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Written by Matthew Toomey

Created: 22 April 2024

Of the five nominees for best international feature at this year’s Academy Awards, The Teacher’s Lounge is the last to be made available to Australian audiences.  Made in Germany, it has resonated with audiences on the festival circuit since its premiere in Berlin over a year ago and took home five German Film Awards including best picture, best director, and best actress.  The acclaim is justified.

It’s an intricate, complicated story which takes place entirely within the walls of a school.  Money, stationery, and other items have gone missing, and a group of teachers are attempting to identify the students responsible.  It reaches a point where class captains are being interrogated for potential leads, and random wallet inspections take place during lessons.  One of the 7^th grade teachers, Carla Nowak (Benesch), is uncomfortable with the school’s invasive response to the matter and expresses her concerns.

Thinking that perhaps an adult may be the culprit, Carla uses her laptop camera to spy on teachers in the staff room.  It records the arm of a person taking money from inside a jacket pocket on Carla’s desk.  They’re identified as a long-serving administrative officer, Ms Kuhn (Löbau), who strongly refutes the accusation but after a heated confrontation involving the school’s principal, she is placed on leave pending a formal investigation.  Adding to the delicacy of the situation is that the accused has a son, Oskar, who attends the school and is in Carla’s class.

The Teacher’s Lounge offers much to think about in terms of information and who should be entitled to it.  Carla and the headmaster would prefer to keep things quiet pending the investigation but given Ms Kuhn is a much-admired member of the community, “Chinese whispers” start spreading in online group chats and frustrations are vented at a parent-teacher evening.  It’s a powerful scene as we watch Carla defend the school’s actions with one hand metaphorically tied behind her back.  There’s not much she can say.

Another worthy issue to reflect upon are the reputational connections between a parent and their child.  With his mum suspected of wrongdoing, Oskar is ostracised by fellow students, and his persona and grades take a negative shift.  This poses further questions of the audience around the subjects of regret and forgiveness as Carla starts to rethink her approach.  She may have firm proof of Ms Kuhn stealing money but if it’s the child who suffers, is it the right outcome?  Adding further drama are teachers upset with Carla that she would use her laptop to spy in the first place.

Featuring a slew of authentic performances and realistic conversations, I can now see why The Teacher’s Lounge has resonated so powerfully.

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Written by Matthew Toomey

Created: 07 April 2024

Given its relative low cost and opportunities to demonstrate creativity, the horror genre has been an effective pathway for young/upcoming Aussie filmmakers hoping to make a name for themselves on the international stage.  Examples this century include the Spierig brothers (Undead), James Wan and Leigh Whannell (Saw), Greg McLean (Wolf Creek), Snowtown (Justin Kurzel), Jennifer Kent (The Babadook), and most recently, the Philippou brothers (Talk to Me).

We’re seeing it again with siblings Cameron and Colin Cairnes and their breakout hit, Late Night with the Devil.  It was shot in Melbourne with a largely Australian cast but, given its a co-production involving funding from overseas, it’s set in the United States to befit the narrative and broaden the film’s international appeal.

While not entirely necessary, a short prologue provides the film’s context.  Jack Delroy (Dastmalchian) is a late-night talk show host who has been toiling away for six years (a good stint) but never has he been able to achieve the fame and ratings of rival Johnny Carson.  Jack’s current TV contract is about to come to an end and, unless something dramatic were to happen, he’s likely to get the boot.

What follows is the footage of an infamous episode that took place on Halloween night 1977.  It was the start of sweeps week and the shows guests included a famous psychic (Bazzi), a vocal sceptic (Bliss), and reluctant psychologist (Gordon) who has recently published a book about a teenage girl (Torelli) in her care who can conjure the devil.  Jack hopes to perform a quasi-exorcism on the show in desperate search of a ratings boost.

