Tagged: Naomi Watts

Stan has released the official trailer and poster for the highly anticipated seven-part SHOWTIME event series THE LOUDEST VOICE, starring Academy Award® and Golden Globe® winner Russell Crowe as Fox News founder Roger Ailes. THE LOUDEST VOICE will premiere Monday, July 1 – Only on Stan.

THE LOUDEST VOICE is based on extensive reporting by Gabriel Sherman in his bestselling book, The Loudest Voice in the Room, which included interviews with more than 600 people and Sherman’s reporting for New York Magazine. In addition to Crowe, the star-studded cast also includes Academy Award nominee Naomi Watts as former Fox News anchor Gretchen Carlson, Golden Globe nominee Sienna Miller (Layer Cake) as Ailes’ wife Elizabeth, Oscar® nominee and Emmy® winner Seth MacFarlane (Family Guy) as former Fox News PR chief Brian Lewis, Screen Actors Guild Award® nominee Simon McBurney (The Theory of Everything) as News Corp leader Rupert Murdoch, Annabelle Wallis (Peaky Blinders) as former Fox News booker Laurie Luhn and Aleksa Palladino (Boardwalk Empire) as Ailes’ longtime assistant Judy Laterza.  Guest stars include Emmy and Golden Globe nominee Josh Charles (The Good Wife) as Casey Close, Gretchen Carlson’s husband, and Josh Stamberg (The Affair) as former Fox executive, Bill Shine. Emmy nominee Kari Skogland (The Handmaid’s Tale) directed multiple episodes.   

In today’s politically charged media landscape, no figure looms larger, even after his passing, than Roger Ailes, who molded Fox News into a force that irrevocably changed the conversation about the highest levels of government. To understand the events that led to the rise of the modern Republican Party, one must understand Ailes. The upcoming limited series takes on that challenge, focusing primarily on the past decade in which Ailes arguably became the Republican Party’s de facto leader, while also touching on defining events in Ailes’ life, including his experiences with world leaders that gave birth to Ailes’ political career and the sexual harassment accusations and settlements that brought his Fox News reign to an end. The series aims to shed light on the psychology that drives the political process from the top down.   

The first episode of the event series was written by Oscar winner Tom McCarthy (Spotlight) and Sherman. The project is a co-production from SHOWTIME and Blumhouse Television (Sharp ObjectsThe JinxGet Out). In addition to Crowe, McCarthy serves as executive producer with Alex Metcalf and Emmy winner Jason Blum, as well as Marci Wiseman and Jeremy Gold for Blumhouse Television, Liza Chasin of 3dot Productions, Kari Skogland and Padraic McKinley.

THE LOUDEST VOICE will premiere on Stan July 1 with new episodes weekly

The Good The Bad The Ugly Film Show Logo

This week on The Good The Bad The Ugly Film Show Adam, Dave, Greg and Nick take a look at new release films ‘Demolition,’ ‘The Second Mother,’ ‘Embrace,’ ‘Jason Bourne,’ ‘Embrace of The Serphant’  and ‘Batman: The Killing Joke’. This episode also contains interviews with Naomi Watts, Judah Lewis, Jake Gyllenhaal, Matt Damon, Alicia Vikander, Taryn Brumfitt, Sean Byrne (‘The Devil’s Candy’), Fin Edquist (‘Bad Girl’), Rosie Jones (‘The Family’) and Donita Sparks (‘L7 Documentary’).

Also make sure you listen to this week’s show for you chance to win a copy of ‘Eye In The Sky’ on DVD thanks to our friends at eOne Entertainment. Starring Helen Mirren, Alan Rickman, Iain Glen, Barkhad Abdi and Aaron Paul ‘Eye In The Sky’ is available now on Blu-Ray, DVD and Digital. Listen for the question in this week’s show and then send us your answer privately on our Facebook or Twitter pages.

You can listen to The Good The Bad The Ugly Film Show or download it for free from our Podcast Channel – Listen/Download here.

