When a deadly robbery strikes one of Darcy Security Services armored cars, the security company’s chief executives aim to crack down on the already rigorous operational security protocols by implementing vastly unpopular and Union-irritating measures. The hit not only induces change to security procedures, but also opens up a can of worms that forces the hand of the three internal company men, who’ve been planning to steal from inside Darcy Security Services over the last five years, to accelerate their timeline. Their carefully laid out plan quickly becomes complicated when the mob gets wind of their elaborate heist, compelling the small three man crew to work for the crime boss without much of a choice as life and limb come to stake. Now the only thing that can stand between them and millions of dollars are two new Darcy recruits, a highly trained former police officer with a penchant for doing what’s honorable and a gun shy bloke targeted to be a prime suspect in previous armored car robberies.
Based loosely on a pair of actual robbery events authored by novelist Devon Minchin, “Money Makers” bares a ruthless resemblance to hardnose acts of crime as filmmaker Bruce Beresford captivates as the maestro behind the orchestration of Minchin’s book that’s gritty and enthralling on the big screen. The “Driving Miss Daisy” and “Double Jeopardy” director also pens a script full of bloody encounters and unflinching greed that delivers “Money Movers” as the first R-rated feature to stem out of South Australian Film Corporation, a production company that, up until then, co-produced dramas, mysteries, and family films, such as Peter Weir’s “Picnic at Hanging Rock” and “The Last Wave,” with McElroy & McElroy and later co-produced the widely successful Outback horror “Wolf Creek” starring John Jarrett nearly 30 years later.
While numerous characters are subject to suspect and their roles’ intentions are guarded to the very end, the plot, for all intents and purposes, circulates around Eric Jackson, a former champion race car driver who now tenures as a 5-year senior security guard at Darcy’s, played by Terence Donovan. Donovan gives the performance his all with a wide range of subversive behavior. From cool, calm, and collective to feral gumption, Donovan race ends in drenching ferocity that’s fueled by his fellow costars who meet him at his level of performance. The most recognizable face, at least for me, is “F/X’s” Bryan Brown who portray’s Eric’s brother, Brian Jackson. They butt heads with former police officer Dick Martin and his no tomfoolery. The late Ed Devereaux had an old school acting method, very impersonal and straight forward like a John Wayne-type, and that worked perfectly in the role of Martin who befriends the projected patzy Leo Bassett played by “Quigley Down Under’s” Tony Bonner. Bonner’s able to capture Bassett’s unconfident, yet smooth persona that’s complete opposite of his partner Dick Martin, whose confident, but brash. What’s curious about the characters lies under the surface of a domineering male lineup – the women. Not one female character is apparent in a co-lead role and each role has a presumable flaw to them. Candy Raymond is an undercover private eye who uses her body and wits for information, Eric Jackson’s wife, played by Jeanie Drynan, has an absent and naive approach, and a handful of minor roles involving non-verbal girlfriends and late night secretary carnalities. The cast rounds out with Charles ‘Bud’ Tingwell, Alan Cassell, Lucky Grills, Hu Pryce, Terry Camilleri and Frank Wilson.
“Money Movers” doesn’t scream perfection, but plays a major influential part in the infancy stages of violent crime thrillers that paved the way for such films like “Heat” or “Point Blank” and supplies another keystone in constructing the genre a solid foundation. “Money Movers” is bookend with graphic shootouts and peppered with conniving dealings and unsavory characters toward a shoot’em up heist climax that Bruce Beresford was able to depict visually and script confidently. In early scene, the storyboards could have been revised, restructured, or reordered to unearth a clear picture of establishing character backstories and setup that still process a puzzling connection between their nefarious intentions, but the ample storyline corrects course quickly without loosing too much time to ponder about the after effects of the early scenes.
