A lot of the so-called thrillers released these days simply lack a hard-edge to them; you can normally predict the ending well before the end because the script is so see-through. That certainly isn’t the case with new Australian thriller, Carmilla Hyde. This is a thriller that packs a punch and a great script keeps the audience guessing all the way through.

Millie (Anni Lindner – ‘Look Both Ways’) is a shy virgin who disapproves of her housemate, Sara’s (Nina Pearce – ‘Rock Lobster’, ‘Mr. Morag’s Helical Dreams’) lifestyle. Sara teams up with her friends Britt (Georgii Speakman – ‘Cross Life’, TV’S ‘The Informant’) and Nathan (newcomer Cameron Hall) to drug and seduce Millie… to make it worse they put the night on the Internet. Convinced she was raped (but unable to remember) Millie turns to hypnotist, Dr. Charles Webster (TV’S ‘Crooked’) to help her find the answers.  But these sessions only result in her alter ego, Carmilla Hyde coming to the surface and Carmilla wants revenge.

As far as this genre goes ‘Carmilla Hyde’ shames a lot of the Hollywood thrillers that are floating around. Director David De Vries lets the film go down an erotic path without losing control and allowing the storyline to become forgotten about. De Vries’ career as a comic book creator shows through in the film, with comic book art and a killer soundtrack only adding to the films almost gothic ambience. His script has a serious presence and actually allows you to identify with the character of Millie… this turns out to be a huge positive as you end up feeling so sorry for her that you can turn a blind-eye to some of the things she does as Carmilla.

‘Carmilla Hyde’ has also been brilliantly cast. Anni Lindner shines in the lead role. Her very different portrayals of Millie and Carmilla shows that she is a gifted actress who really does her craft. She is also well supported by Georgii Speakman who pulls off the role of the femme fatale very well. Their performances added to a terrific script makes the characters believable; despite the unusual story at hand.

All up ‘Carmilla Hyde’ is a sensational thriller that totally draws its audience in. Great characterization and brilliant performances by its leads makes for a film that allows the audience to feel for its characters… and when I say feel I mean there are some you will feel sorry for and some that you will hate with a passion. Brilliantly written the film is enhanced by one of the best soundtracks to grace an Australian film in a long time. If you love a good thriller than ‘Carmilla Hyde’ is a film that shouldn’t be missed. It’s not often a thriller breaks the mould like this film does and gets away with it, but it is the risks here that makes this film so special.

Dave Griffiths

Anyone that marveled at the dark harshness of Jonathan auf der Heide’s ‘Van Dieman’s Land’ will certainly be enthralled by ‘Centurion’ – a film that’s dark filming style manages to capture its mood in a way that really looks impressive on the big screen. Sure there are some historically inaccurate things in the film – but hey if you’re dumb enough to base a history assignment on a film then you are simply asking for trouble. The great thing about ‘Centurion’ is its not just a poor man’s ‘Gladiator’, it actually takes a look at the Roman’s invasion of Britain… question is how many people knew that actually happened?

When a Roman frontier fort is attacked by the vicious Picts – led by Gorlacon (Ulrich Thomsen – ‘Tell Tale’, ‘Duplicity’) and the brutal Etain (Olga Kurylenko – ‘The Assassin Next Door’, ‘East Of Me’) the only soldier left is Centurion Quintus Dias (Michael Fassbender – ‘Inglorious Basterds’, ‘Fish Tank’). He quickly teams up when the Ninth Legion who the Picts then attack and take General Virilus (Dominic West – ‘From Time To Time’, TV’S ‘The Devil’s Whore’) captive. Quintus pulls together the survivors and leads them on a journey to rescue their leader.

Director, Neil Marshall (‘Doomsday’, ‘The Descent’) does a great job bringing a foreboding feel to this film, and does an even better job in making the visuals appear so realistic despite a serious amount of bloodthirsty brutality, but he is also let down by his script in which he has made some vital filmmaking mistakes. The biggest being the late introduction of a romantic interest in the form of Arian (Imogen Poots – ‘Solitary Man’, ‘Cracks’). Sure Marshall needed someone to aid Quintus’s group but the idea that he falls in love with Arian means for the last act of the film it delves into the soapie-sappy style of Baz Luhrmann’s ‘Australia’. Disappointing considering the film moves along so well the rest of the time.

Michael Fassbender is surprisingly good in the role of an action hero, perhaps the creators of ‘Clash Of The Titans’ could have taken notice because Fassbender doesn’t ever forget that while he has to be good with a sword he also has to have good enough acting skills to pull off some of the more dramatic scenes. And he is well backed up by a stellar cast; even the sexy Olga Kurylenko is given a role that has great character definition… a dream role for an actress.

