Paul Chubb

In her feature film directorial debut, Samantha Lang offers a subtle and moving psychological portrait of a female friendship and the effects of an unexpected tragedy upon it. Dowdy, tired, middle-aged and sexually frustrated Hester Harper and free-spirited, young, beautiful dancer Katherine are an unlikely pair of friends, but somehow the relationship works. In the prologue the two are seen at a local community dance. Katherine is having too much fun dancing crazily by herself in front of everyone. Hester, who is lame, watches her silently. Tired, she decides it's time to leave and must wrest Katherine away from the crowd. Katherine ignores Hester's protestations and insists on driving the narrow, winding road home. Unfortunately, Katherine isn't paying attention, disaster strikes and the screen goes black. After the credits, the story shows how Katherine and Hester became friends and then roommates. Eventually the story jumps past the beginning incident to chronicle the aftermath of the accident which left a stranger dead. The women decide to dispose of the body in a deep, dry well near their cottage. They return home and discover that someone has stolen the small fortune they'd been saving. Could the thief be the man in the well? While wrestling with the logistics of whether they can or should get him out, cracks appear in their friendship that are only worsened when the two find themselves plagued by supernatural occurrences. ~ Sandra Brennan, All Movie Guide

In this Australian comedy, adapted by Louis Nowra from his own play and updated from a '70s to a '90s setting, a Sydney slacker gets the chance to stage an opera, but his cast is assembled from the ranks of the mentally ill. After a long stretch sponging off his law-student girlfriend Lucy (Rachel Griffiths), college dropout Lewis (Ben Mendelsohn) fakes his way into a job doing occupational therapy with a group of asylum inmates. Although his original assignment is to stage a variety show, manic-depressive patient Roy (Barry Otto) soon hijacks the project and convinces Lewis to helm an adaptation of his favorite opera, Mozart's Cosi Fan Tutti. Lewis' unlikely cast ranges from psycho firebug Doug (David Wenham) and scruffy loudmouth Sandra (Kerry Walker) to depressive, dirt-obsessed Ruth (Pamela Rabe) and self-effacing drug addict Julie (Toni Collette). Given the dearth of acting and singing experience among these players, Lewis opts to translate the piece from Italian to English and stage it as a play with only a few pieces of music. The show still proves to be more than its director bargained for -- despite the dubious assistance of his friend Nick (Aden Young), an actor/director who's currently staging his own over-the-top production of Diary of a Madman. Although Cosi reteams Muriel's Wedding co-stars Collette and Griffiths, their characters here never share a scene. The production also includes former Men at Work singer Colin Hay in a featured role, plus cameos from Greta Scacchi and Paul Mercurio (who appeared alongside Otto in Strictly Ballroom). ~ Brian J. Dillard, All Movie Guide

We usually assume that a Shotgun Wedding involves one each angry father, unwilling groom, and a compromised (usually pregnant) bride. However, although the bride is pregnant, in this Australian movie, the shotgun is being wielded by a couple of crooked policeman who are angry that a young convict has put the finger on one of them. Eventually, the "cavalry," in the form of honest policemen, rescue the couple, who are then able to marry. ~ Clarke Fountain, All Movie Guide

Stan is a mild-mannered, gentle, middle-aged man who still lives with his overbearing parents. One day, acting on a suggestion by his father, he lands a job at the Weather Bureau. The work is challenging to him, and a little daunting, and his adjustment is considerably eased for him by his female co-worker "George," as she is called. The two become close, eventually marrying and moving in together. While they are adapting to the married state, conditions at work are deteriorating in a bizarre and irrational way, which puts a considerable strain on both the newlyweds. ~ Clarke Fountain, All Movie Guide

In this drama, Alexandra Polonski is the owner/manager of a boxing-oriented gymnasium located in an inner-city suburb of Sydney. As the film opens, she is having considerable difficulty with Pearl Elkington, a politically ambitious real-estate developer, who wants to buy Alex out and tear down the gym to put up some luxury apartments. She also claims, in her political campaigning, that the gym attracts a bad element -- like the hot young boxer both she and Alex are wooing. Meanwhile, the mysterious Mr. Keats is apparently manipulating almost everything that goes on. Alex asks her old boyfriend, a retired boxer, to come in and "help out," which basically means to be her bodyguard. Their old romance is rekindled, complicating matters tremendously. Australian reviewers enjoyed this brisk noir drama and appreciated its many cinematic homages to similar movies from the classic era, especially to the films of Joan Crawford. ~ Clarke Fountain, All Movie Guide