Umbrella Entertainment re-releases “Money Movers” on a PAL DVD home video. The region free DVD is presented in a widescreen, 1.85:1 aspect ratio. Definition is key as the colors are, for lack of a better word, washed, but the clear cut outline that produces a sharp finish image grants this release of “Money Movers” a seal of approval that isn’t asterisked with blatant enhancements. The English Dolby Digital 2.0 track is on point with clarity in the dialogue and properly aligned, volumed, and untarnished ambiance. What’s interesting about “Money Movers” is the lack of a score that forces the viewer, subconsciously, to hone in more acute to the characters and their brazen actions. Bonus material includes “Count Your Toes – a making-of featurette with writer-director Bruce Beresford and cast members Bryan Brown, Terence Donovan, Tony Bonner, and Candy Raymond. There’s also the theatrical trailer and Umbrella Entertainment’s propaganda material. One of the first to be up on a prestigious pedastal of heist films, “Money Movers” is a violent, toe-cutting, experience armored with a great cast of acclaimed actors and filmmakers in this Ozploitation classic.
Yachtman Georgia Perry aims to be a part of the best of the best by joining a handful of women who’ve sailed around the world. The rules are simple: don’t step on land, don’t let anyone step on your boat, and don’t turn on your outboard motor. As Perry heads out into the open ocean, the 25-year-old carries with her a burden of lifetime baggage stemming from her mother’s acute depression and gruesome suicide, her father’s accident and deteriorating health, and the bond between her and her boyfriend Luke coming unraveled. Combine all that weight with complete isolation, loneliness, and no wind to push her sails, Georgia quickly spirals downward into a turbulent state with her only traveling companion being her cat with whom she has conversations on her becalmed sloop. All her fears come to fruition, blurring the line between reality and disturbing fantasy that threatens her voyage and, maybe, even her life.
Bayside Pictures presents “Visitors,” the last helmed feature by the late Richard Franklin of “Psycho II” and “F/X2” fame. “Razorback” writer Everett De Roche penned the 2003 psychological thriller and is able to conjure out some wicked mind buckling material of a woman subjected to cabin fever in the form of a volatile, non-linear story. Franklin adds his two-cent charm with impressive visual sets and effects from the early turn of the century, implementing CGI where appropriate, being practical when deemed, and, by golly, the effects resulted didn’t come out too shabby. The ocean has always been beautiful, yet terrifying mystery that has yet to be fully explored, and Franklin’s able to capture the ominous anomaly that associates with the deep blue sea under an overwhelming guise of mental health and severe isolated confinement.
Before she wandered into “Silent Hill,” but after becoming forsaken in “Pitch Black,” Radha Mitchell showed strength in solitary by playing the headstrong, nautically ambitious sailor, Georgia Perry. Mitchell, who was slightly older than her 25-year-old character, fabricates a troubled young woman willing to risk it all, even her life, even if it meant to leave to escape all her woes and that she holds dear at home. The “Rogue” and “The Crazies” remake actress from Melbourne has a sensationalized and systematic dynamic with her on-screen mother, played by the late Susannah York, in what’s considered to be a disturbing role of manipulative motherhood that forced Georgia to be extremely close and clingy to her endearing father, an underrated role bestowed upon Ray Barrett. A young and upcoming Dominic Purcell (“Blade: Trinity” and “Primeval”) costars as Georgia’s lover and business manager who may or may not have other underlying intentions with Georgia’s sponsors. Appearing never together and putting Mitchell at the epicenter of their lives, the foursome played their roles beautifully by stretching the limits of reality without being overly absurd to the point of being unbecoming of a thriller.
By no means is “Visitors” a woman versus nature premise. Yes, Georgia faces any elements that would plague any sailor who ventured into the ocean alone, but nature was only accessorial. “Visitors,” for the sake of being funny, is more of a film about a young girl embarking on a journey of self discovery. Georgia must get away from negativity that has been eating at her zealous spirit ever since the terrible childhood accident that had crippled her father and destroyed her parents’ marriage. Her embattled mother’s constant belittling, berating, and blaming is the brunt of that that has been burdening. At sea, Georgia battles her onshore demons, which also includes her father’s failing health and her failing relationship with Luke, and coinciding is her ever present looming and underlying fears that lurk out into manifestation, or a visitation if you will, during severe cabin fever. The trip around the world won’t kill her, but her inner demons just might which begs the question if “Visitors” is more of a mental health film and the answer is a firm yes without salty doubt.