‘Centurion’ looks amazing and manages not to fall down to the level of most action films and while Marshall’s script holds up for the most part its historical inaccuracies  are what prevents this from becoming a truly great film. Brutal and harsh, an enjoyable watch, just don’t use it as a historical reference.

Dave Griffiths

There are some film-goers out there that will give this film a wide berth because of the inclusion of Disney prodigy Zac Efron (’17 Again’, ‘Me And Orson Welles’) in the cast. But all that shows is how a narrow minded they are, because Efron has certainly moved on since the ‘High School Musical´days. This great fantasy/drama gives Efron a real chance to show people just how good his acting ability has become.

Efron plays Charlie St. Cloud a young man troubled by the fact that he was behind the wheel when a car accident (that wasn’t his fault) killed his younger brother, Sam (Charlie Tahan – ‘Meskada’, ‘Burning Bright’). Five years after the accident and Charlie rarely talks to his mother, Claire (Kim Basinger – ‘The Informers’, ‘While She Was Out’), has quit his promising yachting career and now works in a cemetery alongside his best friend Alistair (Augustus Prew – ‘The Kid’, TV’S ‘Silent Witness’). But the one thing that that sets Charlie apart from everything else is the fact that he now has the ability to see and communicate with the dead including a daily meeting with Sam. Charlie’s chance to move along comes in the form of Tess (Amanda Crew – ‘The Haunting In Connecticut’, ‘The Break-Up Artist’), a former school-friend who is about to embark on a round-the-world journey.

I have to admit that I was surprised that director, Burr Steers (’17 Again’, TV’S ‘Big Love’) was able to pull off this film so well. His last effort, ’17 Again’ was a promising enough comedy but I was curious to see how he would go handling a fantasy/drama genre film like this one. Some parts a little sappy but for the most part Steers keeps the film on the straight and narrow and manages to get the best of out his actors while successfully mixing the fantasy element with some realistic drama.

As I previously mentioned one of the most impressive things about ‘Charlie St. Claire’ is the huge step-up by Efron. He is no longer a lightweight and tackles a role that demands a lot of emotion head on. He has become a man in this film and his acting is one of the things that make the film so enjoyable to watch. He is also well supported by Charlie Tahan who announces himself as one of Hollywood’s most promising young actors. Amanda Crew holds her own as the love interest while Augustus Prew also shows some skills as Efron’s side-kick.

While ‘Charlie St. Cloud’ may not be the film of the year it is certainly dramatic and well-written. If you haven’t read the novel then there are a few surprises that will catch you off guard. Burr Steers does a great job bringing this story to the big screen while Efron is impressive in the role that allows him to shake off the teenage-tag. An enjoyable film that is guaranteed to awaken your emotions.

Dave Griffiths

This is one film that tries hard but falls short due to the fact that it has been in the wrong genre. ‘Cirque Du Freak: The Vampire’s Assistant’ screams out for the darkness of the ‘Harry Potter’ series of films but in a bid to be kooky and different the producers have completely ruined what could have been a good film, making it a chore for the audience to endure.

The story begins with Darren Shan (Chris Massoglia – ‘The Hole’, ‘A Plumm Summer’) and his friend, Steve (Josh Hutcherson – ‘Journey To The Center Of The Earth’, ‘Winged Creatures’) attend a Freak Show. Darren is obsessed with spiders while Steve yearns to be a vampire. When Steve identifies one of the freaks as vampire, Larten Crepsley (John C.Reilly – ‘9’, ‘Step Brothers’) he decides to ask to be sired by him. But when Crepsley, distracted with a war brewing between vampires like himself (who don’t kill humans) and the blood-thirsty, violent Vampaneze, Crepsley says he won’t turn him. But when Darren is left owing Crepsley he is turned to become his assistant, something that infuriates Steve.

Everything is set up for ‘Cirque Du Freak: The Vampire’s Assistant’ to be a good film, but all the goodness of the story is eradicated by some poor decisions made behind the scenes. This starts with director, Paul Weitz’s (‘American Dreamz’, ‘In Good Company’) decision to try for a kook brand of film. This kookiness stops all elements of drama and tension from the film and results in the finale of the film being turned from a battle royale to pure slapstick. But this decision pails into significance when compared to the awful decision to cast John C. Reilly as the vampire, Crepsley. Not only is it a dreaful performance but he is horribly miscast in a role that called for the darkness of an actor like Alan Rickman (‘Alice In Wonderland’, ‘The Harry Potter Series’).

