Visually Impressive, Riveting, Yet Very Pretentious. a visually stunning outback tale with a message that resonates today, A great movie about the Australian sins of the past, great story, great plot, great cinematography, Those With/Those Without Power In Early 20thC Australia - Excellent Movie, A brilliant study of humanity, not just racism, A 'must-see' sort of film, falls short of being a masterpiece.
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After the dismal film we saw yesterday this was a joy to watch and what good cinema is all about.
Solar Powered Yachts Are Taking Over.
Diane and I watched this movie this afternoon and were the final two people to leave the theatre.
Tricked into entering tribal lands, the small posse, led by a stoically vengeful Bryan Brown, is repelled by vicious warriors.
Thornton uses no fevered cross-cutting to intensify matters — merely the steady, palpable accumulation of the characters’ anxiety — but follows the structural traditions of vintage American westerns. The movie has a familiar story and simple dialogue, and this is not a problem by any means, yet it's technically impressive.
The story itself is a very real example of what aboriginals in Australia must have suffered for decades.
Yes, it was a little slow at times as one other reviewer has said, but I was not bored and I think that the slowness in some places was intentional.
If you were unaware of what happened in Australia's history then maybe you will find this interesting. | This movie is very well made, specially very well cutted, very clever use of flashbacks and flashforwards takes you wisely through the story that never lets you guess the end and get bored, got a bit of dark history of Australia as well, last but not least beautiful cinematography and unique locations make this movie a must see, strongly suggested.
I've read here two reviews by Australians, one hated the film, the other loved it. ), but this didn't spoil anything for me. Sam Neill’s presence in a critical role should be a selling point both domestically and abroad, though this is a true ensemble piece, generously allocated among its fine actors.
But as a story its rubbish.
It’s the landscape, however, that first strikes you, more than any one inhabitant thereof. The opening shot might be a metaphorical mallet — a cauldron of water slowly coming to the boil while a violent, slur-slathered argument plays out offscreen — but the coarseness is in keeping with the movie’s pointed, symbolic style. It's a pointed choice of title, the whites have no concept of being interlopers, conquerors, of any kind of relationship existing between the aborigines and the land. The only thing that rang true was the fact that Sam was eventually killed. This is a hugely watchable film with superb cinematography carried out by indigenous director Warwick Thornton no less. . All the while, the usual moral weights and stakes of the genre are redistributed: Killer becomes victim, protectors of the peace become instigators of conflict, and it’s fair to say the good guys aren’t clad in white, so to speak. Marked by the same poise and care with which Thornton’s 2009 debut “Samson and Delilah” exposed the present-day marginalization of Australia’s Aboriginal community, the director-cinematographer’s second purely narrative feature probes the same social injustice in the bitterly divided frontier society of 1929, where one black man’s necessarily violent act of self-defense brings the white population’s most toxic racist dogma to the fore. Whatever, 'Sweet Country' deserves to be seen and is highly recommended. Sweet Country is a mesmerizing Australian western when it comes to presentation, but is brutal and unforgiving with its message. (There’s even a taste of Johnny Cash on an otherwise music-free soundtrack.)
Theres one reason to see this film, and only one reason...to see the landscapes. When Australian cinema is good ,its usually really good and this one can hold its head high in any cinema in the world.
It's tempting to say that I wanted to like "Sweet Country" more than I did, but I have used that line before, and I think it should kind of go without saying: of course I wanted to like it. 'Sweet Country' isn't only great because of its Australian setting and style of cinematography, although long desolate shots of the outback certainly don't do it any harm, shades of classic spaghetti westerns. It is possible the film will play better overseas. Later, in bullying pursuit of scrappy half-caste child laborer Philomac (jointly played by twins Tremayne and Trevon Doolan), an aggressive confrontation with Kelly lands March a fatal shotgun bullet in the neck. As Sam and his wife (Natassia Gorey-Furber) trek across desert and salt flat — painted in vivid swaths of ocher and ice — he outwits his pursuers at every turn. Most fitting on the eve of the last day of freedom for Indigenous people. An Expert Weighs in With Some Tips, Foo Fighters, Pink, Cher, Jon Bon Jovi to Perform at Joe Biden Virtual Event Tonight. The spare, classical chase drama that ensues is seeded with barbed observations on colonialism, cultural erasure and rough justice, kept poetically succinct by Thornton’s lithe, soaring visual storytelling. More typically bigoted attitudes are held by his neighbor Mick Kennedy (Thomas M. Wright), who thinks nothing of belt-beating a young boy as punishment for perceived theft; new arrival Harry March (Ewen Leslie) is more lethal still, an unhinged, alcoholic war veteran whose exploitation of servants extends to sexual abuse and unprompted confinement. Sweet Country. I was impressed with this movie and think it was because it was quite different from all the other Australian movies I have seen. I don't know if the film maker meant to delve deeper into our psyches than just showcase racism, or not. The Australian western is a genre all its own and Sweet Country is the finest example of its type. January 3, 2018 Simon Hall Film Review 3.
Director: Warwick Thornton Runtime: 110 minutes . At one point, a silent picture show dramatizing “The True History of the Kelly Gang” — led, of course, by Ned Kelly, the white bushranger bandit who became an Australian folk hero — is screened in the village square, to the delighted whoops and cheers of the gathered white locals. But this would be a valid point if we were discussing an academic paper or a movie that was made back then. Lent the services of Smith’s taciturn right-hand man Sam Kelly (the superb non-pro newcomer Hamilton Morris) to set up his station, March repays the favor with no such generosity.
The only redeeming feature is the scenery (and some of the actors).
Guy Lodge Film Critic. Awards
He even takes time to drink in a couple of streaky cerise sunrises, knowing full well that such lush pictorialism only shows up the ugliness of human acts committed in the foreground. A very moving film that brought home and really reminded us of the cruel and widely hidden history of this country. An initially cryptic prologue — in which a violent fight between a white station master and a black worker erupts off-camera while the camera fixates on a boiling cauldron of indeterminate contents — turns out to be the thematic key to Thornton’s potently reticent film, projecting cathartic healing to come, whether in the space of the narrative or beyond it. Scorched but rustling with life, painted with a rough-bristled brush in streaks of ochre, its vast expanse means different things to different people. And it has some surprising moments, is genuinely authentic, and leads us to a very real hero.
The film is called Sweet Country and Thornton fills the screen with beautiful, though sometimes harsh vistas of what most people would think, is a barren unforgiving landscape. Smaller Conferences Ready for Basketball With Limited Testing Resources, A Strong Bench Vise Guarantees Your Workshop Projects Stay Locked in Place. Sales should be lively following the film’s Venice competition premiere, followed by a prestigious Toronto Platform berth.
It took me a little while to "get" the presentation of the flashbacks (and in one case a premonition? When a good cinematographer gets behind a movie landscapes reveal all their beauty and possibilities, and movies become as much about art as about a story.
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