Umbrella Entertainment releases “Visitors” onto a region 4 home entertainment DVD. The DVD is beyond an upgrade from it’s region 1 counterpart in the image and audio departments. The anamorphic widescreen, 2.35:1 aspect ratio, renders a cleaner image with slightly more natural color tone as well as offering more film flesh on either side from the 35mm negative. The English Dolby 5.1 audio track offers a range of diversity. The dialogue is clear and fine, the ambient track syncs with ample depth, and the brooding and perilous soundtrack from composer Nerida Tyson-Chew (“Anacondas: The Hunt for the Blood Orchid”) provides a delectable varied score to Georgia’s though process. The extras are thin, not much different from the Stateside release, including a photo gallery, cast and crew bios, and the Palace Film’s theatrical trailer. Considered widely as an Australian ozploitation film, “Visitors” is deep-seeded, mental trench warfare on the high seas set on a course of psychological doom. A fine film for being Richard Franklin’s last hurrah.
Jessica is a caretaker for a wildlife sanctuary located in the Australian outback. Her day-to-day challenges consist of refilling drinking water trowels in the midst of the heat and herding wandering animals away from a treacherous sinkhole with the help of faithful sheep dog, but Jessica’s way of life, and the lives of the sanctuary animals, becomes threated by three maniacal game poachers. Behind the wheel of a menacing modified truck, the poachers toy with the young woman: slaughtering the protected inhabited animals, destroying structures in her compound, and playing psychological games to mentally and physically break her will. When enough is enough, Jessica, whose nearly lost all that she has, decides to fight back against the well-armed and aggressive hunters that take their dangerous, back-and-forth game to a whole new life and death level.
Mario Andreacchio’s exploitation gem “Fair Game” makes a grand Blu-ray debut onto Umbrella Entertainment’s Ozploitation Classics collection line. Penned by screenwriter Rob George and headlined by the Brisbane beauty Cassandra Delaney, “Fair Game” is a lavishly brutal film about one isolated woman’s plight to righteously defend what’s hers at any cost against a blitzkrieg of assaults from three nasty, but very different, personalities. What’s utterly fantastic about Andreacchio’s film is the cinematography from the late “The Lord of the Rings: The Fellowship of the Ring” Oscar winner Andrew Lesnie. Lesnie, who worked on “Dark Age” that was also released on Blu-ray by Umbrella Entertainment, had a knack for vast landscapes and the director of photography made the already arid outback seem physically monstrous, especially during long shots of Cassandra Delaney running for her life through rocky, dusty terrain. There’s a stark contrast between his day approach and his night scenes that air a soft blue and white glow on the backdrop horizon, a familiar motif typically showcased in horror films, that immensely deepens the chase and stylizes the visual ambiance.
Cassandra Delaney stars as sanctuary overseer Jessica. The demanding role pits Delaney against the terrain elements as well as the three poachers in David Sanford, Garry Who, and Peter Ford as Sunny the trio’s relentless leader. Whereas Jessica’s as pure as they come, being an animal savior and contributor to the community with Delaney selling that to the fullest extent even when she’s pissed off and being a stoic like Sarah Connor, the antagonist are about as rotten as festering, worm-riddled apple with each actor portraying a very different type of character. David Sanford’s Ringo is an acrobatic young man with a punk rock look and attitude overlaying his athletic tone, marking him the versatile go-getter. Garry Who’s Sparks is a potbelly grease monkey and as the lone designated pit crew of his posse, Who enables the slightest probably of being the most sensible of the three thugs but still meager and mean when pushed by Ringo and Sunny. Sunny denotes himself the pit boss, an elite outback tracker with narcissistic tendencies in believing he’s invincible, and Ford’s hard nose and stern take on Sunny is pinpoint precision at it’s deadliest.
To be all fair about “Fair Game” reasonability, the big question that surfaces after viewing the film is who is the most certifiable between Jessica and Sunny’s gang of hoodlums. The answer to that riddle is ultimately Jessica. Though that might seem like a radical answer, Jessica is, by far, the craziest person with a severe death wish. Whenever Jessica retaliates against the poachers, the three inevitably response with something much worse. Here are some examples: Jessica dumps flour onto Ringo’s face and slaps a vegetarian bumper sticker on their truck that causes the ruffians to quietly invade her compound and take pictures of her while she sleeps naked, Jessica causes a small avalanche to temporarily trap them in a small cave and Sunny’s hoodlums respond by shooting her horse dead, and Jessica welds their assault rifles together in a heap of twisted metal and the poachers tie her half naked body to the hood of their truck and drive around until she passes out. The spat between them overwhelming seemed one sided, as Sunny as his hounds play with their live food before biting down hard to snap it’s neck, but made for kickass exploitation that echos genre classics such as “I Spit On Your Grave.”