And the bad casting decisions don’t end there. Salma Hayek (‘Across The Universe’, TV’S ’30 Rock’) is wasted in her role of the Bearded Lady, while the lead, Chris Massoglia is a non-event. He simply brings nothing to the role and is completely forgettable, and as for chemistry with his romantic interest Jessica Carlson (‘The Life Before Her Eyes, ‘Goyta’)… forget about it, it’s non-existant!

‘Cirque Du Freak: The Vampire’s Assistant’ is a nothing film! The kind of film you forget about as soon as the credits roll. Director, Paul Weitz does all he can to get this film up for a sequel but when it’s the bad why you bother? A very poor adaption that deserved better.

Dave Griffiths

It is hard to believe that ‘Closed For Winter’ is in fact Natalie Imbruglia’s first Australian feature film. And while Imbruglia shines in her role, the film doesn’t reach the high levels it so could have.

Based on Georgia Blain’s critically acclaimed novel of the same name, ‘Closed For Winter’ tells the story of Elise (Natalie Imbruglia) who twenty-years earlier went to the beach with her sister and her sister disappeared… never to be seen again. Elise has tried to move on with her life but it has been difficult. She is now in a relationship with Martin (Daniel Frederiksen) and tried to move in with him and away from her mother, Dorothy (Deborah Kennedy) who lives in her own world and is constantly pushing Elise away from her. But when Dorothy has an accident Elise has to return home and with the help of the family’s doctor, John (Tony Martin) tries to make sense of her sister’s disappearance and do little things that may help Dorothy move on with her life.

While Director, James Bogle (most noted for his work on the television shows ‘The Circuit’ and ‘Lockie Leonard’) manages to make ‘Closed For Winter’ visually pleasing the story contained in the film simply doesn’t go deep enough and the ending leaves the audience wanting more answers. Another unfortunate thing that occurs during the film is that a key piece of information flashes on the screen so quickly that most of the audience will completely miss it. Still, Bogle does the best he can with the material at home and it is largely through his work that an audience member can watch ‘Closed For Winter’ and get at least some enjoyment from it.

The acting in ‘Closed For Winter’ is also top rate. Natalie Imbruglia shows she has not lost any of her acting ability, despite the fact that her last film was the disastrous ‘Johnny English’ that surfaced six years ago. Imbruglia shines as Elise and has the unique ability to make the audience see how her character is feeling without even opening her mouth. She is well supported by Daniel Frederiksen who continues the good work he did in ‘Ten Empty’ by playing the memorable, Martin to a T. Fredeiksen isn’t normally seen as someone who would play a ‘geeky’ character, but he is terrific in this role and is one of the truly memorable things about ‘Closed For Winter’. Of course Tony Martin also puts in a brilliant performance as John… but then again when has Martin ever put in an ordinary performance?

While ‘Closed For Winter’ isn’t a complete disappointment it will leave you asking questions and the story is much weaker than it should be for a film touching on such a delicate topic.

Dave Griffiths

Well the challenge is still alive and well. When is somebody actually going to make a film about Coco Chanel that is actually any good. When Audrey Tatou (‘The Da Vinci Code’ and ‘Ensemble, c’est tout’) and director Anne Fontaine (‘La fille de Monaco’, ‘Nouvelle Chance’) teamed up to make ‘Coco Avante Chanel’ it failed to fire at all and now the team behind ‘Coco Chanel And Igor Stravinsky’ have also produced an awful film.

Adapted from Chris Greenhalgh’s novel ‘Coco Chanel And Igor Stravinsky’ follows the emotional journey that Coco Chanel (Anna Mouglalis – ‘Mare Nero’, ‘Romanzo Crimanale’) went on after the death of her partner, Arthur ‘Boy’ Capel (Anatole Taubman – ‘Secret Defense’, ‘Same Same But Different’). When Coco sees the alternative styling of composer, Igor Stravinsky (Mads Mikkelsen – ‘Flammen & Citronen’, ‘Quantum Of Solace’) she is impressed. Eager to keep him in France she invites him and his wife, Catherine (Elena Morozova – ‘Hysterical Psycho’, ‘Kletka’) and their family to stay with her. Soon Coco and Igor are involved in a passionate affair together.

Director, Jan Kounen (‘8’, ’99 Francs’) makes the same mistake with this film that Tom Ford made with ‘A Single Man’. Both Kounen and Ford have thought by making their films artistic it can win over the public… a very, very wrong concept indeed. Kounen uses an artistic style to try and drag out scenes because really when you scratch under the surface there is no substance to this story at all. The basic storyline of Coco meets Igor and has an affair just isn’t enough to keep the audience interested and the fact that Kounen believes that things such as an artistic opening (that seriously goes too long) will make up for that is in a way an insult to the audience’s intelligence.