Late Night with the Devil provides a refreshing spin on the horror / supernatural genre.  It’s a simple idea but also a very effective one.  We’re just watching an 80-minute episode of a 1970s talk show.  It begins with a monologue, features a band and a joke-telling sidekick (Auteri), and has the cheesy production values we know from that era.  During the show’s short advertisement breaks, grainy behind-the-scenes footage fills the gap so that we continue to follow as events play out in real time.

The Cairnes brothers, supported by cinematographer Matthew Temple, have us believe we’re watching an old, scratchy recording of an actual late-night talk show.  It feels much more credible than a standard horror flick.  Star David Dastmalchian (Dune) is outstanding in creating a lead character who blends charm with desperation.  The supporting characters are richly distinctive with standouts including Ian Bliss (The Matrix) as the sceptic, and Rhys Auteri as the side-kick (making his feature film debut).

Ending on just the right note, Late Night with the Devil is one of the year’s best releases.  Start spreading the word!

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Written by Matthew Toomey

Created: 17 April 2024

Abigail is a horror-thriller about vampires but, looking to do something different, the writers open the film as a crime drama.  A team of 6 strangers, all unknown to each other, have been recruited to kidnap a young girl from a well-fortified house and then “babysit” her for 24-hours at a remote location.  The end plan is for her extremely wealthy father to pay a substantial ransom, and they’ll each walk away with an extra $7 million in the bank.  The crime’s execution dominates the film’s first act.

Beyond that point, things are more conventional.  Vampires get their hideously pointed teeth into the necks of fresh victims and suck them of their blood.  Non-vampires use an array of traditional weapons including garlic, stakes, and sunlight as a means of survival.  Helping keep the tone light, characters even refer to the likes of Ann Rice, Twilight, and True Blood in search of meaning and answers.

There’s early intrigue but my interest levels waned once the film’s key plot points were revealed.  They’re a cliched group of criminals who come across as actors as opposed to credible characters.  They’re dumb when it suits the film’s needs, and they’re smart when the opposite applies.  If you want me to care about these people and their fate, I need sharper dialogue, deeper backstories (oh, one has a kid), and a reason to cheer for them.

The film’s humorous events are stronger than dramatic ones.  It needed to lean more in that direction.  Provided you’re not too squeamish, there’s laughs to be drawn from the explosive death sequences.  Who knew the human body holds so much blood and guts?  14-year-old Irish actress Alisha Weir (Matilda the Musical) also deserves praise for the emotional and tonal range she brings to the title character.  She’s more interesting than her naive kidnappers.

Directed by Matt Bettinelli-Olpin and Tyler Gillett, the guys responsible for the last two Scream movies, Abigail is worth a look (particularly for fans of the genre) but lacks a distinctiveness to make it stand out from the growing vampire pack.

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Written by Matthew Toomey

Created: 07 April 2024

When the Academy Award nominations were announced on 23 January 2024, one nod which put a smile on many faces that for Robot Dreams in the best animated feature film category.  It was a European film made on a budget of just €5 million which had not yet been released in the United States.  Based on great word of mouth at film festivals including Cannes and Toronto, it wove its way into the hearts of Oscar voters over more conventional films.

The story is simple and powerful.  It’s set in the 1980s and features a dystopian version of New York City where the landmarks are the same… but animals live there as opposed to humans.  The central character is a lonely dog who has a nice apartment but no friends to share it with.  In search of companionship, he orders an Amica 2000 robot after seeing a television infomercial.  The two quickly become inseparable with the fast-learning robot developing a habit of mimicking those around it (whether it be holding hands, or giving the “middle finger”).

Tragedy then strikes.  After a day swimming at the beach, the robot malfunctions and its limbs seize up (probably should have got it wet).  The dog has no way of fixing his friend and it is left on the shoreline as security lock the beach’s gates for the upcoming winter.  Not only is he back to being alone, the poor dog now as the added baggage of losing his closet companion.

It takes a little while to get going but this is an outstanding film.  Now is probably for the time to mention there isn’t a single word of spoken dialogue in the entire movie.  Just like The Shaun the Sheep Movie, we understand and empathise with these characters because of their actions and facial expressions.  This approach also gives it universal appeal.  It’s a Spanish-French co-production but with no words, there’s no need for subtitles.

