Category Archives: Australian Films

Review: “The Surfer” (2025) Lionsgate/Roadside Attractions

There is no doubt in my mind that Nicolas Cage is an incredible actor. His body of work speaks for itself. There are many of his films that are on my favourites list and my ‘highly recommend’ lists. That being said, just when you think you have him pegged in a category, he goes and throws you a hard curve ball. That curve ball here is “THE SURFER”, an Australian Independent Film directed by Lorcan Finnegan and written by Thomas Martin.

Nic plays The Surfer, who is sort of a investor/realtor as well, an American, born and raised in Australia, who is attempting to take his son, The Kid (Finn Little), surfing out on an Australian beach at the same Australian beaches he used to in his childhood. However, he is prevented from doing so by a local gang of local, sunburnt surfers who humiliate him in front of his son. The ‘surprise’ for his son was to show him the beach with the hopes of buying up his father’s old property nearby for them to live in from of course, The Estate Agent (Rahel Romahn). As they enter the beach area from the parking lot, they run into none other than the Locals. Yes, this is a “Locals Only” beach ran by Scally (Julian McMahon), and his gang of merry surfers consisting of Blondie (Rory O’Keeffe), Pitbull (Alexander Bertrand), Runt 1 (James Bingham), Runt 2 (Austen Wilmot), and Runt 3 (Talon Hopper). These are just a few of what we referred to when I was a kid in Huntington Beach, CA as “Surf Nazi’s.” You only need to watch “American History X” to fully understand the true scale of these people as yes, they did exist, and yes, they do still exist.

From here on, “The Surfer” takes us on a wild ride through various time slips, with Cage’s character making increasingly desperate calls to his broker friend, and encounters with local bullying kids I mentioned, Add in an ominous, Reaper-esque like character named The Bum (Nicholas Cassim), an elder who brings up grim facts of his past, we watch as not only he, but Cage’s character The Surfer as well, slowly lose their moorings to real life. The Surfer becomes a stranded, demented wanderer of the area, insisting on some version of life that doesn’t jive with reality.

I can’t remember the last time I saw someone suffer – on screen – this much. The amount of punishment, deprivation and gaslighting that Nic Cage’s character suffered throughout the film is only matched by the sheer perseverance and desire he had to ride those waves with his son. Proving that parental ties can sometimes top anything and everything and nothing else matters but that one goal.

Despite the constant abuse being shown on screen, the film sustains a weird comedic and almost dreamy quality throughout. The soundtrack with its use of chimes and the camera with its play on focus helped elevate those scenes with a dehydrated Cage to a place straddling between a delirious dream and a nightmare. Sometimes the film crosses into a point of hilarious ridiculousness; there is one scene where a dead rat comes out of someone’s pocket and is used as a weapon.

I was also a bit surprised by just how gorgeous of a film The Surfer actually is. The cinematography and editing are quite over the top, but never overdone. It’s clear he filmmaker’s are having fun shooting the film as they clearly respect the power of the ocean and the beauty of the waves and surfing experience itself.. It’s also impressive how much dynamic they manage to get out of a movie that literally takes place entirely between one beach and the parking lot next to it.

Summing it up, there were points at the beginning where I thought, “this can’t be real”, but then I only had to remember writing “Locals Only” in surf wax at age 15 on the 9th street beach apartment walls to remember, “Oh “yeah it is real”. I mean we never went to this extent, but some did.

All in all, “The Surfer” keeps your brain going and I came to respect the film. As well, a great supporting cast including Julian McMahon whom has a fully riveting presence as the film’s co-star, as well.

While the final act of the film is certainly the most loose and lawless part of the experience, and is sure to be the killer of joy for some, again, it had me respecting the film in a particular way in the end.