Demolition

Summary: A successful investment banker struggles after losing his wife in a tragic car crash. With the help of a customer service rep and her young son, he starts to rebuild, beginning with the demolition of the life he once knew.

Year: 2015

Australian Cinema Release Date: 14th July 2016

Australian DVD Release Date: TBA

Country: USA

Director: Jean-Marc Vallee

Screenwriter: Bryan Sipe

Cast: Madison Arnold (Ray), Stephen Badlamenti (Mickey), B Bastian (Jennifer), Blaire Brooks (Amy), James Colby (John), Ben Cole (Steven), Chris Cooper (Phil), Polly Draper (Margot), Brendan Drooling (Todd), Jake Gyllenhaal (Davis), Royce Johnson (Secuirty Marty), Tom Kemp (Dr. Brodkey), Judah Lewis (Chris), Heather Lind (Julia), Alfredo Narcisco (Michael), Wass Stevens (Jimmy), Naomi Watts (Karen),C.J. Wilson (Carl), James Young (Ahmed)

Runtime: 101 mins

Classification: M

 

OUR DEMOLITION REVIEWS & RATINGS:

 

David Griffiths:

For me as a critic ‘Demolition’ is like a five star explosion. The director, Jean-Marc Vallee, received five stars from me for his last two films – the heart-gripping drama ‘Dallas Buyers Club’ and the visually spectacular ‘Wild’, while leading man Jake Gyllenhaal has garnished the same scores for his recent films – ‘Prisoners,’ ‘Nightcrawler’ and ‘Southpaw.’ I would be lying if I said I was expecting something brilliant from ‘Demolition’ and this time I was disappointed.

‘Demolition’ is the story of a broken man. To the outside world Davis (Jake Gyllenhaal – ‘Nightcrawler’) is a man who has everything. He has an amazing looking home, a successful career in finance and the perfect marriage to Julia (Heather Lind – ‘Mistress America’). But then when Julia is killed in a car accident he re-accesses his life through a series of letters to a convenience machine company and soon he finds himself wondering whether or not he really loved Julia and also suddenly discovering a need to want to demolish everything. These letters also bring him into contact with the emotionally damaged Karen (Naomi Watts – ‘The Ring’) and her troubled young son, Chris (Judah Lewis – ‘Deliverance Creek’)… something that causes an even big rift between Davis and his father-in-law, Phil (Chris Cooper – ‘American Beauty’).

It’s not a cliché that I normally like to use but ‘Demolition’ really is one of the movies of the year, in fact it is a lesson in filmmaking (from the screenwriting up) to any young filmmaker out there. Screenwriter, Brian Sipe (‘The Choice’) doesn’t waste a single second of screen time. He sets up the relationship between Davis and Julia in less than a minute and as the film delves into the life of a man falling apart the audience are kept guessing exactly what is going to happen next in that special form of character driven suspense… something that we previously have only got to experience in special films like ‘The Safety Of Objects.

‘Demolition’ is one of those amazing films were the director really understood what the screenwriter was trying to do and captures the vibe from the page and brings it to the screen in a remarkable way. So many lesser directors would have taken Sipe’s script and tried to make everything painfully obvious to the audience but here Vallee keeps his audience guessing. There are a tonne of questions that need to be asked about the brilliantly written and edgy character of Chris while the will they/won’t they tension between Davis and Karen is ever present without ever becoming clichéd or cheesy. That also leads to a second level of suspense as the audience waits to see what happens with Karen’s ‘boyfriend’ Carl (C.J. Wilson – ‘The Intern’).

Sipe’s screenplay also allows the cast to put in some amazing performances that are deserved of any awards that they should pick up. As we saw in ‘Nightcrawler’ and ‘Southpaw’ Jake Gyllenhaal’s performance goes to a whole new level when he is asked to play a character who is falling apart and here Gyllenhaal certainly brings his A-Game. Whether it be a scene where he is mentally breaking down while demolishing his home with a sledgehammer or sharing a touching emotion scene with Judah Lewis… his performance is truly captivating.