Umbrella Entertainment releases 1986’s “Fair Game” onto high definition, 1080p Blu-ray with an all new transfer from a newly restored 2k master. Presented with a widescreen aspect ratio of 1.85:1, the transfer looks impeccable. The palette coloring isn’t vivid, but not surprising since the film is set in the arid outback with nothing but brown on top of brown or yellow on top of brown; however skin tones and the fine details are evidently splendid in Andrew Lesnie’s mise-en-scenes. There’s expected noise through out with some minor vertical scratches, especially earlier in some day time sequences and in the longer shots, but the restored transfer bares a cleaner and fresher take on the 30 year old plus film. The English 2.0 DTS-HD Master Audio track is a lossless transfer that reinvigorates the menacing aspects of the back-and-forth contest, an example would be the monster-like, if not personified, truck that rumbles and roars when trekking and chasing across the outback. Also enhance is the soundtrack that’s a concussed epiphany of acute and rough synthesized and blunt off key tones and melodies meshed together to form a mesmerizing score from composer Ashley Irwin. The release also contains a slew of special features including audio commentary by director Mario Andreacchio and screenwriter Rob George, an extended interview with Cassandra Delaney, a segment about “Fair Game’s” set location, A couple of local TV spots from 1985, a behind the scenes with Dean Bennett, the theatrical trailer, image gallery of still scenes and rare production and promotional materials, an animated storyboard, and five of Mario Andreachio’s short films. Whew. Talk about your full loaded package. “Fair Game” is the epitome of ozploitation with lucrative degenerate characters and a fair amount of gratuitous nudity that goes without being overly sleazy and downright violent like most collaborators in the subgenre. Packed with vicious machinery and a wicked sense of mind games, “Fair Game,” hands down, one of the best in the world of Australian cult cinema.
In the Australian outback, a prehistoric and ginormous crocodile has surfaced in the wake of mankind’s gentrification of the wilderness land. Between ambushing crocodile poachers and snatching little Aborigine children from off the river shore, the ancient saltwater hunter has become the hunted as park ranger and crocodile preservation expert Steve Harrison has been assigned to kill the beast, but the local Aborigine tribe holds the killer croc sacred, calling it Numunwari, an ancient, spirit carrying crocodile that has embodied the bones and souls of ancestral aborigine. Together, Harrison and local tribe leader Oondabund must find a way to stop the chaos without terminating the Numunwari while combating drunken poachers and a rattled ranger chief looking to abruptly end public fear. With the enthusiastic help of Harrison’s ex-lover, Cathy Pope, the three devise a dangerous plan to sedate the massive croc and transport it to a secluded habitat before death rears it’s ugly head once again.
Arch Nicholson’s “Dark Age” is the Australian “Jaws” equivalent, introducing a massive crocodile that puts the fear of the murky rivers into the hearts of audiences much like a giant great white shark did for the ocean beaches. “Dark Age” is a raging adventure with a delicate undertone about nature fighting back against an aggressive, occupying force called man, especially the white man, who kills without cause, who plagues without consciousness, and whose power instills a reactionary fear to kill. A single, monstrous crocodile embodies and symbolizes the essence of an entire habitat, chomping through flesh and doing a death roll to make known that nothing can stop nature or as “Jurassic Park’s” Dr. Ian Malcolm so eloquently put it, “Life, uh, finds a way.” Nicholson’s film, from the novel of Grahame Webb novel Numunwari, isn’t solely a man versus nature horror despite marketed as one; instead, “Dark Age” unveils more the cruel side of human nature that’s more Machiavellian than nature running its course.
