Thursday, May 17, 2012

Wish You Were Here

I know I'm a bit biased when it comes to the savants behind the Aquarius Films and Blue-Tongue Films collective but I can't help it: these guys are just too damn good!

Wish You Were Here is an emotional roller-coaster that explores the varying reactions of human beings when they are faced with turmoil. Felicity Price (co-writer with husband Kieran Darcy-Smith) plays Alice, a pregnant, formidable mother who discovers after returning from holiday in Cambodia that her husband, Dave(Joel Edgerton) had an affair whilst on the trip. It is the who rather than the how that causes the most drama as the "other woman" was Alice's younger, crazier sister Stef(Teresa Palmer). This love-triangle drama is framed by the wittingly suspenseful disappearance of Stef's new boyfriend, Jeremy(Antony Starr), who vanishes during their final days in Cambodia seemingly without a trace.

Darcy-Smith (DS) and the crew behind WYWH play the audience brilliantly: from their calculating publicity strategy to play up the disappearance of Jeremy over the main drama revolving around Dave and Alice's strained relationship; to the eventual unfolding of the film's overall story which happens as if pages of a book had been torn from the spine and fluttered on the ground, only for the reader to read them in whatever order he found them. It is a brilliant way to tell films that turns the traditional circular narrative completely on its head. DS and Felicity Price have a delightful way of writing which encourages the audience to view the narrative from all points of view. When you believe you have sided with one character, something happens next to completely change your allegiance and before you know it, you're rooting for the other side.

The cast of this film is also well selected however, I believe some characters (and their corresponding actors) were downplayed a little too much for instance, the character of Stef and our lack of ability to experience her pain and grief and the loss of her new love. Of course, this is all done within reason which the viewer discovers towards the end of the film when we find out that Jeremy and Stef were only new flames, not old embers like Alice and Dave which, whilst it sounds cruel to say, doesn't encourage the audience to feel as sympathetic for their romance being cut short considering it only lasted 6 weeks. Still, Teresa and Antony both give it their all despite their limited screen time which only adds to Joel Edgerton and Felicity Price's performances who play their characters effectively and with a great sense of knowledge about the inner workings of their characters' minds. Its very difficult to watch actors who are inwardly judging their own roles but there is none of that from these two leads. This may come down to Felicity's affiliation with the story from the writing stage but at lot more can be attributed to her as a great actress, as it can with Joel and his capabilities.

The final icing on the cake for this gorgeous film is its photography, orchestrated by Jules O'Loughlin. The warm, summeriness of Cambodia is offset by the unusually/usually cold harsh Sydney landscape which raises the question about which location is safer for the characters. Extreme depths of field were used ingeniously to capture both feelings and frames that would complement the lighting or surroundings of the scene. And in an untraditionally long title sequence, the vibrancy of Cambodia's villages, history and lifestyle is captured adoringly by a soft light and even softer range of close ups and midshots, ultimately contradicting in light of the films tragic ending.

I mean it when I say I'm in love with these guys. Their spirit and utter determination to create films that are different and against the grain is a thing to be inspired by. The fact that they have such a huge support network amongst themselves is a great way of making films in Australia which I feel is often too defined by the Tall-Poppy syndrome. Encouraging one another to make outstanding work is a much more effective way of producing beautiful films like Wish You Were Here than by pointing out everyone's flaws and mistakes. All I can say is that I am in love with Blue-Tongue Films and Aquarius Films and would give my Apple MacBook Pro to work with them.

Wish You Were Here was released April 25 2012.

Everyone's Talking About... The Future of TV

Loving this incredibly insightful commentary from TV Addict about the latest changes in television trends in the US. Hope our networks here in Aus cotton on soon.