Follow in Gyllenhaal’s footsteps in Naomi Watts who has sadly been wasted in woeful films like ‘Allegiant’ and ‘Diana’ recently. But here as Watts is given a meatier script and able to play the drug affected Karen she really comes to the fore and reminds audiences just what a fine actress then she really is. Then there is the arrival of Judah Lewis. This young actor seems to relish playing a young character struggling to cope with his sexuality and the fact that his drug addicted mother is not paying enough attention to him. Lewis breezes through even some of the more difficult scenes and he really announces himself as a young actor to watch in the future.

In a cinematic world where bigger is considered better and every film released seems to what to out do it’s predecessor’s special effects it is a real relief to be able to sit down and watch a film like ‘Demolition’ – a film that relies on the fact that it has a brilliant screenplay and actors who are at the top of their game to pull it off. ‘Demolition’ is one of the films of the year and also shows why Jake Gyllenhaal now has to be considered one of the best actors of our generation.

 

Stars(5)

 

 

 

Greg King:

Davis Mitchell (Jake Gyllenhaal) is a hot shot financier whose wife is killed in a car crash. He goes into denial and his life goes into melt down and he begins to alienate everyone around him. Including his father-in-law Phil (Chris Cooper), who also happens to be his boss.
A minor incident involving a vending machine in the hospital though is the real catalyst for his frustration. He writes complaint letters to the company, which attract the attention of Karen Moreno (Naomi Watts), the sympathetic customer service representative. She finds something about the personal revelations in his letters of complaint that intrigues her. An unlikely relationship slowly develops. But it is his relationship with her troubled delinquent son Chris (newcomer Judah Lewis), who is struggling with his own sexuality and identity, that really starts the healing process. Davis becomes something of a surrogate father figure for the wayward adolescent.
Davis also finds release through demolishing things, from household appliances up to his own house. Wrecking his own beautiful, architecturally designed house with a sledgehammer proves cathartic, but it is also a heavy handed metaphor for leaving his old life behind and moving on. Ironically, in one of his letters Davis writes: “For some reason, everything has become a metaphor.”
Written by Bryan Sipe (who also penned the recent adaptation of Nicholas Sparks’ The Choice), this is a rather downbeat and unpredictable drama dealing with death, grief, and the process of moving on.Demolition has been directed by French-Canadian filmmaker Jean-Marc Vallee, who directed Matthew McConaughey to an Oscar in Dallas Buyers Club. Demolition is full of some of his trademark stylish flourishes – such as dreamlike shots, slow motion flashbacks and looped images – that give parts of the film a similar surreal quality to his enigmatic Cafe de Flore. Music has also been an important element in Vallee’s films beginning with the coming of age tale CRAZY, and here he has compiled a great soundtrack that mixes older acts like Heart and Free with indie bands like Cave and Half Moon Run, and some classical music.
Demolition has been shot by his regular cinematographer Yves Belanger, and there are some crisp and striking images. But this vaguely disappointing tale attempts to explore similar territory to that Vallee essayed in the more successful Wild, starring Reese Witherspoon as a woman trying to find herself through an arduous physical experience.
There are solid performances all round, particularly from the charismatic young Lewis who brings a spark of energy to the film that contrasts with Gyllenhaal’s downbeat and quietly compelling reading of his grieving character. The always reliable Gyllenhaal appears in virtually every scene, and he anchors this quirky but ultimately flawed drama, delivering another of his intense, edgy performances as the self destructive and emotionally stunted Davis. Cooper brings his usual stoic, gruff and world weary persona to an underwritten role, while Watts delivers another strong performance as a woman who is also dealing with her own emotional issues.
But despite the emotional content and late bursts of sentimentality, Demolition is a film that will not have broad appeal. However, it should do well on the festival circuit and in art house cinemas.

 

Stars(2.5)

 

 

Average Subculture Rating (out of 5):   Stars(3.5)

 

IMDB Rating:  Demolition (2015) on IMDb

 

Other Subculture Entertainment Demolition reviews: Nil.

