Directed by Matthew Holmes. Written by Matthew Holmes & Gregory Moss. Produced by Kurt Royan, Russell Cunningham and Matthew Holmes. Executive Producers Michael Agar, Clement Dunn, Ross Angelo, Rohan Muggleton-Mole, Alexander Moss, Adam La Rosa and Joshua Little. Starring Jordan Fraser-Trumble, Damon Hunter, Kevin Dee, Nicole Pastor and Clayton Watson. Director of Photography Cable Williams. Music by Ronnie Minder. Running Time: 108 mins
So it is with much excitement, I can finally talk about my experience as co-writer of the brand new Australian crime thriller The Cost. Sporting on-point direction by Matthew Holmes (Twin Rivers, The Legend of Ben Hall), incredible performances from a talented, up-and-coming ensemble cast and a compelling and evocative score by Ronnie Minder – I feel extremely proud to be a part of what is my feature debut as a writer and hopefully a much talked about film following its release.
The brief synopsis is as follows:
Determined to exact backyard justice, two ordinary suburban men abduct a newly-released felon who committed an appalling crime years before. Deep in the woods, their plan to brutally take his life begins to unravel when faced with the awful reality of vengeance. Taking place over an intense forty-eight hours, The Cost is the harrowing tale of righteous anger which spirals hopelessly out of control.
The writing of The Cost came together rather quickly. Matt and I had co-written two previous feature scripts – both of which were in a holding pattern as production finance was being sought for them – which was incredibly frustrating – as we all we wanted to do was just go out there and shoot something – anything. That was when Matt came to me with the idea of a couple of average blokes who kidnap a convicted felon with the intent of taking him out into the bush and brutally killing him as retribution for a wrong-doing perpetrated against them. The first draft came together in just a matter of weeks.
Our co-writing process is a very free-form organic one. We generally start talking through the idea in broad strokes – first nutting out the structure. Structure to me is paramount – perhaps the most important aspect to get right in telling a good, cohesive and compelling story. Once you have that – then everything else tends to fall into place. Once we have the structure sorted, then generally we will each choose a particular scene we might have a handle on and go ahead and write it – with the idea that the other can then go in and fine-tune it or introduce more effective elements to make the scene better. Indeed, one of the most exciting things which happens during a writing session – is hearing the other guy suddenly sparking up and saying ‘Hey! What if – dot dot dot.’ Once we’re on a roll – it’s the ‘What ifs’ which make the writing process so much fun.
The thing about vengeance I most wanted to explore – is the idea of just how base an emotion it really is. How pointless and destructive it is. It never really makes things right – or better. It can only ever make things worse. From the outset, we wanted the act of kidnapping and potentially killing Troy to trigger a major turnaround in one of the brothers in law. Usually in dramas centred around an abduction, the abductee psychologically manipulates his or her abductors into them ultimately going for each other’s throats – allowing the abductee to escape. We didn’t necessarily want to do this – and instead decided to subvert this expectation so the audience is left guessing as to what might happen. David (being the one romantically linked to Stephanie) is the more emotional of the two – and it is he who initially formulates the plan to kidnap and murder Troy. However, once the gravity of taking a human life fully hits him and leaves him questioning the real world implications of ‘an eye for eye’, it is the more pragmatic and rational Aaron who must then step in and continue with the execution regardless. We knew we wanted the audience to ultimately empathise with Troy. So the trick was how to do this without trivialising the horrendous nature of his crime. If the film has done its job the way we intended, then the audience will find themselves rooting for his survival despite his crime. Ultimately it is Kevin Dee’s finely tuned performance which makes this switch work as well as it does.
There have been many films exploring the impact of violence against women – which focus primarily on the women themselves. But very rarely do we get to see the impact these horrific acts of violence have on the men in their lives. And these acts do indeed affect the brothers and husbands of the women who become victims of sexual assault and murder. This is not to take anything away from the horror these women face – but we do feel it’s worth addressing the devastating impact these acts have on the men who love them.
We originally set out to make a very down-and dirty guerilla-style movie – with virtually no money – which could be shot on weekends with friends playing the various roles and Matt shooting it himself. It was just meant to be a bit of fun – something to keep us occupied between projects. Then, once word got out that this is what we were doing, more and more people jumped on board – offering their time and the project just grew from there. It wouldn’t have gained the momentum it did if it wasn’t for a handful of investors who threw in ten grand here and there at the very beginning – just to get us off and running.
We knew from the very beginning – this film lived or died by the actors’ performances. We initially got Jordan on board – as Matt had worked with him on Ben Hall. Then Damon was offered the role of Aaron. But it was the casting of Troy which turned out to be the most difficult – as several actors had turned it down – due to the psychological intensity of the role. But thankfully we found Kevin Dee – a fearless Melbourne actor who was more than happy to throw himself hammer and tongs into the role and quite frankly – he blew us away in his audition. The other pivotal role is that of Stephanie – our ‘Laura Palmer’ if you like. Although she only appears in three or four scenes – her presence is felt throughout the film. And much like the casting of Kevin, we had to find an actress equally fearless and willing to put herself through uncomfortably ugly and violent scenes – and as it turns out – we were fortunate enough to find Sydney actress Nicole Pastor. And Nicole absolutely assures these admittedly disturbing scenes are convincing and real.
From the outset this was always planned as a micro-budget feature. Which is why we limited ourselves to just a handful of characters and one primary location. Our major concern going into this was – will we have enough story to fill ninety minutes. As it turns out – we did. But yeah, this was our biggest fear that it would all become a bit too samey; particularly being set in the one location. But once we began shooting up at Lauriston, we soon realised that the location itself quickly became something of a character in its own right.