The two leads work well with what they have and in many ways Anna Mouglalis is better in the role of Coco than Audrey Tatou ever was. However the let down here is there is no chance for her to explore the character at all. All this version of Coco ever seems to do is try to look seductive, and in a further let down the erotic scenes fail as Mads Mikkelsen is the wrong choice for Igor Stravinsky. There is very little chemistry between Mouglalis and Mikkelsen meaning that once again the audience find themselves bored out of their mind.

This is one novel that should never have been turned into a film. There just isn’t enough to the story of ‘Coco Chanel And Igor Stravinsky’ to make this an interesting film. Director, Kounen tries to replace substance and storyline with art and ends up with one very boring film indeed. A boring film that never gets out of first gear… avoid!

Dave Griffiths

Gabrielle ‘Coco’ Chanel lived a fascinating and interesting life and while this film depicting her life looks as elegant as a Chanel design scratch a little way under the surface and you’ll be left a little disappointed. The glossy finish isn’t enough to cover for the fact that the film seems to just brush over so off the more important points of Chanel’s life… something that grows increasingly frustrating as the character is set up well enough that you will actually care about her.

‘Coca avant Chanel’ follows the life of Gabrielle ‘Coco’ Chanel (Audrey Tautou), a woman who changed the face of women’s fashion forever and set up a dynasty that still survives today. The film follows her from the time that her father drops her off at a convent and never returns. We then see her putting on a cabaret show with her sister, Adrienne Chanel (Marie Gillain) while also working as a seamstress. While Coco (as she playfully nicknamed) is stunned at her sister falling for ‘The Baron’ she soon finds herself involved in a somewhat-twisted-relationship with Etienne Balsan (Benoit Poelvoorde), an older rich military man who has made his money through race horses. While some would say that Coco uses Etienne to climb the social ladder she eventually falls in love Arthur ‘Boy’ Capel (Alessandro Nivola). While Etienne encourages Coco to make hats for the upper-class it is Boy who helps her build her empire.

Director, Anne Fontaine does a wonderful job giving this film the feel of a glossy ‘Vogue’ magazine that is heavily influenced by the cinematography of films like ‘Mansfield Park’ or ‘Pride Or Prejudice’. But unfortunately Fontaine is badly let down by a script that seems to just brush over some of the more important things that occurred in Chanel’s life. The other annoying aspect of the film is that the timeline (or more importantly the length of the timeline) is seemingly non-existent. It is impossible to tell how long Coco lived with Etienne, how long her relationship with Boy went for or even how old she is when the film ends. This major flaw simply leaves the audience feeling frustrated despite the films magnificent ‘glossy’ look.

Audrey Tautou was certainly the right choice to play Coco, and we should all breathe a sigh of relief that Keira Knightley didn’t get the role (she was the originally choose for the role). Tautou brings an air of grace to this role and despite her brilliant performance you do feel the weaknesses in the script will see that she won’t win an Oscar for it.

Unfortunately ‘Coco avant Chanel’ is just like a fashion magazine; glossy and lovely to look at but just not enough substance to leave you completely satisfied, a pity really as Coco Chanel’s life deserves to be told in a way fitting to her succsess.

Dave Griffiths

It’s a big call to make but I believe ‘Blessed’ has to be the best film in Ana Kokkinos’s (‘The Book Of Revolution’, ‘Head On’) career to date. Why is it a big call? Because as a general rule Kokkinos simply doesn’t make bad films. It is films like ‘Blessed’ that remind you just how good Australian films can be.

‘Blessed’ is a group of stories all put together. A marriage disagreement between Tanya (Debora-Lee Furness – ‘Beautiful’, ‘Sleepwalking’) and Peter (William McInnes – ‘My Year Without Sex’, ‘Prime Mover’) sees Daniel (Harrison Gilbertson – ‘Accidents Happen’, ‘Australian Rules’) accused of theft. He decides that if he’s going to be blamed for it he may as well be doing it. For Stacey (Eva Lazzaro – TV’S ‘The Elephant Princess’, ‘Underbelly’) and Orton (Reef Ireland), life on the street is better than being at home with Mum, Rhonda (Frances O’Connor – ‘Three Dollars’, TV’S ‘Cashmere Mafia’) and he boyfriend (Ditch Davey – ‘Under A Red Moon’, TV’S ‘Sea Patrol’). Not even the support of Gayle (Tasma Walton – TV’S ‘City Homicide’, ‘Sea Patrol’) can help them. Meanwhile desperate mother Gina (Victoria Haralabidou – TV’S ‘Home And Away’, ‘The Informant’) believes her runaway son, Roo (Eamon Farren – ‘Lucky Country’, TV’S ‘All Saints’) is dead, she doesn’t even notice that her daughter Trisha (Anastasia Baboussouras) is out shoplifting with her friend, Katrina (Sophie Lowe – ‘Beautiful Kate’, TV’S ‘All Saints’). Katrina’s mother, Bianca (Miranda Otto – ‘In Her Skin’, ‘Schadenfreude’) certainly doesn’t notice; she is too busy gambling. But perhaps the most list is James (Wayne Blair) who doesn’t fit into either the black or while fella worlds.