 

Trailer:

The Divergent Series Allegiant

If you’re a fan of the Divergent series of films then listen up because The Divergent Series: Allegiant trailer has just landed.

The third installment of the blockbuster Divergent series franchise, ALLEGIANT takes Tris [Shailene Woodley] and Four [Theo James] into a new world, far more dangerous than ever before.

After the earth-shattering revelations of INSURGENT, Tris must escape with Four and go beyond the wall enclosing Chicago. For the first time ever, they will leave the only city and family they have ever known in order to find a peaceful solution for their embroiled city. Once outside, old discoveries are quickly rendered meaningless with the revelation of shocking new truths. Tris and Four must quickly decide who they can trust as a ruthless battle ignites beyond the walls of Chicago which threatens all of humanity. In order to survive, Tris will be forced to make impossible choices about courage, allegiance, sacrifice and love.

Starring Shailene Woodley, Theo James, Jeff Daniels, Octavia Spencer, Ray Stevenson, Zoe Kravitz, Miles Teller, Ansel Elgort, Maggie Q, Mekhi Phifer, Daniel Dae Kim and Naomi Watts.

The Divergent Series: Allegiant is set for release in March.

You can view The Divergent Series: Allegiant trailer below.

 

The Divergent Series; allegiant

Here you go Divergent fans The Divergent Series: Allegiant trailer has just been released. The film which is directed by Robert Schwentke and stars Shailene Woodley, Theo James, Jeff Daniels, Octavia Spencer, Ray Stevenson, Zoe Kravitz, Miles Teller, Ansel Elgort, Maggie Q, Mekhi Phifer, Daniel Dae Kim and Naomi Watts will be released in cinemas in March, 2016.

 

St. Vincent

Summary: When Maggie (Melissa McCarthy) is forced to move house with her son Oliver (Jaeden Lieberher) due to a divorce she doesn’t count on the fact that her new next door neighbour is going to be someone that she will never forget.

On the outside Vincent (Bill Murray) is a grump who has let his house go to ruin, wastes all of his money at the track (which is just one of his many vices), never has a kind word to say to anyone and is usually in the company of his ‘good friend and companion’ stripper-turned-prostitute Daka (Naomi Watts). But when Oliver one day returns home from school after bullies have stolen his key and turns to Vincent for help Maggie finds herself hiring the ‘neighbour from hell’ as her babysitter, something that can only lead to trouble or so it seems.

Year: 2014

Australian Cinema Release Date: TBA

Australian DVD Release Date: 19th December, 2014

Country: USA

Director: Theodore Melfi

Screenwriter: Theodore Melfi

Cast: Scott Adsit (David), Dario Barosso (Ocinski), Reg E. Cathey (Gus), Amber Clayton (Amber), Nate Corddry (Terry), Sade Demorcy (Keesha), Ann Dowd (Shirley), Emma Fisher (Bridgette), Niles Fitch (Brooklyn), Alexandra Fong (Rachele), Terrence Howard (Zucko), David Iacono (Jeremiah), Ray Iannicelli (Roger), Jaeden Lieberher (Oliver), Melissa McCarthy (Maggie), Ron McLarty (Principal O’Brien), Donna Mitchell (Sandy), Bill Murray (Vincent), Deirdre O’Connell (Linda), James Andrew O’Connor (Antwan), Chris O’Dowd (Brother Geraghty), Kimberly Quinn (Nurse Ana), Maria Elena Ramirez (Amelda), Lenny Venito (Coach Mitchell), Naomi Watts (Daka), Brenda Wehle (Judge Reynolds)

Runtime: 102 mins

Classification: M

 

OUR ST. VINCENT REVIEWS & RATINGS:

 

Greg KingYou can check out Greg’s St. Vincent review on www.filmreviews.net.au

Stars(4)

 

Nick GardenerYou can check out Nick’s St. Vincent review on The Good The Bad The Ugly Film Show Ep #110

Stars(4)

 

David Griffiths:

Over recent years acting legend Bill Murray has become an actor who really knows how to pick a decent script. Sure he will always be remembered for cult classics like Groundhog Day or Ghostbusters but back then Murray also delivered up a dog of a film quite regularly. Flash forward to recent years when Murray has taken chances on films such as The Darjeeling Limited, Get Low, Zombieland and Moonrise Kingdom and they have resulted in him appearing in some of the top films of the years they were released. Well it seems that Murray’s knack of picking the right script has worked again with a role in new comedy St. Vincent.