The script is based on a 2007 graphic novel authored by American Sara Varon, and writer-director Pablo Berger deserves praise in keeping the essence and grittiness of the material.  There’s an upper layer which kids can easily follow but there are other deeper layers which require a higher maturity level to fully grasp.  It creatively blends dreams with reality, it delves into the subject of loneliness, and it’s not afraid to be dark and sad.  There’s much to soak up within the 102-minute running time.

At a time when animated features are feeling more and more formulaic, Robot Dreams is an original entry which stands out from the pack.

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Written by Matthew Toomey

Created: 16 April 2024

It’s the summer of 2019 and two 31-year-old professional tennis players take to the court in the men’s final of a low-grade Challenger event in New York State (first prize is just $7,200).  On one side of the court is Art Donaldson (Faist), a 6-time grand slam winner desperately trying to find form in lead up to the only major title that has eluded him, the U.S. Open at Flushing Meadows.  On the other side is Patrick Zweig (O’Connor), an unorthodox-serving journeyman with an empty bank account and a similarly empty trophy cabinet.

These two guys have a long, complicated history and writer Justin Kuritzkes (husband of Past Lives director Celine Song) explains through a series of flashbacks which mirror the momentum of the current day match.  Art and Patrick became close friends when they attended a tennis boarding school as 12-year-olds and, knowing each other’s games inside out, they teamed up to win a junior doubles title at the U.S. Open a few years later.  The world was at their feet.

Professional athletes are curious creatures.  When golfer Scottie Scheffler spoke to the press after winning The Masters earlier this week, he was asked about his mindset before the final round.  He was forthright in saying that “I wish I didn’t want to win as badly as I did” and that “I love winning, and I hate losing.”  There are many elements which go into a development of a top-level sportsperson, but these comments highlight that one often needs an intensely competitive personality to succeed.  The fear of failure can be a great motivator or a career-ending retardant.

Directed by Luca Guadagnino (Call Me by Your Name), Challengers taps into the idea that competitive juices can’t be simply switched off upon leaving the court.  It’s part of our DNA.  Art and Patrick fall in love with the same girl, rising tennis star Tashi Duncan (Zendaya), and the pair’s friendship fritters away.  They share a metaphorical “rally”, emphasised through the film’s cinematography and editing, as each tries to execute the perfect forehand winner.  Unsportsmanlike conduct is not confined to the tennis court.

Often the case with sporting flicks, the material is dumbed down to broaden appeal and make the plot more cinematic.  Do I think an out-of-form grand slam champ would play a Challenger event in the lead up to the U.S. Open?  Never.  Do I believe the reactions of the crowd and chair umpire during the big final?  No way.  Do I think the stiff, simplistic “tennis chat” between characters is a realistic depiction of pro athletes?  Nope.  Does the climax make sense?  Um…

Challengers is still a terrific film and it’s great to see Hollywood getting behind a romantic drama with meaty ideas.  The three stars are superb – Josh O’Connor (God’s Own Country) as the smooth-talking extrovert who likes pushing people’s buttons, Mike Faist (West Side Story) as the submissive boy-next-to-door who is continually unsure of himself, and Zendaya (Dune) as the no-nonsense puppeteer who wants a piece of them both.  The power games between the trio are riveting to watch and their probing conversations offer insight into their characters without giving everything away.  It also triggered memories of the brilliant Alfonso Cuarón 2001 drama Y tu mamá también.

Guadagnino spices things up with a 1980s-like techno film score from Oscar winners Trent Reznor and Atticus Ross (The Social Network) and a stylish depiction of the tennis scenes to avoid them looking like a traditional televised match.  With lots of memorable scenes (everything from a sauna confrontation to a Tinder date in a hotel lobby), Challengers is a movie which entertains while offering plenty to chat about afterwards.  Relationships come in many shapes and sizes!