Former musician Frankie Wilde is a legend within the Ibiza club scene for being the most inspired DJ around. On top of that, he has a beautiful model wife named Sonja Slowinski, although ... See full summary »
A coming-of-age comedy about a young Sydney band trying to get a foothold in the competitive world of rock n' roll. After the band's first gig is a colossal failure, the lead singer takes it upon himself to go out and pursue the most successful rock manager in the country. Meanwhile the other members of the band continue to deal with the kind of every day life issues that can ultimately tear a band apart. It may be the dawn of a new millennium but it's still a long way to the top if you want to rock n' roll. Written by
Sujit R. Varma
This film is a disappointment. It tries too hard to be cool and too little to be interesting. The love triangle is never compelling and the "will they/won't they make it" story would work only if we cared. As it is we have a bunch of annoying musicians doing not much in not much of a movie.
Filmed in location in Newtown - where I live - it was interesting to see my haunting ground on the big screen. Also many of my friends were extras in the film, but all ended up on the cutting room floor. A shame cause for me having them in it would have been the highlight, nothing else was.
On a positive note, Australian Actor Russell Dykestra does a great job as the manger/roadie of this unsuccessful garage band. The rest of them however seem terribly miscast.
Maya Stange looks reasonably vacant throughout, like she really would prefer to be somewhere else - and who could blame her. Pia Miaranda and Kick Curry - both so good in "Looking for Alibrandi" a few years back, fail to light any sparks here.
The style of the film is so erratic as to be positively frustrating, never more so than when we get the slow motion "let's get inside their heads" scenes where the characters voice over tells us unnecessary and frankly not very enlightening exposition. And as for the drug scenes - well terrible drug cliche doesn't even begin to cover it.
The final song and dance scene played during the credits is the best bit of the film, trouble is you have to sit through the rest of it to get there.
Alex Proyas (The Crow, Dark City) works best when he deals with dark, broody, mystery subject matters. Light quirky Australian comedy clearly isn't his forte.
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