There haven’t been many comedy highs over the last year or so, and to be honest Melissa McCarthy has sadly been involved in some of the worst of those but St. Vincent is the one comedy that should remind people that every now and then America still knows how to hit an audience right on a funny bone. Add that to the fact that this film also delivers some thought pondering drama and it is easy to see why St. Vincent should be considered one of the films of the year.

The most surprising thing about St. Vincent is that it comes from a relative newcomer to the directing/screenwriting game. Aside from short films the only time that Theodore Melfi has ventured into feature film territory was to deliver the very average Rachel Hunter led Winding Roads back in 1999. Just one viewing of St. Vincent will quickly tell you that the fact that Melfi has delivered a film in the fifteen years since is an absolute crime because this is a gem.

Melfi’s screenplay is clearly one of the best of the year as it makes a completely unlikable character literally a saint. A brief look at Vincent and you would think that he has all the merits to make him a ‘bad guy’ in a film like this. A foul-mouthed and dirty living old man who is prepared to sue a single, struggling, divorced mother over a small amount of damage to a car and a fence is not the kind of character an audience will normally warm to, but such is the power of Melfi’s script that soon you find yourself laughing out loud at Vincent’s crassness and even ‘barracking’ for him as he tries to outrun the loan shark who is desperate to get his money and break some knees. The fact that Melfi has the sense to use his screenplay to give Vincent real characterisation and not just make him a one dimensional character also goes a long way to making this film work.

Supported by such a well written screenplay it is hardly surprising that the cast also comes to the fore in St. Vincent. Melissa McCarthy puts outside some recent poor performances to put in a credible performance in a role where she isn’t called upon to deliver a laugh a minute. Murray is at his exceptional best mixing comedy and drama into a character that seems like he will become a cult cinema favourite.

Young Jaeden Lieberher also puts in a stunning debut, he certainly seems to be an actor who his acting well above his age range, while the film is further enhanced by good acting performances by actors in the smaller roles. Naomi Watt’s is a standout as European prostitute Daka while Chris O’Dowd also puts in a warm, nice performance even though he is skirting thin ice but almost becoming type cast to play Catholic priests in films these days.

There is just so much to love about St. Vincent that this review could go on forever. From its beautifully written script to the fact that it bravely decides to be different to most either comedies on the market, to the fact that Bill Murray puts in a truly memorable acting performance there is just no weakness with St. Vincent at all. Clearly one of the better films of this year St. Vincent also announces the arrival of a filmmaker who is well worth watching in the future.

Stars(4)

Average Subculture Rating (out of 5):  Stars(4)

 

IMDB Rating: St. Vincent (2014) on IMDb

 

Other Subculture Entertainment St. Vincent reviews: For our full Keep On Keepin’ On review make sure you check out The Good The Bad The Ugly Film Show Ep #110. You can also read our review on The Book The Film The T-Shirt.

Trailer:

The Last Impresario

Summary: Australian filmmaker Gracie Otto profiles perhaps the most famous person you’ve never heard of: Michael White. This larger-than-life theatre and film impresario single-handedly transformed the cultural scene of 1970’s London. Amongst the glitter and endless parties, White brought risqué productions such as The Rocky Horror Show to the stage, Monty Python’s The Holy Grail to the screen and introduced dance legends Merce Cunningham and Pina Bausch to the British masses.This is a fast and entertaining documentary with a stellar cast of famous friends and ex-lovers to boot including John Cleese, Yoko Ono, Naomi Watts, John Waters, Barry Humphries, Anna Wintour and Kate Moss.