“Wolf Creek” star John Jarrett, who I better know from “The Odd Angry Shot,” stars as the conflicted park ranger and crocodile preservation expert Steve Harrison. Jarrett’s more convincing a maniac outdoors man than a crocodile conversationalist, but the iconic Aussie convinces us all that being in between two opposing sides is no easy task with this willingness to do what’s right on both sides. Nikki Coghill portrays Steve Harrison’s love interest, Cathy Pope, and Coghill is a dominating female lead by, not only being the only prominent female character, but with her striking ability to overpower Jarrett in scenes and with her also very striking beauty that comes to peak in a fleshy sex scene with Jarrett. The second most recognizable face behind Jarrett is aborigine descendant David Gulpilil. Most Stateside filmgoers may recall Gulpilil’s long locks and distinctive facial features from Crocodile Dundee in a ceremonial Aborigine dance alongside Paul Hogan. In “Dark Age,” Gulpilil plays Adjaral, son of Aborigine tribe leader Oondabund played by Burnham Burnham. “The Howling III” actor acts as a spiritual liaison between the crocodile and the white man world and Burnham Burnham’s childlike presence onscreen makes the actor very memorable and likable. Ray Meagher, Max Phipps, Jeff Ashby, Paul Bertram, and Ron Blanchard co-star.
There have been many installments and versions of crocodile leviathans. In fact, in It’s Bloggin’ Evil’s last review, Sion Sono’s Tag, there’s a dream sequence of a giant crocodile gorily snapping down upon a Japanese schoolgirl with blood spraying everywhere. While the scene is graphic, eye-catching, and notable, the croc was a mockery of reality with disproportionate jowl and a flimsy design that’s more cartoonish than substantially factual. Kuddos to the monster effects and long time visual effects artist Roger Cowland for constructing a frightening behemoth of a crocodile. Though slightly stiff in some scenes, Nicholson camera placement exhibits just enough to warrant a shortage of breath whenever the crocodile goes in for the kill or stalks a prey with the round eyes popping just above the water’s surface. This effect is masterfully executed by the late director who didn’t feel the need to be gratuitously gory with the death scenes that are modest, intense, and sheerly practical.
Yet to be on DVD or Blu-ray in the U.S.A., the good blokes over at Umbrella Entertainment release ultra-rare “Dark Age” for the first time hi-definition on Blu-ray as part of Ozploitation Classic series presented in a 1080p widescreen, 16:9 aspect ratio, format. The image looks clean without any noticeable enhancements, distortions or print damage with only some heavy noise in the darker scenes. The Dolby Digital 2.0 audio track is just as perfect with clarity in the dialogue, a pulsating synthesizing score, and fine fidelity and range. No hissing, popping, or any other noise annoyances were detected. Umbrella unleashes a slew of bonus material includes an audio Commentary with Actor John Jarratt and Executive Producer Antony I. Ginnane, a Bicentenary with Bite: Revisiting “Dark Age”, panel discussion with film historians Lee Gambin, Alexandra Heller-Nicholas, Emma Westwood and Sally Christie, and Uncut Not Quite Hollywood Interviews with John Jarratt and Antony I. Ginnane which are tremendously enlightening about the film’s birth and concluding reactions. There’s also a 1986 documentary entitled Living With Crocodiles with Grahame Webb, author of Numunwari, trailers, and an image gallery. Forget “Rogue.” Forge “Lake Placid” Lets even forget “Dinocroc!” Umbrella Entertainment’s “Dark Age” is the ultimate formidable 90-minute action-horror with trembling induced fear and adrenaline produced thrills accompanied inside a hi-definition release packed to the razor sharp teeth with extras.
Seven close friends use “Screen It” to live stream online a drug and alcohol bender while partying hard at a vacant swanky home. When Brie awakes in a quiet, dark room of the luxurious house with no sign of her friends, she believes an odd prank is being played at her expense, but when she receives a frantic call from one of her frightened friends trapped inside a wooden box, Brie becomes their only hope of survival. She realizes that her six friends were abducted and buried in wooden boxes around the city, all of which contain it’s own deadly nightmare coinciding with each teen’s personal life. To heighten the tension, their fates are live streamed on the internet for the world to witness. Brie must connect the dots, find the pattern, and save the survivors before they all perish alone.