While we didn’t want to shy away from showing the actual real-world impact of violence – we didn’t want it to be just a straight-out gore fest either. So it was a fine line between not showing enough to be viscerally impactful – or showing too much. I think – in the end – we hit the right balance. This is more of a psychological thriller anyway – so what we don’t see can actually be more effective overall. Having said this however, the movie does showcase some fairly gnarly makeup effects by our talented makeup artist Michelle Damon-Sherry.
If there was one thing I’d like the audience to take away from The Cost it would be that next time – in the heat of the moment – when someone fucks you over – maybe getting your own back is probably not such a good idea. It will most likely not make you feel any better. And in fact – it could even make things worse. Much worse.
The Cost is a co-production between RLC Motion Picture Entertainment, La Rosa Productions and Two Tone Pictures. Following a thirteen date theatrical release in selected Australian cinemas, the film is due for a Blu-ray, DVD and VOD release in Australia via Madman Entertainment on October 18, streaming on such platforms as iTunes, Amazon Prime, Google and Vimeo (amongst others).
Photo credit: Melville Quilliam
Greg Moss is a film school graduate with a background in directing music videos and is currently seeking representation as a screenwriter. He likes creative people, feeding the cat and watching genre movies. Greg can also be heard on the Blu-ray commentary track for the 1980 sci-fi thriller Saturn 3, out now from Scream Factory.
Worthy sequel surpasses and indeed enriches the original.
Reviewed on Wednesday 14th December 2022
Directed by James Cameron. Screenplay by James Cameron & Rick Jaffa & Amanda Silver. Story by James Cameron & Rick Jaffa & Amanda Silver & Josh Friedman & Shane Salerno. Starring: Sam Worthington, Zoe Saldana, Sigourney Weaver, Stephen Lang and Kate Winslet. Running time: 192 mins.
On the extrasolar moon Pandora, Jake and Neytiri are forced to flee their beloved forest home and seek refuge amongst a coastal clan of Na’vi after a vengeful Colonel Quaritch, seemingly resurrected in an avatar body, vows to exact violent retribution on the couple and their young family.
PLEASE NOTE – THIS REVIEW CONTAINS NO SPOILERS
The world these days appears to be split into two camps – those who loved Avatar and those who hate it; a fact which kinda’ makes any review of this follow-up pretty much redundant, as haters are gonna hate and fans will flock to see it anyway. I get it. Some people just fucking hate Avatar. Just for the record, I fall into the former camp; having loved the experience of seeing Avatar back in 2009 (and yes I still love it). However, I really don’t get all the hate the original receives after all this time. Sure – its premise of a military man turning native and siding with those he is meant to pacify may well be a tale we’ve seen told before. But so what? The same could be said for the original Star Wars being a retelling of classic myths like the Arthurian legend mixed with elements from Tolkien’s ‘The Lord of the Rings’, Frank Herbert’s ‘Dune’ and pulp tales such as Edgar Rice Burrough’s ‘A Princess of Mars’ – not to mention 30s serials such as Flash Gordon and the like. So I’ve never given any credence to this, quite frankly, juvenile notion that Avatar is just a re-hash of other stories – without offering anything new; as this quite patently isn’t the case. But then I guess haters are just gonna hate.
The last time we saw Jake Sully (former military jarhead turned environmental crusader) his consciousness had just been permanently downloaded into his lab-grown avatar body – creating a gleeful sense of anticipation as to what might happen next. Little did we know at the time it would take over a decade to witness the continuation of the story – as it would take this long for James Cameron and his team to perfect the cutting edge tech needed to convincingly manifest what he had in mind for the sequel (particularly with regard to creating the numerous underwater sequences). So after thirteen long years when it was beginning to feel like this film would never be finished – has the result been worth it?
In a word – yes.
Much like its predecessor, The Way of Water is (as would be expected) a technical marvel and one of the most immersive experiences one could have in a cinema; the closest one could actually get to visiting another world (one of the psychological aspects of viewing 3D being the imprinting of memories of the movie in 3D – therefore making the memories of the movie experience seem more authentic and real – just like real memories). Presented with a choice, I would definitely recommend seeing Avatar: The Way of Water in 3D on the largest screen possible – as the effect is particularly impressive during the numerous underwater sequences; utilizing a high frame rate (48 frames per second – as opposed to the usual 24) which gives the action a sense of immersion and authenticity not seen before.
Another noticeable advancement over the original (as some might suggest) would be the utilizing of a less simplistic and straight forward story – in much the same way that The Empire Strikes Back (arguably the greatest sci-fi sequel ever made) expanded the Star Wars narrative with palpable care and maturity. No longer could this series be accused of being nothing more than ‘Dances With Wolves with Big Blue Cat Aliens’. The expansion of the world and introduction of brand new stakes and characters shows a thought-out progression going on here (unlike the recent Disney Star Wars films – this projected five movie story arc is in no way being made up as they go along). And the screenplay by Cameron and Rick Jaffa & Amanda Silver (the husband and wife writing duo behind the excellent and most recent Planet of the Apes movies) features several dramatic moments and big reveals which enrich the characters beyond what we’ve already seen.
With a running time half an hour longer than the original Avatar, this film (clocking in at a whopping 192 minutes) never feels too overly long or drawn out – but it does tend to lose momentum somewhat during the extended second act. However, the adrenaline-fuelled excitement and cracking pace of the final forty or so minutes does make up for any slowing of the pace in this middle section.