With this amount of characters and stories going on you could be forgiven for thinking the film may become a mess… but it certainly doesn’t. Kokkinos entwines the stories wonderfully well and her usual gritty style of directing only enhances this dreary urban drama.

The other amazing thing about ‘Blessed’ is the caliber of the cast. They come out all guns blazing; even the young cast members aren’t over-awed by the stars around them. Having said that the standout has to be Frances O’Coonor with a performance that deserves to attract awards… even an Oscar.

‘Blessed’ is so powerful that some elements of the film will stick with you for a long time. With some amazing original music, brilliant acting performances and Kokkinos not holding back we are treated to an amazing film with a strong social comment.

Dave Griffiths

For a long time now we’ve known that Alkinos Tsilimidos (‘Em 4 Jay’, ‘Tom White’) is one of Australia’s finest directors, but with his new film ‘Blind Company’ he manages to outdo even his previous masterpieces. ‘Blind Company’ is a well-written drama that showcases some of Australia’s finest acting talent and could well be one of the finest films ever produced on Australian soil.

Geoffrey Brewster (Colin Friels – ‘The Book Of Revelation’, TV’S ‘Blackjack’) has moved into an isolated beach shack where he wants to spend his final dying days recording messages for his wife, Sally (Gloria Ajenstat – TV’S ‘City Homicide’ and ‘Canal Road’) and walking his dog. But his peace and quiet is broken when his nephew, Josh (Nick Barkla – ‘Em 4 Jay’, ‘Tom White’) arrives. The men’s relationship is testy at best and it could be the ruin of both of them.

If ‘Blind Company’ was an American film then the world would be screaming out for an Oscar nomination for Colin Friels; he steals the show as Geoffrey Brewster, a demanding role that this seasoned actor pulls off amazingly well. He is well-supported by one of Australia’s most under-rated actors, Nick Barkla, who you hope will become a prominent fixture on the Australian acting landscape. Together these two put in performances that mean any scene that they share together has an intensity that audiences rarely get to see anymore.

Visually ‘Blind Company’ is sensational. Through some wonderful cinematography Tsilimidos manages to make the film’s habitat an extra character in the film. He captures the Tasmanian scenery remarkable well, and the darkness of the weather matches the darkness of the story at hand. This time Tsilimidos is also the screenwriter and he managed to create a remarkable story that engrosses its audience and shocks you with some amazing twists and revelations… and if anybody can pick the ending then I’ll be damned.

‘Blind Company’ is Alkinos Tsilimidos’s finest work. His brilliant directional capabilities are further enhanced by a truly memorable performance by Colin Friels. ‘Blind Company’ is a masterpiece that reminds you just how good Australian cinema can be.

Dave Griffiths

Most docu-dramas don’t work because the acting dangerously lets down the rest of the film but that isn’t the case with ‘Blind Loves’… despite the fact that the cast aren’t recognized actors but real people with disabilities the acting is top notch and the film is genuinely interesting.

‘Blind Loves’ consists stories of four people’s lives – four people who are all blind. There is Peter a talented piano teacher whose vivid imagination gets him through each day. There is Miro who is in love with the sight-impaired Monika but their relationship hits a rocky patch because her parents disapprove of him. Elena is a young blind girl who is expecting a baby while Zuzka is discovering love on the Internet but her romantic interest has no idea that she is blind.

This film flows really well and while the stories of Elena and Zuzka are nowhere near as theatrical as the other stories there are no flat spots in the film. The highlight of the film however is the story of Miro and Monika… realistically this is a story that deserves a film of its own and it is so personal that you can’t help but find yourself ‘barracking’ for Miro. The filmmakers also need to be congratulated for the beautiful scene where we go into one of Peter’s daydreams.

One of the better docu-dramas floating around, ‘Blind Loves’ opens up your eyes to the world and issues blind people face everyday in a way that few films have been able to do in the past.

Dave Griffiths