Australian survival horror “6 Plots” capitalizes on popular teens being terrorized and murdered by a game mastering and mysterious sadist. The story, devised along with live streaming online the six teens’ fates, stems from director Leigh Sheehan and was commercially penned by the newcomer Tim C. Patterson. Alice Darling stars as Brie, the girl left untouched to save her shallowly engrained friends, along with “Wolf Creek 2” star Ryan Corr, Penelope Mitchell (“The Vampire Diaries”), Eliza Taylor, Emily Wheaton, Joey Coley-Sowry, Damien Harrison, Andrew Clarke, and PJ Lane. “6 Plots” introduces characters to face their fears, putting them up against a destined wall of death if unable to overcome challenges inspired by their own lives. Though the challenges are no where near the legacy of the “Saw” games where players have an opportunity to win their freedom themselves by sacrificing something dear to them and are constructed with their good fortune resting in the hands on one sole person, Sheehan’s race against the clock suspense thriller loses steam, never establishing momentum to strike the edge-of-your-seat nerve.
Conceptually, placing unconscious disrespectful teens claustrophobic coffin structures and strategically scattering them along a small island coastal town only to direly drown their body and minds in a game of their own primal fears sounds amusingly devious. To pull off a grand recipe of intertwining cruelty, time would be the most difficult obstacle to hurdle and the plan’s organization and successfulness was ultimately determined on whether or not Brie and her friends were having a party at some random swanky house, which was on the verge of possibly being canceled priorly stated by one of the characters. Time spatially speaking, getting all six of her friends completely setup in boxes miles a part from each other would have taken most of the night, pending on how many hands were involved, and the story indulges a, perhaps, 3 to 4 hour workable time frame from each of seven passing out unconsciously due in part of whatever their drugs were laced with to the time they wake up alone in a confinement of darkness with only an element of personal fear accompanying them. In short, and this might spoil the end for a few readers, The Flash was able to accomplish casket coordination without much hassle. Just kidding…
The biggest issue with “6 Plots” is the story never really comes to a head, never really providing that spark-lit surge of intensity at the point of apex. Instead, the course of action flounders at a lifeless flat line when a moment of clarity for Brie dawns upon her and she figures out the bedeviled jokester’s pentagram pattern, simply by hooking up to the internet and plotting lines onto charts of the island of possible casket locations. Brie made their tormentor’s Russian signal jamming plan the most elementary scheme to deconstruct and solve to date, but that’s due in part to poor character development as well. We know absolutely zilch about Brie, except for the facts that the daredevil rides a motorcycle off road, gives the local authoritative putz a run for his money, and likes to partake in drugs and alcohol. That’s basically all the information we’re given about Brie’s character and, somehow, a character who traditionally would have been nixed right about now was able to unravel a plan much too elaborate for her primitive Netgear hookup intelligence. Not even her tech savvy friend, Marty, could keep up with Brie’s uncanny genius, remarking a couple instances where Brie outthought his intellect about their predicament.
Sheehan’s directorial style hinges upon a fair amount on the horrendously oppressive alternative music soundtrack and mawkish scenes of melodramatics with an example being after witnessing the horrifying demise of one of the teens on live stream, Sheriff Gary awkwardly drops the phone and hastily crosses the room to give Brie a clutching embrace as they both sob in each others’ arms. I’ve seen less over the top performances in soap operas. Certainly a first where melodrama meets tech horror, I found the technology to be sorely obsolete, especially for a film produced only four years ago. “6 Plots” was for sure a champion for Apple products, focal pointing on MacBooks and a Safari internet browser, but, yet, iPhones are rarely used and, instead, a healthy combination of Brie’s Blackberry and Sheriff Gary’s flip phone ultimately saves the day, proving that the latest and greatest tech gear can’t save you from a casket and can’t aid you in murdering people any faster.
Lionsgate home entertainment label delivers the 87 minute Eagle I production onto DVD and Digital Video with a widescreen 2.35:1 presentation and an English 5.1 Dolby Digital audio mix. A high point of this “6 Plots” DVD is the video quality, though now fairly standard with current films in their home release formats. Image quality pops with detail and clarity bringing out the worst specifics in the poorly illustrated representation of the antagonist on ancient cell phones. Audio, again, lies in the realm of modern day conventions, albeit the down under accents are sometimes difficult to decipher. From the start, survival horror “6 Plots” quickly snuffs itself out from ever materializing into, what could have been, a gripping thriller by burying the best parts under a 6-foot deep layer of indigestible fluff that’s rudimentary right to the bone.