Sunday, May 13, 2012

The Vampire Diaries AKA Proof That Sexy Vampires Are Network Winners

I'd heard about The Vampire Diaries (TVD) in the same way I believe most other people in my generation found out - they got a bit bored of Gossip Girl's obsessive but circling plotlines and so decided to check out what other beauties CWTV (the original broadcasting network for the show) had to offer. At this point in my life, I had been exposed to the in-ignorable saturation of the Twilight series; various interpretations of the fairytale genre in the forms of new shows such as True Blood and Misfits; and had actively sought alternative material in defiance of what I believed was a short-term phase that everyone would soon grow out of. How wrong could I be. With The Hunger Games now developing the whole "alter-reality" genre that took off when Harry Potter concluded and Twilight started out, producers around the world are now tapping into this increasingly profitable drama. Beauty and The Beast, Once Upon A Time, Teen Wolf, and The Secret Circle and of course Supernatural are just some examples of this new genre that is dominating our TV screens. 

Spooky.
TVD is one such program that belongs to this group. It features vampires, then werewolves, witches, doppelgangers, and a whole variety of freaky features that accompany these fictional characters. But freaky seems to be doing well for the network with the show premiering in 2009 with an audience of 4.91m, its highest premiere ever. Over the three seasons, it has managed to maintain its grip on its eager audience with the program seeing a 3.36m premiere for season 2 and a 3.10m premiere for season 3 with there being little variation between premieres and finales. This is good news for the network that has seen some of the worst broadcast rating fails such as The LA Complex.

Personally, I like it. Apparently, not everyone else does.
Numbers aside, TVD utilises an interesting format that has worked well for its not-so-original content. The program focuses on Elena Gilbert, a normal 16 year old who lives in the quaint township of Mystic Falls, a place that prides itself on being totally undramatic (minus the occasional animal attack). Her life revolves around making cheerleading practice, making out with her boyfriend Matt, and hanging with her best friend Bonnie and frenemy Caroline. That is until the day her parents die in a car crash that she witnesses firsthand. Depression, withdrawal and a general disinterest in life defines Elena's life for the next 4 months until the first day of school where her life changes again when she meets new-man-in-town, Stefan. Your typical brooding, dark, mysterious stranger character, Stefan has a freaky way of making people do what he wants, wears a wicked yet kinda odd-looking ring all the time, and generally has a thing for creeping up on people when they least expect it. Over time, Elena soon guesses Stefan's gig and soon becomes comfortable with the idea that she's dating a vampire. At the same time as all of this, Bonnie, her best friend, discovers she has some freaky powers of her own; Jeremy, her brother (a hopeless stoner in love with the wrong girls) gets involved with the whole vampire drama; Matt, her ex, gets jealous; and Caroline becomes involved with a dark, mysterious stranger of her own who, low and behold, turns out to be Stefan's older annoying brother, Damon. 


Damon - Did I mention he's kinda hot too?
The rest of the season sees Stefan and Damon banging it out against one another which we finally learn has to do with the fact that Stefan was the one who got Damon turned 165 years ago when the woman they were both in love with bit them. Catherine is a 500 year old vampire who has been running for half a century (at this stage we are not privy to this information) but she has decided that she has come back to Mystic Falls to claim a special prize - Elena. Turns out little-miss-normal is actually a Doppelganger with all sorts of cool powers such as the ability to stop an evil Original, aka Papa Vampire. This leads us into Season 2 which comes with all sorts of fun things such as the introduction of the werewolf myth which takes up most of the season, and finally Klaus - AKA Mega Bastard. This guy is EEVVVVIILLL and you really don't want to get on his bad side, which Stefan and Damon have a habit of doing. Over time, we realise there is more than one of these bad boys as Klaus has a whole family - almost as bad as when you discover the one cockroach you found under your bed is actually a sibling of MANY. Rebecca, Elijah, Cole and Finn were all turned by their mother when they learned of the man-eating werewolfs in their neighborhood. From there, the vampire myth/reality was spawned and 900 years later, Stefan and Damon were added to the family tree.