And one final thing …
To all those so-called James Cameron fanboys who hate Avatar and wish he’d just go back to making films like the ones he made in the 80s and 90s. Well, if any of you had even bothered to read the numerous biographies on Cameron – you’d know that his lifelong dream was always to be in a position to create his own sprawling space opera. And he’s accomplished this – so maybe stop with the complaining – and just appreciate the fact he’s deservedly living the dream (and giving us the opportunity to dream along with him).
4 stars out of 5
Star ratings: 1 – poor / 2 – below average / 3 – good / 4 – excellent / 5 – unmissable
Viewed at the Event Cinemas Marion, December 14th 2022
Greg Moss is a film school graduate with a background in directing music videos and is currently seeking representation as a screenwriter. He likes creative people, feeding the cat and watching genre movies. Greg’s latest film as screenwriter – the 1940s shark thriller Fear Below is currently in production – while his previous feature credit as co-writer is the psychological crime drama The Cost – also due for release in 2023. Greg can also be heard on the Blu-ray commentary track for the 1980 sci-fi thriller Saturn 3, out now from Scream Factory.
Intense survival thriller delivers.
Reviewed on September 23rd 2022
Directed by Scott Mann. Written by Jonathan Frank & Scott Mann. Starring: Grace Caroline Currey, Virginia Gardner, Mason Gooding and Jeffrey Dean Morgan. Run time: 107 mins.
A pair of thrill-seeking young women find themselves stranded atop an abandoned two-thousand foot television antenna – when part of the structure collapses.
PLEASE NOTE – THIS REVIEW IS SPOILER FREE
Despite the fact I am supremely bored with cookie-cutter teens-in-peril shark movies, I do enjoy the occasional survival thriller. Particularly when it’s as original – and well-executed as the incredibly tense 107 minutes of Scott Mann’s fifth feature Fall. The tight-as-a-drum screenplay by Jonathan Frank and Mann never once threatens to topple over into the realm of impossibility and does a remarkable job in successfully maintaining suspension of disbelief – no matter how insanely hazardous the situation progressively becomes. The film is very canny in showing us – in the very first scene – that our leads are more than capable of scaling a two thousand foot TV tower – as we find them half-way up a sheer cliff face; we immediately accept everything which happens later – as they have clearly demonstrated themselves to be fearless adrenaline junkies – and more than capable of doing such crazy shit.
Our pair of plucky leads (played with enormous appeal by Grace Caroline Currey and Virginia Gardner) display great chemistry together and are entirely believable as best friends who share a passion for extreme climbing. As the pair are on-screen together for virtually the entire run time – this friendship is the veritable lynch pin of the entire movie and was most certainly crucial to get right in order for the overall film to work. And, of course, caring for our characters only enhances the anxiety we feel when shit goes disastrously wrong for them.
Without exaggeration, I have to say – this movie is one of the most nail-bitingly intense and visceral film-going experiences I’ve had in a long long time. Indeed, there are several perfectly-placed moments of extreme peril – which are so excruciatingly tense, I often found myself experiencing an autonomic physical reaction; shoving my feet into the carpet, while gripping the hand rests; something which rarely happens – if at all. I really did feel like I was there, with those guys – on top of that damned tower – about to fall to my death at any moment. A remarkable achievement for sure.
The (undoubtedly) numerous visual effects used to pull off the illusion of such extreme heights are arguably flawless; so there is not one single moment where I was taken out of the movie due to bad CGI. Being projected on a huge screen, it all seems very real and convincing. And the immersive sound design by David Barber, Alex Joseph and their team only enhances the tension with every scrape and squeak of rusting metal – as the girls ascend higher and higher up the dangerously derelict tower; simultaneously increasing anxiety levels to breaking point. All we want is for them to turn around and get back on solid ground – before one or both of them is killed.
While being only his second feature credit after 2019’s Vivarium, the cinematography by Spanish lenser MacGregor is absolutely sublime in capturing the dangerous beauty of this remote location. This really is one gorgeously shot film. And much like Top Gun: Maverick, this is definitely a movie which demands to be seen in a cinema – on the largest screen possible in order to become fully immersed in the vertiginous effect and feel like you are actually there. Fall is one terrifying experience well worth taking.
4.5 stars out of 5
Star ratings: 1 – poor / 2 – below average / 3 – good / 4 – excellent / 5 – unmissable
Viewed at the Wallis Cinemas Mitcham, Adelaide, September 23rd 2022
Greg Moss is a film school graduate with a background in directing music videos and is currently seeking representation as a screenwriter. He likes creative people, feeding the cat and watching genre movies. Greg’s latest film as screenwriter – the 1940s shark thriller Fear Below is currently in pre-production – while his previous feature credit as co-writer is the psychological crime drama The Cost – also due for release in 2023. Greg can also be heard on the Blu-ray commentary track for the 1980 sci-fi thriller Saturn 3, out now from Scream Factory.
I am very pleased to announce that pre-production has officially begun on my latest feature Fear Below, a period shark movie I co-wrote with director Matthew Holmes which is set to star english actress Hermione Corfield (Sea Fever, Pride and Prejudice and Zombies, The Last Jedi, The Misfits) alongside Jake Ryan, Josh McConville, and Jacob Junior Nayinggul.
This post war period-set thriller follows a team of hard-hat divers hired to locate a sunken van in a river in 1940s Australia. Confronted by a highly-aggressive and dangerous female bull shark, the divers soon learn they are in the employ of ruthless criminals attempting to recover stolen gold bullion, with the bank robbers proving to be just as deadly and unpredictable as the horror which lurks below.
