
Triple 9 is bolshy, angry and suffers from excess in all departments. With such a pedigree of cast on display, I haven’t even mentioned Woody Harrelson yet, it’s understandable the film wants to get plenty of bang for its buck.
This should be an ensemble piece, but it feels like Triple 9 can’t decide who its focus is. Is it Affleck stumbling around naively? Is it Mackie wrestling with his subconscious? Perhaps it’s Ejiofor battling to see his son. Triple 9 wants it to be all of them. And that’s fine, but it doesn’t achieve its goals.
Meanwhile, Hillcoat’s direction paints a suitably sweaty, gritty world lit in blue and red. At it’s best, it’s a reminder of Ghosts… of the Civil Dead. At it’s worst it’s Heat as directed by Michael Bay, where men are real chest beating men and women have minimal dialogue or clothing. That’s not an exaggeration as Triple 9 ensures that anyone remotely female is saved for background or wifely duties. It’s only really Winslet that manages to rise above the heap and she does so with an outrageous accent.
There is still a lot to enjoy here, with some breathtaking set pieces that suggest Hillcoat could be eyeing up an action movies as his next gig. But this is then clouded by overripe dialogue, undercooked characterisation and so much backstabbing it makes Wild Things blush. Please understand, this isn’t a bad film. It’s perfectly serviceable, but it is not what we expect from Hillcoat, who has proven in the past he can play with restraint. Enjoyable, but a bit of a misstep.
Triple 9, directed by John Hillcoat and containing a decent cast consisting of Kate Winslet, Aaron Paul, Norman Reedus, Casey Affleck, Chiwetel Ejiofor, Anthony Mackie, Woody Harrelson and many more. Personally I am not one who is into all the Police and crime films but after seeing Triple 9 I must say that is a film that is definitely worth watching. The film opens with a bang consisting of a bank robbery and from that point on the film is non-stop action. There aren’t any big defying scenes of the film that consist of car chases and explosions but the film is very confronting when it comes to the criminal side of things. The film has a lot of graphic scenes which really gives the film a very dark feel to it. Some of the things I liked about the film was the story and the acting. The story itself had many twists and turns that you don’t see coming and it adds so much to the film when you see something you don’t believe would happen. The acting in the film from all the actors was incredible. The pure emotion that was seen on screen was great to me.
If your a fan of the Police and crime films this is a film that you really should go see.
Swinging in from old Blighty, John Noonan has been writing about movies and TV for several years. Starting off with his personal ramblings about the state of advertising in the UK with his puntastic defunct blog, ‘Ad’s All Folks’, John founded the film blog Early Bird Film Society.
Since moving to Melbourne over five years ago, John has written for websites and publications, such as FilmInk, Horrornews.net and Monster Pictures. His proudest moment to date is that he can heard having a slap fight with Laurence R Harvey on the commentary for the Australian release of The Editor.
Currently John Noonan has 4 reviews on Subculture Entertainment: