Steve Beck (Vince Martin) is a Karate instructor, Robby Mason (Tom Jennings) his prize student. Beck is using drugs to give him an edge. Guy Duncan (Craig Pearce) is Beck's drug connection ... See full summary »
A comedy of life's temptations - lust, greed and power. The city in question is Sydney and the colour green signifies greed and envy in David Williamsons amusing satire on its film and ... See full synopsis »
PC Simpson is an enthusiastic surfer. With the help of his father's company's engineer Howard he develops a high tech surf board for the coming world surf championship. But then he falls in... See full summary »
In the near future, drive-in theatres are turned into concentration camps for the undesirable and unemployed. The prisoners don't really care to escape because they are fed and they have a ... See full summary »
Danny has been sent to boarding school, in this sequel to The Year My Voice Broke. Against a backdrop of bullying and sadistic teachers Danny strikes up an affair with an African girl, ... See full summary »
Australian stuntman Grant Page goes to Los Angeles to work on a television series. He uses his spare time to lend his expertise to rock band Sorcery, whose act features duels between the ... See full summary »
Monique van de Ven,
A group of harden criminals on the lam take refuse in the badlands of the Australian outback. When they come across a small settlement they take hostages in case the law shows up. But are ... See full summary »
A masterpiece of cinematic quasi-magic-realism, very much in thrall to Godard and Truffaut's aesthetic, replete with a distantiating Verfremdung that evokes Brecht at his most polemically abstruse. The spectator is at once him/herself simulacrum (or indeed fractured cultural mirror) and bearer of celluloid epiphany in this disquisition on unceasing motion, which evokes image as thief (or "bandit" - highwayman) of desire in Debord's ideologically moribund "society of the spectacle". The BMX - the "cycle" - becomes a metonym for life itself, turning as if a wheel on the caprices of youthful abundance and fecundity, to end its superficial existence as a superannuated fad must perish, in a dwindle to aged redundancy. The very nature of recreational cinema is thus called into account; through a mise-en-scene that purposefully and self-reflexively explodes notions of suture and consequent artistic rupture, Bandits holds forth against its own, revolutionary coups de theatre, challenging, distorting and toying with our perceptions of classical justice, the "natural", and the sublimely revolving (yet easily punctured) inner-tube of carnal temporality: thus "spoke" Zarathrustra.
36 of 67 people found this review helpful.
Was this review helpful to you?