The 45 day shoot will take place on the River Murray at Moama in New South Wales, with Bronte Pictures CEO Blake Northfield producing alongside Odin’s Eye Entertainment CEO Michael Favelle, who is also handling rest-of-world sales for the project. As Blake recently opined, “The film has secured an incredible cast and the marketplace is really excited about the project. Michael Favelle has absolutely excelled in pre-selling this film across the globe, with an overwhelming response from the marketplace.” Multiple pre-sales already confirmed include such territories as the United Kingdom, France and Spain, while Studiocanal is on board as the Australian and New Zealand distributor.
Fear Below marks the second filmed writing collaboration between Matthew and myself, following our psychological revenge drama, The Cost, also co-produced by Bronte Pictures and due for release in 2023. Our intention with this project (Fear Below) is to evoke the classic old-school style of adventure films such as Jaws and Raiders of the Lost Ark, including the use of practical effects and miniatures over CGI. As Matthew revealed in an interview recently, “With its fresh setting and cast of memorable characters – led by a strong female lead, we are dedicated to delivering a highly original movie in an overly-familiar genre – one that really stands out from the crowd.”
Huge thanks to producers Blake Northfield (of Bronte Pictures) and Michael Favelle (of Odin’s Eye) for their tireless effort and enthusiasm in getting this exciting new film financed and green-lit. This is gonna be fun!
Greg Moss is a film school graduate with a background in directing music videos and is currently seeking representation as a screenwriter. He likes creative people, feeding the cat and watching genre movies. Greg’s previous feature credit as co-writer is the psychological crime drama The Cost – due for release in 2023. Greg can also be heard on the Blu-ray commentary track for the 1980 sci-fi thriller Saturn 3, out now from Scream Factory.
Impressive feature debut an assured sign of brilliance to come.
Reviewed on Friday 3rd June 2022
Directed by Joseph Kosinski. Screenplay by Edward Kitsis & Adam Horowitz, story by Edward Kitsis & Adam Horowitz and Brian Klugman & Lee Sternthal, based on the characters created by Steven Lisberger and Bonnie MacBird. Starring: Jeff Bridges, Garrett Hedlund, Olivia Wilde, Beau Garrett, Michael Sheen and Bruce Boxleitner. Year of release: 2010. Run time: 125 mins.
When computer hacker Sam Flynn finds himself thrust into a parallel cyber universe known as The Grid, he finally learns the fate of his father who vanished years before.
PLEASE NOTE – THIS REVIEW IS SPOILER FREE
With the triumphant release of Top Gun: Maverick last month, I thought it timely to go back and revisit Joseph Kosinki’s other legacy sequel (the aptly named – but less fondly thought of) Tron: Legacy – his feature debut released back in 2010.
A direct, if belated sequel to Disney’s Tron – released almost thirty years prior in the summer of ’82; a summer I might add which also saw the release of such beloved genre films as Blade Runner, The Thing, E. T. The Extra Terrestrial, Star Trek II: The Wrath of Khan, Conan The Barbarian, Mad Max 2 and Poltergeist. The original Tron was always considered as something of a box office and critical disappointment (much like The Thing and Blade Runner) although its technical achievement (utilizing ground-breaking computer effects) was grudgingly respected at the time. I myself never had any particular liking for the original back in the day – as it (much like Blade Runner) left me kind of emotionally unmoved in any tangible way. It really was just kind of meh. And having rewatched it for the sake of this review, I have to say – my feelings about it haven’t changed. It’s still not a particularly good movie – or much fun to watch. So it was something of a surprise to learn there was a sequel in the works in 2009.
When one considers that prior to helming Tron: Legacy, Joseph Kosinski was best-known for directing a handful of award-winning computer games commercials (most notably the Gears of War ‘Mad World’ commercial) – it makes the achievement of this film all the more impressive. Legacy is undoubtedly one of the most gorgeous-looking films of recent times with every frame a work of art; the cinematography by Kosinski regular Claudio Miranda (Oblivion, Only The Brave, Top Gun: Maverick) giving the film a look which is crisp, icy and precise. Eschewing the minimalist utilitarian look of the sets of the previous film, Legacy goes for a more ‘closer to reality’ depiction of this electronic realm. While the rudimentary wire frame arcade game graphics of the original have also been surpassed – with The Grid now becoming a far more lushly detailed, dare I say it – naturalistic environment. As Kosinski has demonstrated with his subsequent films, the importance of establishing geography within his scenes means that his movies are (by their very nature) – incredibly immersive experiences. And Legacy is no different. There are several stand-out action sequences including the gladiatorial stadium games sequence with its show-stopping recreation of the original’s light cycles (arguably Tron‘s most celebrated scene). These sequences are viscerally thrilling because we understand exactly where we are within these virtual locations at any given moment. And it must be said – the visual effects depicting this stunning world are nothing short of jaw-droppingly seamless and convincing.
The always watchable Jeff Bridges slips effortlessly back into the role of Kevin Flynn, while Garrett Hedlund is likeable enough as his estranged son, Sam. But it is Olivia Wilde as Quorra who shines. There is nice chemistry between she and Sam and Wilde is perfectly cast as the fearless and inquisitive program. Which brings me to the elephant in the room. Much has been made of the bizarre look of ‘de-aged’ Jeff Bridges in this movie. And while the effect isn’t entirely convincing (and never really was), it can be justified story-wise to some extent – as the character itself, Clu, is meant to be a computer-created construct. It is because of this that the uncanniness of the character doesn’t throw me out of the movie as it did first time around (unlike say, the laughably de-aged Carrie Fisher in the more recent Rogue One – which completely ruined that movie for me).
