This is terrific. Its good in the ordinary sense: it engages and it sweeps you emotionally. Its good in a cinematic sense in that it is set in a single railcar and the camera stays interesting. Narratively, there are three important narrative twists, and all of them cast in the framework of an inner story, so we have a triple fold at the second level. If it were from North America, it would be merely good. But it is Australian, and there's a sort of metastory about thuggishness here.
To understand this you have to know a bit about Australian narrative. Or at least what I see in it. Its peculiar, unique. It has a style that's recognizable, that business about openness and naturalness, and a bit rude. But more important to me is the reflexive nature in what they do. Sometimes its not so subtle and seen in the acting style of Kate Winslet, Judy Davis and Cate Blanchett. You can see it in lesser talents: Heath, Mel, Russell, Nichole. Its that modern notion of acting in a way that simultaneously conveys the manner acting in the way the character would.
Australian films have this property too. Luhrmann. Weir. Jackson (New Zealand counts.) Its even true of some Nonaussies making films in Australia. Its so prevalent that I am sure there is a strong, perhaps unconscious undercurrent of young talent that want to go against that collection of notions. They're strong, but on the negative side you could think it too cerebral, too intellectual.
You may want something more direct, visceral, simple. This is that, a sort of Australian countermovement. And its reflected in the story, where two thugs are the target of stories written about them and (spoiler) in the end, by force of sheer emotion and life, they turn it into the story they write.
Much of the dialog speaks to this conflict, the one that stems from life close to the soul, apparently dangerous.
Ted's Evaluation -- 3 of 3: Worth watching.
To understand this you have to know a bit about Australian narrative. Or at least what I see in it. Its peculiar, unique. It has a style that's recognizable, that business about openness and naturalness, and a bit rude. But more important to me is the reflexive nature in what they do. Sometimes its not so subtle and seen in the acting style of Kate Winslet, Judy Davis and Cate Blanchett. You can see it in lesser talents: Heath, Mel, Russell, Nichole. Its that modern notion of acting in a way that simultaneously conveys the manner acting in the way the character would.
Australian films have this property too. Luhrmann. Weir. Jackson (New Zealand counts.) Its even true of some Nonaussies making films in Australia. Its so prevalent that I am sure there is a strong, perhaps unconscious undercurrent of young talent that want to go against that collection of notions. They're strong, but on the negative side you could think it too cerebral, too intellectual.
You may want something more direct, visceral, simple. This is that, a sort of Australian countermovement. And its reflected in the story, where two thugs are the target of stories written about them and (spoiler) in the end, by force of sheer emotion and life, they turn it into the story they write.
Much of the dialog speaks to this conflict, the one that stems from life close to the soul, apparently dangerous.
Ted's Evaluation -- 3 of 3: Worth watching.