Bernard (Chris Haywood) is clearly someone with an obsessive personality, as witnessed by his lifelong love affair with old-time clocks. He even earns his livelihood by finding, selling, and repairing them. However, obsessions aside, he seems a decent sort, happly involved in a relationship with Terese (Gosia Dobrowolska), the wife of a clueless Salvation Army major. When Bernard discovers a lock of golden hair in a very old cabinet, a new obsession develops: he literally falls in love with it. He talks to it, he fondles it, he even has sex (of a sort) with it. As he does, he grows every more detached from real life. However, his living girlfriend is not going to take this sort of thing lying down, and she energetically works to win him back. This tale is based on a 19th century story, Le Chevelure, by French author Guy de Maupassant. ~ Clarke Fountain, All Movie Guide

This feature-length TV pilot stars Lee Majors as an American horse breeder who tries to make a go in New South Wales (shades of Man From Snowy River). Accompanying Majors "down under" is his son (William Hughes); father and son entrench themselves in the ranch of Majors' ex-wife (Rebecca Gilling), who lives with her younger sons. Just when it seems a reconciliation is possible, the woman is killed, forcing Majors to take over the ranch and work it with the help of his three sons and his former father-in-law (Martin Vaughan). Danger Down Under was telecast in March of 1988, where it lost out in a Monday-night ratings battle to Newhart. The film has since been syndicated under two alternate titles: Austral Downs and Harris Down Under. ~ Hal Erickson, All Movie Guide

The ugly American bullying his way through a foreign country was a subject for comedy in several films of the 1980s, most notably Bill Forsyth's Local Hero and this film from exiled Yugoslavian director Dusan Makavejev. Eric Roberts plays Becker, an aggressive marketing executive for the Coca-Cola Company; he has been assigned to figure out why sales in hot and dry Australia aren't higher. Becker comes up against a low-key but formidable adversary, T. George McDowell (Bill Kerr), whose homegrown soda has cornered the market in his little corner of the country. Complicating matters is Terri, a local woman (Greta Scacchi) Becker hires as his secretary; she's McDowell's daughter and a single mom who's romantically attracted to the brash American. Becker wants to make a deal on his (and his employer's) terms, but he finds himself falling prey to the charms of life Down Under and the ministrations of Terri. ~ Tom Wiener, All Movie Guide

After suffering a near-death experience, an executive realizes that his seemingly ideal life has become a horrifying nightmare in this dark Australian satire. Based on the novel by Peter Carey, who also penned the screenplay, the film begins with a deceptively calm, idyllic day in the life of ad man Harry Joy (Barry Otto). A heart attack leads Harry to experience a brief moment of brain death, however, and he awakens with a far darker vision of the world. In quick succession, he learns that his wife is cheating on him, his son has become a drug dealer, and his daughter is a junkie. Even his perfect career has become a nightmare, as he discovers that his latest client is in fact a heartless, deadly polluter. Enraged, Harry is determined to live a morally righteous life, a notion that proves an anathema to everyone around him. Several memorably bleak and explicit sequences may repel some viewers, while others will be disappointed that the satire becomes slower and less focused as the film continues. Nevertheless, Bliss's daring, bitter look at the modern world received a good deal of critical acclaim, particularly in its home country, where it won an Australian Academy Award. ~ Judd Blaise, All Movie Guide

Donald Crombie directed this frothy yarn taking place in Sydney, Australia during the 1920s. Liddy Clark stars as Kitty, an innocent young bride who becomes the owner of the raucous Top Hat nightclub with the assistance of a crooked cop. The story revolves around waterfront crime queens Kitty and Big Lil Delaney, and their attendant pimps, lovers, and "bagmen" (corrupt cops who are middlemen between the police and the crooks). The two adversaries engage in spirited dock side brawls, hair-pulling fights, street shoot-outs, and frenetic car chases. ~ Paul Brenner, All Movie Guide

In a somewhat far-fetched premise (not uncommon to the genre), this action film has some Australians (including soldiers) joining up with Asian forces, all backed by American money, ready to take over Surfers Paradise, a resort and retirement area on the Gold Coast of Queensland. They are not interested in good surf or securing an ideal retirement home, they just want the off-shore petroleum rights and inland uranium deposits. Right into their scheme walks Michael Stacey (Ray Barrett), a one-time policeman who left the force because of an alcohol problem and now has to make money as a private eye. While he is looking for the missing daughter of an old friend, now in politics, he runs into the usual private-eye characters: the barmaid who is willing to spend some quality time with him, the corpse that shows up in his hotel room, and the former buddies who turn against his investigation. Two of his friends are fronting the coalition of take-over forces and invite Stacey to join them in their conspiracy. Now the detective has to make up his mind about where all this is going, and if he wants to avoid any unhealthy alliances, how can he do that and stay physically intact? ~ Eleanor Mannikka, All Movie Guide