And you thought your siblings were weird.
I've missed out A LOT of details with this very brief description of the series but that's because this particular show just has so much going on! This I feel is its most interesting quality. Normally, TV shows are outed by critics for their inability to stick to the rules they created when the show started - that is, the rules by which the characters play by everyday, the rules the audience knows the show by and gets used to. For example, in Grey's Anatomy, the rule is that sleeping with your fellow attendings or residents is ok and generally doesn't incur the wrath that most normal people would endure if they found themselves trying to sleep with their boss. TVD is different however in the way it specifically doesn't do this. The rules change. One minute, its been made pretty clear that a vampire definitely dies from the bite of a werewolf. The next, we discover that this isn't technically true as the blood of an original can cure a vampire afflicted with this particular ailment

This is the defining factor that makes up TVD and I believe its one of the many qualities that keeps its viewers coming back for more and more. Couple that with a brilliant love story which then turns into an even better love triangle; really well-scripted suspense; and the motive to keep everything as simple as possible and you have a real hit on your hands. Its really impossible to make any comparisons between Twilight and TVD has there are many stylistic and thematic differences that separate these two seemingly identical stories. And with a epic season 3 finale, I think The CW can expect good audience returns next season. 

Wednesday, May 9, 2012

IMDB - Top TV Shows

I just thought to check out IMDB's latest results for their online television ratings and voting system. Ratings are the score out of 10 that an IMDB member has given a television show whilst a vote is the number of times a show has been given a rating, no matter what the score. It's interesting to view these two results in comparison as a way of determining what essentially is the best TV show running out there at the moment. Have a look and tell me what you think:


Images courtesy of IMDB

Tuesday, May 8, 2012

Top Films of... May

Having only just swung into May, I haven't yet had the fortune to see most of the films I'm plugging in this post. Nevertheless, I have faith in my judgement (and I hope you do too) and believe that these 5 films are all very worth watching this month. Here they are:

1. Dark Shadows
After poor results in the form of Alice In Wonderland, Tim Burton is finally back to doing what he does best - using his unique gothic style to his advantage to exploit his unique storytelling abilities. Dark Shadows is a retelling of the 1966-1971 soap opera in which Barnabus Collins, a wealthy playboy in the 1700s, is cursed by a witch he ditches who turns him into a vampire. Fast forward ahead a few centuries and he finds himself accidentally freed from his coffin into the dangerously modern world of the 1970s. Cue hilarious trend jokes, classic generational misunderstandings, and Burton's traditional method of playing the outsider against society. Audiences will revel in Burton's formulaic style and will appreciate Depp's charismatic flair. Yes, its been done before but hey, who doesn't like a Tim Burton movie?
Dark Shadows is due for release May 10th.
2. Men In Black 3
Anyone who calls themselves a 90's baby will be salivating at the very thought of the next installment of this highly successful series which sees Will Smith and Tommy Lee Jones reprise their roles as FBI-style alien hunters. In this sequel, Smith's character J must travel back in time to stop the evil alien criminal Boris (of all names) in order to save K's life and the future of the planet. With only 24 hours to spare, J must work against the clock to solve this massive dilemma or face the rest of eternity stuck in the past. Its a shame that the writers/producers of the MIB series could not have come up with a more original direction for the third chapter of this series, with the whole travelling back in time a go-to move for most filmmakers who don't know how to write for the future. Needless to say, I'm pretty certain the same vaudeville-esque gags and crass jokes will abound keeping audiences of all ages entertained.
MIB3 will be released on the 24th of May.

3. The Woman In Black
Its rare you'll ever hear me spouting a horror film. But for the first time in a while, I'm actually quite keen to head to the cinemas to see one with the upcoming release of Daniel Radcliffe's first film since the demise of the Harry Potter franchise. The story focuses on a financially struggling lawyer, Kipps (played by Radcliffe) who is told to sort out the estate of a recently deceased woman. Once there, a number of spooky occurrences lead Kipps to enquire about the demise of the house's former owner during which Kipps discovers a curse that will haunt him and those he loves for the rest of his existence. With this being Radcliffe's first role outside of Harry Potter, it'll be interesting to see how well his acting capabilities stand up against an entirely new concept  and genre. Another interesting aspect of the film is the use of Marco Beltrami in composing, a talent unto himself having scored 2 Oscar nominations for his work on 3:10 to Yuma and The Hurt Locker.
The Woman in Black is out May 17th.

