Reg and Lindsay run an organic fertiliser business. They need a fresh supply of their "secret ingredient" to process through the meat grinder. Reg comes across two guys and a girl with a broken-down vehicle on their way to a music festival.
Set in northern Australia before World War II, an English aristocrat who inherits a sprawling ranch reluctantly pacts with a stock-man in order to protect her new property from a takeover plot. As the pair drive 2,000 head of cattle over unforgiving landscape, they experience the bombing of Darwin, Australia, by Japanese forces firsthand.
Jack is pushed past the brink of his stalking obsession when he decides to break into Emily's home to take what he wants by force. However, his plans for her pain and his pleasure come ... See full summary »
First of only two theatrical feature films directed by David Baker. The second was Best Enemies (1985). Baker did however direct one of the four segments ("The Family Man") in the feature film Libido (1973). See more »
During the match against Richmond, the commentator gives the score as South Melbourne 8 5 53 to Richmond 13 13 91. In the next shot, the scoreboard shows the score as South Melbourne 9 11 65 to Richmond 17 6 108. See more »
You know what I think? I reckon you think it's as good as a holiday seeing how the other half lives. Cheap restaurants, legal advice to bums and has beens. Sleeping around with...
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It's been surprising how few sports-related films have been made in Australia considering how obsessed the country is about sport and how it's treated as a major factor in the national mindset.
Therefore it's particularly disappointing that this film about the indigenous sport of Aussie Rules football - centred around country footballer McCarthy kidnapped to play in the big city league - is such a dud. You know it's in trouble in the pre-credits sequence which is full of mindless, inane activity and bad mugging by the actors, resulting in zero entertainment value.
And it never really recovers. The main culprit is the frenetic, tiresome direction by David Baker which never allows anything of promise to develop. And for all the 'anything goes' attitude the film is desperate to portray, the plot is relentlessly obvious and predictable.
One aspect does survive though - the central romance between McCarthy and a teacher played by Judy Morris is quite sweet and even moving at times. Credit for this goes to Morris' genuine and affecting performance, especially impressive in the context of the caricatured hysteria from most of the cast.
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