Year: 2014

Australian Cinema Release Date: 26th June, 2014

Australian DVD Release Date: TBA

Country: Australia, UK, USA, France

Director: Gracie Otto

Screenwriter: Gracie Otto

Cast: Lou Adler (himself), Joanne Benjamin (herself), Michael Billington (himself), Gael Boglione (herself), Nell Campbell (herself), John Cleese (himself), Miranda Darling (herself), Peter Daubney (himself), Jessica de Rothschild (herself), Erro (himself), Harry Fane (himself), Alan Finkelstein (himself), Robert Fox (himself), Mirian Safia Haley (himself), Lyndall Hobbs (herself), Barry Humphries (himself), Jean-Jacques Lebel (himself), Rupert Lycett-Green (himself), Lorne Michaels (himself), Spike Milligan (himself), Kate Moss (herself), Michael Morris (himself), Richard O’Brien (himself), Bill Oddie (himself), Yoko Ono (herself), Gracie Otto (herself), Jean Pigozzi (himself), Nigel Planer (himself), Patricia Quinn (herself), Peter Richardson (himself), Julian Sands (himself), Jim Sharman (himself), Robert Shaye (himself), Meryl Tankard (herself), Jeremy Thomas (himself), Barnaby Thompson (himself), Brian Thomson (himself), Colin Vaines (himself), Leonie Van Ness (herself), John Waters (himself), Rachel Ward (herself), Naomi Watts (herself), Joshua White (himself), Michael White (himself), Anna Wintour (herself), Alan Yentob (himself), Richard Young (himself)

Runtime: 85 mins

Classification: TBA

 

OUR THE LAST IMPRESARIO REVIEWS & RATINGS:

 

Greg King: You can check out Greg’s The Last Impresario review on www.filmreviews.net.au

Stars(3.5)

 

Nick Gardener: You can check out Nick’s The Last Impresario review on The Good The Bad The Ugly Film Show Ep #85

Stars(3.5)

 

David Griffiths:

Michael White… ever heard of the name? If you are honest then the answer would be no, unless you have memorised a website like IMDB off by heart. It’s the premise that Michael White is the most famous person you’ve never heard of that actress turned filmmaker Gracie Otto uses to promote her first feature documentary The Last Impresario.

For those not in the know Michael White is a man who can walk into the Cannes Film Festival and instantly have members of the elite film groups fawn all over him. There is little chance that any serious film, theatre or television fan hasn’t seen at least one thing that he has produced at one stage in his life. From working with the likes of Yoko Ono on small alternative theatre pieces to producing the show that would eventually turn into the mammoth that we know as The Rocky Horror Picture Show it seems like Michael White has been there and worked with everyone. His work on some small theatre pieces and then television shows and films such as Monty Python also has many labelling him as one of the forefathers of modern comedy.

The White that Otto catches on film though is not the Michael White that once partied all night with the likes of Mick Jagger and Kate Moss. No the White we get to meet is a mild-mannered old man who series of strokes has left him with a speech impediment and has been lowered financially to the point of having to auction off some of his prized possessions including letters from the likes of John Cleese and Laurence Olivier. He is even coy about whether or not he still owns the rights to some of his best productions including The Rocky Horror Picture Show.

As a filmmaker Otto does a good job with The Last Impresario. Certainly any film or theatre fan is going to sit captivated as she tells the story of a man you almost feel guilty about not knowing. And while interviews with the likes of Barry Humphries, Kate Moss and John Cleese do give you a wonderful view inside both the business and personal life of Michael White you do start to get the feeling that Otto has perhaps relied too much on talking head interviews… especially when you consider just how flamboyant White was with his life.

Another really annoying trait of this documentary, and I know this is being really picky, is the way in which Otto asks the questions to White during his interviews. Because she hasn’t got a microphone near her for most of the time she simply yells the questions out. Yes it sounds like a small thing to have a gripe about, but it does become increasingly annoying and is certainly something that the top documentary film makers of our time would never, ever do.