4. What To Expect When You're Expecting
I may not have admitted this before but I have a small obsession for celeb-filled movies. Ok, that's a lie, its more like a MAJOR obsession. Love Actually, Valentine's Day, New Years Eve, anything that will have me seeing a new celebrity pop about every 30 seconds. And WTEWYE is on the same level. Based bizarrely on a self-help book for pregnant women, the film follows the stories of 5 knocked-up women and their other halves as they triumph/fail/deplore/enjoy the finer stages of creating life. Considering I am a devote anti-child person, I know I won't be watching this film for the fuzzy-wuzzies but rather for all the challenging, life-changing events that come with making babies. With some great comedic cast members (such as Chris Rock, Megan Mullally and Denis Quaid) I'm hoping this one will be a winner for every audience (maybe not so much with expecting parents)
What To Expect When You're Expecting is out May 31st.

5. Safe
There's a lot you can expect when about to watch a Jason Statham film. One - Jason Statham punching a bad guy; Two - Jason Statham killing someone; Three - Jason Statham in a suit. But these three important elements are not the only characteristics of his style. A kick-ass soundtrack, impressive editing and of course, those awesome stunts culminate into one wicked action film. In the past with successes like Crank, Revolver and his debut film, Lock Stock and Two Smoking Barrels, Statham has astounded us with his moves, charm and take-no-s**t attitude. In Safe, he delivers that yet again as Luke Wright, a man who has lost everything thanks to both crime and justice and as a result, now trusts no one. A series of not-so random events lead him to saving the life of Mei, a young Chinese girl who is abducted from her homeland to be used in underworld criminal activities. This film has a lot of guts to it with action sequences that literally take your breath away and some one liners that will have you reeling with laughter. However, the obvious plotholes are a little too big to dodge and its only until the credits are rolling that you finally piece the story together. All in all, a great film for you and your mates.
Safe is out now at all good cinemas.

Channel 10 For The Win

It was pretty much decided from the end of last season that Channel 10's Masterchef would take out first place at what's shaping up to be TV's night of nights.

Kicking off at 7:30pm on Sunday May 6th, Masterchef managed to retain a 1.3m average throughout its one hour premiere with its highest tune in reaching 1.6m. The success can be attributed to Ch10's careful marketing over the past two months leading up to the new season riding on the back of last year's success which capped off a stellar season with 2.74m glued to the screen to see Kate Bracks take the trophy. Clever merchandising has also seen the Masterchef brand become not just a household name for its TV series but also for its books, magazines subscriptions, celebrity chef events and cooking utensils. Add this to the major buzz around past entrants and winners and all of THEIR merchandising success stories (i.e Julie Goodwin's many family-orientated cookbooks) and you have yourself a major contender in the ratings war.

Having said that, Masterchef was not attractive enough to maintain Channel 10's audience for the rest of their Sunday night programming, with Channel 9 winning the night with their broadcasting of The Block and 60 Minutes. One could put this down to Channel 10's failure to secure a strong complementary set of shows to entice that ever elusive 18-29 crowd. Weekly showings of New Girl and Modern Family have done little to help audiences settle into Channel 10 for the night meaning an audience is only more likely to start watching the network at the time Masterchef begins, potentially missing out on that all important first 15 minutes. Following up with Touch doesn't seem to be helping either despite its success in the USA. It just goes to show that Australians are not just interested in something because its American.

The next few weeks are starting to get more and more interesting for Channel 10, with Offspring in its 3rd week, Bikie Wars starting in 2 weeks time, and Being Lara Bingle starting soon after. Despite its apparent investment in Aussie drama, Channel 10 really needs to pull their thumbs out. With ratings and profits dwindling year after year, and with share prices dropping rapidly, there needs to be a drastic overhaul of the way Channel Ten does business. Focusing on producing one major program and then filling in the gaps with a whole load of crap just doesn't cut it for the modern audience anymore who are more than happy to switch the TV off all together and go watching cat videos on YouTube for an hour instead. All I can say is, its do or die for this beloved channel.

Wednesday, May 2, 2012

Quit your whining!