It would be remiss of me to end this review without mentioning the incredible score by French electronic duo Daft Punk (with orchestrations by Joseph Trapanese). Unlike the awfully cringey arcade game inspired score Wendy Carlos composed and performed for the original, which didn’t do the film any favours – this score really does much of the heavy lifting as far as augmenting the emotional impact of the characters’ arcs. It truly remains one of my all-time favourite scores. While Legacy does indeed have a satisfying and decisive ending, there is definitely an opening to continue the story and there was reportedly a follow-up in the works prior to Disney buying Lucasfilm – with Kosinski recently reaffirming his fondness for the Tron universe and his continued interest in helming a threequel. Sadly in Disney’s eyes, this sophomore Kosinski-helmed instalment (subtitled Ascension) has all but been abandoned it seems. Which is a shame.
Viewed on blu-ray.
3.5 stars out of 5
Star ratings: 1 – poor / 2 – below average / 3 – good / 4 – excellent / 5 – unmissable
Greg Moss is a film school graduate with a background in directing music videos and is currently seeking representation as a screenwriter. He likes creative people, feeding the cat and watching genre movies. Greg can also be heard on the Blu-ray commentary track for the 1980 sci-fi thriller Saturn 3, out now from Scream Factory.
Pure cinema. A blockbuster with heart.
Reviewed on Thursday May 26th 2022
Directed by Joseph Kosinski. Screenplay by Ehren Kruger and Eric Warren Singer and Christopher McQuarrie, story by Peter Craig and Justin Marks, based on characters created by Jim Cash & Jack Epps Jr. Starring: Tom Cruise, Jennifer Connelly, Miles Teller, John Hamm, Val Kilmer and Ed Harris. Run time: 131 mins.
After thirty years away, seasoned test pilot Captain Pete ‘Maverick’ Mitchell returns to Top Gun fighter school in order to train a new class of graduates in preparation for a top secret and highly dangerous bombing mission behind enemy lines.
PLEASE NOTE – THIS REVIEW IS SPOILER FREE
With the recent release of Blade Runner 2049, Ghostbusters: Afterlife and 2018’s Halloween, what are termed ‘legacy sequels’ appear to be all the rage right now. Thirty-six years ago action director Tony Scott helmed what is perhaps the quintessential 80’s summer blockbuster Top Gun – a thinly-disguised Navy recruitment tool which became one of the biggest hits of 1986 and launched Tom Cruise to superstardom.
After the commercial and critical failure of Scott’s criminally underrated debut feature The Hunger, it was producers Jerry Bruckheimer and Don Simpson who effectively came to Scott’s rescue with the offer to helm Top Gun – thus salvaging the director’s film career. And the rest – as they say – is history. Scott was set to helm this long-awaited sequel but sadly took his own life in 2012 – thus putting the project in doubt (the film is dedicated to his memory). Joining the project in 2017, Joseph Kosinski was an inspired choice as replacement director. First launching onto the scene with his long in the works sequel Tron: Legacy, Kosinski went on to further impress with his Tom Cruise-starring sci-fi thriller Oblivion and then the real life firefighting drama Only The Brave before landing Top Gun: Maverick. Going by his previous work, it is easy to see the attributes which made him such a perfect choice for this particular movie.
As evidenced in Oblivion, Kosinski has a real aptitude for staging geographically coherent and immersive aerobatic sequences which put you right in there amongst the action. While Only The Brave demonstrates his skill in effectively directing a large ensemble cast so that we connect with and care about every single character. While the spectacular aerial sequences are naturally the film’s most obvious drawcard, it’s heartening to see the characters and story have been afforded the same amount of care and attention. These are people we really do enjoy spending time with – and therefore care about when their lives are on the line. In addition to his fondness for characters, Kosinski has clearly gone out of his way to capture the look, sound and feel of a Tony Scott film (even down to his use of orange graduation filters on certain shots). With original scorer Harold Faltermeyer’s iconic ‘Top Gun Anthem’ making a welcome nostalgic reappearance (along with Georgio Moroder’s ‘Danger Zone’). And, much like the original, this follow-up is also refreshingly devoid of the usual pro United States jingoist propaganda usually associated with more recent officially ‘military-assisted’ Hollywood movies – so the film should have a substantial international appeal; the obscuring of the identity of the enemy combatants being a very good move. Much to its credit – this film is quite clearly apolitical – broadening its appeal. Originally scheduled for release in 2020, but held back due to the global pandemic, Paramount was wise to delay its release rather than dumping it straight to streaming – as the only place to fully appreciate this film is on the largest cinema screen possible. I’d even go as far as to say – movie theatres were created for experiences such as this.
With his unbridled charisma and gung-ho attitude toward performing his own stunts, there really is no denying Tom Cruise is perhaps the last remaining Hollywood action star working today. Indeed, he is probably a bigger draw now than he was back in the 80’s. And his return performance here as Maverick is definitely one of his best; his chemistry with Miles Teller (playing the estranged son of his deceased buddy, Goose) being crucial to the success of the entire piece. This strained relationship between the two is very much the heart of the movie – with the final outcome being wholly satisfying as the credits roll.
