In the Australian outback, a park ranger and two local guides set out to track down a giant crocodile that has been killing and eating the local populace. During the hunt, one of the guides... See full summary »
A woman living in Dallas discovers that her husband, from New Zealand, is actually a crazed serial killer who murders prostitutes. She helps the authorities arrest him, and he is sent to a ... See full summary »
Down-on-their-luck drifters Kearney and Martin wander into the small town of Cedar Creek looking to swindle a few pounds from the locals. After a not-too-friendly reception, the pair decide... See full summary »
Lewis is a young Sydney amateur theater director at his first experience: he is offered a job with a Governmental program for the rehabilitation of mentally ill patients in a Sydney ... See full summary »
Monterey, California in the 1940's. Cannery Row - the section of town where the now closed fish canneries are located - is inhabited primarily by the down and out, although many would not ... See full summary »
The remains of Aeneas Gunn, and several other characters featured in the book and movie, are buried in the Elsey Cemetery. Jeannie Gunn is buried in Melbourne, but there is a memorial next to her husband's grave, which reads IN loving memory of the "Little Missus" JEANNIE GUNN Born. June 5th 1870. Died. June 9th 1961 See more »
"Once it gets its hooks in you, you'll Never Never want to leave."
We of the Never Never was a real surprise: sounding like one of a thousand other woman-making-her-way-on-the-frontier movies, albeit set in the Australian outback, it actually turns out to be a terrific piece of old-style epic film-making on a grand scale. The unexpected casting pays dividends: Angela Punch McGregor conveys just the right strength of character for someone simultaneously trying to fit in where she's not wanted and who is still open to what those around her have to offer, white or Aborigine, while Arthur Dignam's very unlikeliness as a cattle station manager works in his favour.
Gary Hansen's scope photography is truly breathtaking, and director Igor Auzin's mastery of the frame without losing sight of his characters is so impressive that you wonder why he only made one more feature. The 2.35:1 ratio is not just window dressing either: not only does it stress both the vastness and hard beauty of the place, but it also serves to highlight the marginalisation of the various characters by class, gender or race. Pretty terrific.
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