The March 30th release of the Federal Government's Final Report from the Convergence Review has ruffled not just a few feathers amongst the media moguls but I'd have to say the entire plume. From The Australian to The Herald Sun, commentators around the country have contributed their two cents worth focusing mainly on the negative effects certain aspects of this report will cause if implemented. This is all rather premature really considering Communications Minister Stephen Conroy has had less than 48 hours to read the 174-page report. Nonetheless, outrage left, right and center has erupted over some rather incredulous suggestions that the authors Glen Boreham, Malcolm Long, and Louise McElvogue have made. Kim Williams (News Ltd.) lay claim that the report was "exceedingly vague and imprecise"; Julie Flynn (CEO Free TV Australia) said that content quotas “should not be increased and they should be more flexible than they are”; whilst James Warburton (CEO Network Ten Holdings) cried over how “the higher content quotas for documentaries and children’s programs, for example, are yet another regulation that only applies to the free-to-air television industry" - interesting, coming from the guy who's company's earnings fell to just $15m this year. 

Basically, most of the individuals who represent the large corporations this report actively targets are causing most of the stink. Generally the report has many positive attributes such as removing license fees for free-to-air broadcasters (which the industry has been lamenting over for years), raising the producer offset from 20% to 40%, and redefining the terms used to describe the organisations that have many fingers in pies within the industry to "Content Service Enterprises." The biggest win throughout this report however and the part I am sure everyone will debate the most is the increased quota for content. 

Within the report, a proposal was made to produce the Universal Content Scheme, a program that would "require qualifying content service enterprises, with significant revenues from television-like content, to invest a percentage of their revenue in Australian drama, documentary and children’s programs." In fairness, Australian free-to-air broadcasters already do this quite a bit (55% of all programming broadcasts between the hours of 6am and midnight must be Australian content.) But this is not what's gotten everyone into a stink. Instead, the network heads are livid over the suggestion that there should be "a 50 per cent increase in Australian sub-quota content obligations for drama, documentary and children’s content to reflect the two additional channels each broadcaster currently operates that do not attract any quotas." This quota is a particular necessity considering that a majority of network expenditure goes towards the production of much cheaper programming styles such as news, current affairs, and documentaries. In fact, in a report from the ACMA evaluating the compliance of networks 7, 9, and 10 with the Content Standards Act of 2005, it can be clearly seen that all three networks were guilty of reducing their broadcast hours for both drama and children's drama whilst increasing their broadcast hours for non-drama productions and documentaries. Take a look at these two tables from the report to see yourself the difference in production between drama broadcasting and documentary:

(This entire report is a must see for anyone interested in how the Australian television content landscape actually looks)

At first I didn't quite get the maths on this one. If the networks were already required to broadcast 55% Australian programs, then does that meant this new 50% is added on top of that? The answer to this is yes but not just to the 3 major broadcasting channels. Essentially, what we are looking at is an increase in requirements for Australian content from 55% to 105%. This additional 50% though would be spread between the three major broadcasting channels PLUS their digital multichannels. This would mean, for example, that Channel Nine would have to start using GEM, and GO! to meet this new 105% quota. 

As well as this, there is the requirement for subscription channels to increase their quotas for documentary and children's channels to 10%. Currently, the only regulation on such networks is the requirement that a minimum of 10% of expenditure be spent on Australian drama production. Considering these were the only two adjustments suggested for subscription networks, I have to say I was quite disappointed with the panels' review of this particular sector of the industry. New regulations should reflect the fact that 34% of the Australian population subscribe to pay TV channels now, a suggestion I would make is that the quota percentage reflect the overall reach of a network. For instance, if Channel 7 are able to reach 75% of the Australian population, then Foxtel, Austar and other networks in their league should have to reach a 45% quota.

All in all, I'm not buying the bullshit the major networks are shovelling out to everyone with their "woe-is-us-and-our-fat-pockets" speeches. The bottom line is there is not enough Australian content on our screens. The networks have to stop being lazy by buying in international formats and programs for a 1/3rd of the price of producing their own and instead must work out new ways to combat increasing production costs. This not only will see a remarkable streak of ingenuity injected into the industry but it will also increase jobs, resources and the possibility of a more sustainable future for Australian within this new convergence culture.