Perfectly cast with great chemistry between all the leads and featuring flawlessly staged aerial dogfights, Top Gun: Maverick is one of those rarest of things – a follow-up which holds the original in reverence; simultaneously respecting legacy characters while pushing the envelope of technical achievement and delivering a jaw-dropping visceral experience. Harkening back to how summer blockbusters were meticulously crafted thirty six years ago – this is an instant old school style Hollywood action classic and a bonafide summer blockbuster with real heart. Not to be missed.
5 stars out of 5
Star ratings: 1 – poor / 2 – below average / 3 – good / 4 – excellent / 5 – unmissable
Viewed at the Wallis Cinemas Mitcham, Adelaide, May 26th 2022
Greg Moss is a film school graduate with a background in directing music videos and is currently seeking representation as a screenwriter. He likes creative people, feeding the cat and watching genre movies. Greg can also be heard on the Blu-ray commentary track for the 1980 sci-fi thriller Saturn 3, out now from Scream Factory.
A wild ride through the nightmare imaginings of a master animator.
Reviewed on Friday 13th May 2022
Written & directed by Phil Tippett. Featuring Alex Cox as The Last Man. Run time: 83 mins.
In a war-ravaged derelict landscape, a mad scientist sends assassins in diving bells on suicide missions underground.
PLEASE NOTE – THIS REVIEW IS SPOILER FREE
Having grown up watching Ray Harryhausen movies on television, and then marvelling at The Golden Voyage of Sinbad during its initial theatrical run, I’ve long held a fascination for stop-motion animation since I was quite young. With the release of the original Star Wars in 1977, I was witness to a new legend of animation arriving on the scene – Phil Tippett. Best known subsequently for his animating of the Tauntauns and AT-AT Walkers in The Empire Strikes Back, Tippett’s outstanding work was also showcased to great effect in the criminally underrated Dragonslayer (arguably the most convincing depiction of a dragon ever put on film) as well as Robocop and Robocop 2 and most spectacularly Starship Troopers.
Initially financing it from his own pocket, Tippet began production on Mad God following Robocop 2 in 1990, but shelved the project three years later after working on Jurassic Park – when he realized the advances in CGI meant it would soon surely spell the end for traditional special effects techniques such as stop-motion. It was only twenty years later in the mid-2000s – after urging by his colleagues, that he resumed work on his magnum opus with the aid of film students and a kick-starter campaign. The resulting 83 minute movie was only recently completed in 2021 – a staggering thirty years in the making.
The film opens with a representation of the Tower of Babel as an ominous black cloud descends from the heavens to consume the land. Following the opening title, we are introduced to ‘The Assassin’ – a breathing mask-wearing miner who, in the midst of a fierce artillery barrage, descends into the bowels of the earth inside a steam punk diving bell style capsule. Using what appears to be a map tattooed on sewn-together human skin as a guide, The Assassin navigates his way through grotesque ever increasingly freakish tableaus of random violence, death, depravity and suffering. In a destroyed Boschian hellscape of decayed technology and rubble, we find a bizarre ecosystem of nameless vomiting abominations, where bipedal tumour monsters with bloated lactating breasts for asses stomp faceless humanoid slaves to death to stop them from escaping and giant trolls, their heads locked in cages – attempt to bash one another senseless with mallets – before resuming to shovel mountains of shit. If this all sounds incredibly dark and disturbing – it is. But having said this, there are examples of classic Phil Tippett humour and levity sprinkled liberally throughout (the protagonist belting a jeep radio as it randomly blares out calypso music at inopportune moments being one which immediately comes to mind). When one considers ED-209’s toe twitching amusingly after being shot by Murphy and apprehensively attempting to navigate a flight of stairs in Robocop and the hilariously erratic parade of failed Robocop Mark 2s in the sequel, it becomes evident Tippett has often incorporated sly humour into his work.
Feature length stop-motion pictures are few and far between (with Mad Monster Party from 1967 being a particular stand-out) and one could be forgiven in thinking this particular style of animation would quickly outwear its welcome beyond anything other than the short form – but amazingly Mad God effortlessly maintains one’s attention all the way through. And there’s a lot more variety to the various set pieces than is evident in the trailers. The introduction of actual human actors into the settings, with cult indie filmmaker Alex Cox (Repo Man, Sid & Nancy, Walker) playing a scientist character also adds to the variety. It really is astounding there isn’t a single discernable word of dialogue spoken in the entire movie; with baby talk, baby cries and squealing animals being used to unsettling effect. The impressively immersive sound design by Richard Beggs (Ghostbusters, Walker, Children of Men) and eclectic music by Dan Wool (frequent collaborator with Alex Cox) also combine to create a series of memorable soundscapes which greatly enhance the jaw-dropping visuals.
While the disturbing visceral nature of much of the film’s imagery may not be to everyone’s tastes, for those who appreciate being challenged by audacious material, Phil Tippet’s nightmarish and masterful Mad God will remain burned into the psyche long after viewing. For better or for worse – it stays with you for sure. A disturbing-as-fuck beautiful nightmare you simply cannot look away from.
4.5 stars out of 5
Star ratings: 1 – poor / 2 – below average / 3 – good / 4 – excellent / 5 – unmissable
Viewed at Monsterfest – Event Cinemas Marion, May 13th 2022
Greg Moss is a film school graduate with a background in directing music videos and is currently seeking representation as a screenwriter. He likes creative people, feeding the cat and watching genre movies. Greg can also be heard on the Blu-ray commentary track for the 1980 sci-fi thriller Saturn 3, out now from Scream Factory.
Major departures from the source material leave a bitter taste.
