This is the story of teenage girl Steph, who is brought up by her fiery aunt Jude after her pregnant mother Jass and Vietnamese father are killed in a car crash. The arrival of her late ... See full summary »
Hanif and Dean steal a cache of drugs from Dean's psychotic brother Jerry, and at the last minute get a lift with Mimi as she decides to drive to Perth. They pick up a drunken singer, ... See full summary »
The story is about Iris' rise to the apex of a love/power triangle that includes her roguish English lover, McHeath and Art, an earnest young boxer. Within the flawed moral landscape, each character struggles to establish their sovereignty.
Harvey, a self-doubting private investigator, plans to marry his girlfriend until he is hired to solve an adultery case and discovers the adulterer is cheating with his fiancée. Lost and ... See full summary »
A modest man is suddenly seized from his apartment and interrogated by the police for what initially is presented as involving a stolen car, but its slowly revealed to involve a serial killing. Meanwhile Internal Affairs is investigating the manner in which the investigating officers work. Written by
John Sacksteder <email@example.com>
I'm interrupting this interview for the purpose of making further inquiries.
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At the beginning of the New Yorker Video DVD, right before the main menu appears, a quote of Eddie Fleming fills the screen: "Just goes to show you how the mind works." At the very end, after the credits roll, a quote of Det. Steele fills the screen: "I don't know Mr. Fleming, how does the mind work?" But if you run the end credits a second time a different quote appears at the end, this time from Det. Prior: "It's about a fucking stolen fucking car you fucking fuckwit." See more »
Most audiences around the world would by now know who Austrialian actor Hugo Weaving is, after appearing in big budgeted Hollywood trilogies like The Matrix and The Lord of the Rings. The Interview presents one of his earlier works in an Australian film, and my, does he show off his acting chops in this.
Hugo Weaving plays Eddie Fleming, a simple man whose just been retrenched from his job, separated from his wife and living off state welfare. The film begins with him being literally yanked off his sofa chair at home, when the cops barge in and arrested him with strong arm tactics. Later he's told, that he's in for a car jacking incident.
However, Fleming pleads innocence to chief interrogator John Steele (played superbly too by Australian actor Tony Martin), who has a reputation of solving crimes, regardless of the methods used. It's one man against the other, as Fleming initially begins as an innocent helpless man, clueless to why he's bring held in a police station, undergoing an interrogation.
As we go along, we see a power play between the two men, as each try to gain one up against the other. We start to question Fleming's innocence, as he begins to drop various hints that he might be involved in the crime Steele is investigating, and perchance, might be the serial killer Steele is looking for. The tension built between the two is tremendous, and both hold court against each other. Also added to the subplot is the exploration of ethics into Steele's techniques, and the politics of policing, investigations and the conducting of interrogations and interviews.
It's excellent storytelling if you're willing to put up with little or no action, but laden with plenty of insightful dialogue. Weaving adds a beautiful dimension to the character of Fleming - innocent man, guilty sinner, schizophrenic, or just manipulator? You'll also learn a bit about the Australian police and justice process at the evidence gathering stage, and one in which Fleming takes advantage of quite skillfully.
So for fans of Hugo Weaving, you might want to pick up this DVD to check out his performance.
This Code 1 DVD contains the theatrical trailer, cast biographies, cast interviews with Hugo Weaving and Tony Martin, an audio commentary by the director/writer Craig Mohanan, and deleted scenes, one of which features an alternative ending.
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