Still The Last Impresario is a good documentary that will be loved by those who enjoy to learn a lot more about the cinema and theatre they have grown up. Cudos must be paid to Gracie Otto for being able to put together such an A-List of interviewees as well as being the first person brave enough to bring the Michael White story to the big screen. This is one for all the cinephiles out there.

Stars(2.5)

Average Subculture Rating (out of 5):  Stars(3)

IMDB Rating:  The Last Impresario (2013) on IMDb

Other Subculture Entertainment Reviews of ‘The Last Impresario′: For our full The Last Impresario review please check The Good The Bad The Ugly Film Show Ep #85

Trailer:

AACTA Awards

The cream of Australian cinema will soon converge on Sydney for the AACTA Awards, so let’s take a look at the 2013 AACTA Award nominees.

Best Film

  • Dead Europe
  • The Great Gatsby
  • Mystery Road
  • The Rocket
  • Satellite Boy
  • The Turning

Best Direction

  • Baz Luhrmann, The Great Gatsby
  • Ivan Sen, Mystery Road
  • Kim Mordaunt, The Rocket
  • Directing Ensemble, The Turning

Best Lead Actor

  • Leonardo DiCaprio, The Great Gatsby
  • Sitthiphon Disamoe, The Rocket
  • Ewen Leslie, Dead Europe
  • Hugo Weaving, The Turning

Best Lead Actress

  • Rose Byrne, The Turning
  • Carey Mulligan, The Great Gatsby
  • Tasma Walton, Mystery Road
  • Naomi Watts, Adore

Best Supporting Actor

  • Marton Csokas, Dead Europe
  • Joel Edgerton, The Great Gatsby
  • Thep Phongam, The Rocket
  • Angus Sampson, 100 Bloody Acres

Best Supporting Actress 

  • Elizabeth Debecki, The Great Gatsby
  • Isla Fisher, The Great Gatsby
  • Mirrah Foulkes, The Turning
  • Alice Keohavong, The Rocket

Best Original Screenplay

  • Colin & Cameron Cairnes, 100 Bloody Acres
  • Morgan O’Neill & Tim Duff, Drift
  • Ivan Sen, Mystery Road
  • Kim Mordaunt, The Rocket

Best Adapted Screenplay

  • Christopher Hampton, Adore
  • Louise Fox, Dead Europe
  • Baz Luhrmann & Craig Pierce, The Great Gatsby
  • Writing Ensemble, The Turning

Best Documentary

  • I Am a Girl
  • Once My Mother
  • Red Obsession
  • Shadow of a Doubt 

Best Cinematography

  • Geoffrey Hall, Rick Rifici & Rick Jakovich, Drift
  • Damian E. Wyvill, Goddess
  • Simon Duggan, The Great Gatsby
  • Andrew Commis, The Rocket

Best Editing

  • Matt Villa, Jason Ballantine & Jonathan Redmond, The Great Gatsby
  • Ivan Sen, Mystery Road
  • Nick Meyers, The Rocket
  • Editing Ensemble, The Turning

Best Sound

  • The Great Gatsby
  • Mystery Road
  • The Rocket
  • Satellite Boy

Best Original Music Score

  • Jed Kurzel, Dead Europe
  • Michael Yezersky, Drift
  • Craig Armstrong, The Great Gatsby
  • Caitlin Yao, The Rocket

Best Production Design

  • Annie Beauchamp, Adore
  • Annie Beauchamp, Goddess
  • Catherine Martin, Karen Murphy, Ian Gracie & Beverley Dunn, The Great Gatsby
  • Pete Baxter, The Rocket

Best Costume Design

  • Joanna Mae Park, Adore
  • Shareen Beringer, Goddess
  • Catherine Martin, Silvana Azzi Heras & Kerry Thompson, The Great Gatsby
  • Woranun Pueakpan & Sylvia Wilczynski, The Rocket