Reviewed on Thursday 12th May 2022
Directed by Keith Thomas. Screenplay by Scott Teems, based upon the novel ‘Firestarter’ by Stephen King. Starring: Zac Ephron, Ryan Kiera Armstrong, Sydney Lemmon, Michael Greyeyes and Kurtwood Smith. Running time: 94 mins.
A young girl cursed with the ability to set fires with her mind goes on the run with her father, hunted by a nefarious government organization determined to weaponize her abilities.
PLEASE NOTE – THIS REVIEW CONTAINS MINOR SPOILERS
Hot on the heels of It and Pet Semetary, this is the second film adaptation of Stephen King’s 1980 novel ‘Firestarter’ – the first attempt starring a young Drew Barrymore, George C. Scott and Martin Sheen and directed by Mark L. Lester (Class of 1984). I was never a fan of the 1984 original, feeling it to be flat, dull and uninvolving (its only saving grace being the memorable score by Tangerine Dream). In comparison with other King adaptations at the time such as The Dead Zone, Christine and Cujo – it really did come across as nothing more than a pedestrian made-for-television movie. While the ’84 film was pretty much a faithful adaptation of the source novel, it was this lack-lustre execution which made it a prime candidate for a more impactful retelling. Sadly, this isn’t what we got with this latest version.
While eleven year old newcomer Ryan Kiera Armstrong is entirely convincing in the demanding central role of Charlie McGee and she does an impressive job in carrying the film, the only other positive I can give this frustratingly disappointing movie is that the pulsing synth score by John Carpenter, Cody Carpenter and Daniel A. Davies is brilliantly effective as one would expect – and does most of the heavy lifting as far as creating tension and mood.
This film had me liking it early on until an unnecessary and distressing scene involving the horrific combustion of a cat at the hands of Charlie. Being a cat lover, I had a real problem trying to get over this – it basically souring my experience for the remainder of the running time. And considering King’s source novel is lauded as one of the author’s more ‘filmable’ works, it really is a mystery as to how this new adaptation so severely dropped the ball – unnecessarily veering off the established narrative and into the weeds. The lack of budget may be a factor as it becomes evident halfway through there clearly wasn’t enough money to do the story justice; with the explosive finale of King’s novel given short shrift – leaving one with a puzzling sense of dissatisfaction as the anti-climactic ending plays out.
The most problematic departure from the novel however is the portrayal of the central antagonist John Rainbird – a full-blooded Cherokee assassin who, for whatever reason, does a complete about-face in the second half of the movie – becoming less an antagonist and more of an ally despite the atrocities he’s committed – a change which is completely unearned; leaving a real sour taste as the credits roll with Charlie losing all agency and becoming nothing more than a victim acquiescing to her abuser. It is unclear if this monumental misstep is the result of studio mandates to ensure these two characters team up for potential sequels or if it was a miscalculation on the part of the director along with screenwriter Scott Teems (the latter responsible for the ludicrous Halloween Kills). But either way – the result is a very bitter taste indeed and one which irrevocably self-destructs the entire movie.
It pains me to say – but the awfulness of this film might just make the previous adaptation appear not nearly as bad in comparison. Who knows, perhaps in decades to come another attempt will be made to finally get it right.
2 stars out of 5
Star ratings: 1 – poor / 2 – below average / 3 – good / 4 – excellent / 5 – unmissable
Viewed at the Event Cinemas Marion, May 12th 2022
Greg Moss is a film school graduate with a background in directing music videos and is currently seeking representation as a screenwriter. He likes creative people, feeding the cat and watching genre movies. Greg can also be heard on the Blu-ray commentary track for the 1980 sci-fi thriller Saturn 3, out now from Scream Factory.
Creepy cosmic horror – an instant cult classic.
Reviewed on Saturday 2nd April 2022
Directed by David Prior. Screenplay by David Prior, based on the graphic novel by Cullen Bunn and Vanessa R. Del Rey. Starring: James Badge Dale, Marin Ireland, Samantha Logan, Sasha Frolova and Stephen Root. Year of release: 2020. Running time: 137 mins.
An ex-cop mourning the loss of his family embarks on a downward spiral to find a missing girl thought to be involved in a cult worshipping a terrifying inter-dimensional entity, only to discover he himself has a reality-bending connection to the cult.
PLEASE NOTE – THIS REVIEW IS SPOILER FREE
More in tune with the existential adult horrors of A24 – as opposed to the cheap teen jump scares of Blumhouse, The Empty Man marks the assured feature debut of writer-director David Prior, who cut his teeth producing behind-the-scenes features for DVD releases for such established filmmakers as Ridley Scott, Peter Weir and David Fincher. Sporting moments of shocking violence, the sombre melancholy tone is not unlike the films of David Cronenberg. The story also brings to mind Alan Parker’s Angel Heart and the original The Wicker Man in terms of following an investigative character down an increasingly unsettling and dread-filled rabbit hole with lead actor James Badge Dale (The Departed, Only The Brave) delivering a nicely sympathetic performance.
Originally slated for a 2017 release, the film languished on a shelf for three years – only to be unceremoniously dumped in cinemas without fanfare and proper marketing following the acquisition of 20th Century Fox by Disney – before finally gaining appreciation via word of mouth on the internet.
Released in Australian cinemas in late 2020, I did have the opportunity to go see it out of curiosity (not knowing a thing about it) – but decided not to after being less than impressed with the uninspired trailer; portraying it as yet another teens-in-peril Slender Man knock-off. It was only after stumbling across a subsequent episode of the ‘Secret Handshake’ cult films podcast, where the hosts gave it a high recommendation – that I decided to hunt down a physical copy and check it out for myself. And holy shit, I’m so glad I did.