Grade: C+

“THE SURFER” IS OUT NOW WORLDWIDE

Review Screener: Courtesy of Ginsberg/Libby PR

REVIEW: “THE DRY” (2021) IFC Films

There is nothing like the surprise of finding a really good thriller watch unexpectedly and this wonderful, well-paced whodunnit from the steady hand of director Robert Connolly, “THE DRY”, fits the bill just perfectly. It also didn’t hurt that Eric Bana came back to his roots here, not just with an indie film, but with his own accent as well, something that’s always to be appreciated.

Adapted from the 2016 novel by Jane Harper, writers Harry Cripps and Robert Connolly, tap into something elemental about growing up around the Australian bush. Aaron Falk (Eric Bana), who grew up in the small town of Kiewarra, returns to his childhood home for the funeral of his boyhood friend, Luke Hadler (Martin Dingle Wall). Luke’s wife Karen (Rosanna Lockhart), and young son Billy (Jarvis Mitchell), have been killed with only the young baby being spared, and it is assumed that it’s a murder/suicide and Luke is the culprit. Luke’s parents Gerry (Bruce Spence) and Barb (Julia Blake), refuse to believe Luke could kill himself and his family like this and at the funeral, they ask Aaron, who is now a Detective in Melbourne, to do some unofficial investigating. He is hesitant and definitely not welcomed back by the townspeople. Only Luke’s old girlfriend Gretchen (Genevieve O’Reilly), is open to seeing him again. There is a reason for this. But he goes against the threats thrown at him by them and teams up with the young local policeman Sergeant O’Connell (Nick Farnell), and comes up with some unexpected twists and turns around each corner.

While the murder/suicide is the forefront story, we are actually dealing with two mysteries here, the one that is recent, and another that occurred twenty years previously. The film, told with flashbacks back to Aaron as a teenager (Joe Klocek). While teenage Luke (Sam Corlett) and teenage Gretchen (Claude Scott-Mitchell), were a couple, Luke was actually first attached with the beautiful Ellie Deacon (BeBe Bettencourt). The group swam in the river and drank together in the back woods outside of town. Aaron and Ellie’s romance begins to flourish as Luke’s jealousy grows, and through a note given to her at school, he invites her on a river date. She never shows, and is later found drowned. For reasons you will have to watch to suss out, Luke and Aaron concocted a story that they told of being together ‘out shooting rabbits’ – which was never really believed by anyone. In the present, Aaron confronts the deep-seated distrust from the entire town who believes he is responsible for Ellie’s death, as the killings reveal multiple sinister motives behind what could’ve really happened to her.

This film really captures the atmosphere of a small Australian country town and a really good Australian ensemble cast hold together the intriguing storyline. Bana underplays his character to let the story do the talking and just when you decide it’s right in-your-face-obvious who the obsessive killer is, and there is enough information to wrap things up 100% of what links two crimes, they throw in some extra ingredients to throw you off the scent. Again, Eric Bana is fantastic in the lead role and Genevieve O’Reilly excellent, but the younger Ellie played by Bettencourt, and younger Aaron, played by Klocek, do steal some of the show as well. There is a moment where Bettencourt sings acoustically, a haunting version “Under the Milky Way”, by the campfire, that even a week after seeing the film, I find myself still singing because it was so profound. With the characters all so complex and grey with hidden motives galore, psychological dysfunction and layering to mask them all, along with the stories behind them and the town, it creates a wonderful tight and gripping drama. The filming is beautiful but it’s not the environment that is predatory per se’, rather is the characters that move and circle one another that creates the tension and unease. 

The absolute only thing missing is a complete definitive ending, as we do have and odd moment of a blunder that seems a little suspect, but beyond that, the slow-burn and build up for the first 45 or so minutes, leads us into the last 45 minutes of all thrills and suspense.

It really makes you realize, all secrets eventually come to the surface.

‘B’

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Review Screening: Courtesy of ~ IFC Films

“THE DRY” IS OUT IN THEATERS AND ON DEMAND FRIDAY, MAY 21, 2021