Primarily lensed in Cape Town South Africa for budgetary reasons, this minor cosmic horror epic (loosely based on a graphic novel) has remarkably impressive production values and ambitious scale and scope to it – despite having a relatively modest budget. Every penny is clearly up there on the screen. While the photography by Anastos Michos (Texas Chainsaw, The First Purge) features effective use of anamorphic lenses with Fincheresque lighting and grading – giving it a gorgeous look. And the evocative score by Christopher Young (Hellraiser, Species) is definitely one of his best.
Much has been made of the movie’s two hour plus running time, however the film never outstays its welcome – being well-paced and compelling throughout. And the escalating sense of unease is masterfully maintained by Prior with some particularly unnerving sequences effectively ramping up the tension in the second half. Here is a director who clearly knows his genre and Prior doesn’t hold back in his delivery of shockingly visceral ‘holy fuck’ moments. He was reportedly given free reign by the publishers in adapting the source material with the much talked about twenty minute pre-title prologue sequence which sets the story in motion being just one of many creative additions Prior brought to the table. This creepy mountain-top opening immediately sets the tone and is a good indication of the dread-fuelled horrors to come. While the intricacy of the plot may not be for everyone, those who enjoy unravelling mysteries with intrigue and ambiguity will find this film stays with them – quietly whispering to be experienced again.
As for David Prior. I’ll definitely be there on opening day if he gets the chance to direct another film. A talent to look out for – I certainly hope he does.
4 stars out of 5
Star ratings: 1 – poor / 2 – below average / 3 – good / 4 – excellent / 5 – unmissable
Greg Moss is a film school graduate with a background in directing music videos and is currently seeking representation as a screenwriter. He likes creative people, feeding the cat and watching genre movies. Greg can also be heard on the Blu-ray commentary track for the 1980 sci-fi thriller Saturn 3, out now from Scream Factory.
Mostly compelling. But way too long.
Reviewed on March 4th 2022
Directed by Matt Reeves. Written by Matt Reeves & Peter Craig . Starring: Robert Pattinson, Zoe Kravitz, Jeffrey Wright, Collin Farrell, John Turturro, Andy Serkis and Paul Dano. Running time: 176 mins.
In his sophomore year as the nocturnal vigilante Batman, a still psychologically damaged Bruce Wayne attempts to track down the Riddler, an elusive serial killer who himself is attempting to clean up a hopelessly corrupt Gotham City.
PLEASE NOTE – THIS REVIEW IS SPOILER FREE
Not having seen a single Batman movie at the cinema since Tim Burton’s full-blown Gothic if sluggish 1989 take on the caped crusader, I wouldn’t necessarily call myself a fan of the character. So I didn’t go into this film with any preconceived expectations of it being either terrible or great. My interest in seeing the film stems solely from my appreciation of Matt Reeves’ direction of the last two Planet of the Apes movies.
The noir approach with the film’s general appearance and the perpetual rain clearly apes the look and feel of David Fincher’s influential detective thriller Se7en. Indeed, the rain-soaked, graffiti-daubed portrayal of Gotham is so richly detailed and well realized, the city itself could be considered a character in the movie. And much like Se7en, the intricately plotted screenplay by Reeves and Peter Craig (The Town) is essentially a noir detective yarn, with Bruce Wayne hot on the trail of a diabolically clever serial killer; hell bent on taking out a network of corrupt city officials in an act of brutal vengeance.
Having never seen any of the Twilight films, I’ve never had an issue with Robert Pattinson as an actor. Indeed, quite the contrary. I really enjoyed his performances in both Cosmopolis and The Rover. So I had no problems with Pattinson being cast in the titular role. His take on Bruce Wayne being emotionally scarred and unable to process the trauma of his parents being slain is a fascinating approach. And Pattinson shares significant onscreen chemistry with Zoe Kravitz as Cat Woman; the two forming an uneasy alliance being united by vengeance. His face concealed behind an olive green vinyl gimp mask, Paul Dano makes for a disturbingly creepy Riddler; perhaps the most visually unsettling villain since Doctor Decker in Nightbreed. It wouldn’t be a stretch to say that it is Dano with his bravura performance who ultimately steals the movie.
The sumptuous cinematography by Australian lenser Greig Fraser (Dune, Let Me In, Zero Dark Thirty) is a treat for the eyes, while the numerous hand-to-hand combat scenes are well choreographed and shot mostly in wides (much like John Wick) – so we are able to better appreciate the balletic quality of the action.
The film is well-paced for the most part, however the three hour run time does tend to make the last thirty minutes or so begin to drag well before final fadeout. And once the Riddler is finally caught and revealed, the narrative definitely appears to lose its way – only adding to the feeling of disengagement as the flailing final half hour attempts to justify its own existence – running out of steam and interest well before the generically epic comic book climax.
Runtime issue and meandering third act aside however, there is still much to enjoy with this latest iteration of the caped crusader.
3 stars out of 5
Star ratings: 1 – poor / 2 – below average / 3 – good / 4 – excellent / 5 – unmissable
Viewed at the Wallis Cinemas Mitcham, Adelaide, March 4th 2022
Greg Moss is a film school graduate with a background in directing music videos and is currently seeking representation as a screenwriter. He likes creative people, feeding the cat and watching genre movies. Greg can also be heard on the Blu-ray commentary track for the 1980 sci-fi thriller Saturn 3, out now from Scream Factory.
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