Best friends Marie and Alexia decide to spend a quiet weekend at Alexia's parents' secluded farmhouse. But on the night of their arrival, the girls' idyllic getaway turns into an endless night of horror.
Desperate to repay his debt to his ex-wife, an ex-con plots a heist at his new employer's country home, unaware that a second criminal has also targeted the property, and rigged it with a series of deadly traps.
After kidnapping and brutally assaulting two young women, a gang unknowingly finds refuge at a vacation home belonging to the parents of one of the victims: a mother and father who devise an increasingly gruesome series of revenge tactics.
Three backpackers travel into the Australian Outback only to find themselves stranded at Wolf Creek crater. Once there, they are encountered by a bushman, Mick Taylor, who offers them a ride back to his place. Little do the three know that their adventure into the Outback would be a complete nightmare after the backpackers find a way to escape.
No scenes were written specifically for cloudy or wet weather, neither was it a directorial decision to have such scenes. The film's shooting schedule was simply so tight that the crew had to film at all times, regardless of conditions. As such, when it was realized that they were going to have to shoot in the rain, the script was hastily rewritten to include references to the fact that it was unexpectedly raining. See more »
(at around 36 mins) When trying to start the car after leaving Wolf Creek, the engine wouldn't turn. Later he says that this is the coil pack. A faulty coil pack wouldn't stop the engine turning over. However, as Mick knows that none of the three backpackers know anything about engines, he can say whatever he likes is wrong, and they'll believe him. See more »
[he grabs a wounded Liz and holds her up; she starts screaming. Mick laughs]
I got a bullet hole in me neck and I'm not whingeing, am I? No!
I'm gonna have to do something, Lizzy. So as you don't try and run out on me, you know? It's... It's a little trick they used to use in the Vietnam War, you know? So they could take prisoners and they still get the same information out of 'em! But the little buggers didn't escape!
[Mick shakes Liz and shouts in her ear]
You with me? You with me?
[...] See more »
The producers would like to thank ... the people of Hawker, Port Augusta, Flinders Ranges and South Australia, ... Frank, Marie and the entire Mclean family See more »
The film was released on DVD in the United Sates in both a rated and an unrated version, with the unrated version running roughly five minutes longer than the rated version. Two new scenes were added to the unrated version (although both of these scenes are contained on the rated DVD as deleted scenes):
Wolf Creek has a completely standard basic story for this kind of genre movie - travelers in isolated location encounter sadistic nut. Despite this, it's what writer/director Greg McLean does with the details which makes a difference.
The outback locations are rendered with a nice eye and evoke a sense of spooky isolation - anything could happen to you out here and no-one would know, much less be able to help. There is also the much discussed 'dark side of Crocodile Dundee' element - frankly, I can't believe it's taken so long for someone to conjure this one up, and McLean clearly delights in stabbing a knife through the heart of the mythical Aussie archetype. I think he's actually gotten to an uncomfortable, close-to-the-bone truth about the psyche of certain Aussie males, and John Jarret is eerily similar to the kind of individual one would encounter in many a country pub down under.
The fact that this is an Australian film also makes it a rare bird indeed. For some unfathomable reason, the Oz industry rarely does genre, and when it does, usually doesn't do it well. With this in mind, Wolf Creek is something of a breath of fresh air. Yes, it hews pretty closely to the codes and rules of its genre, but for the most part it does it well, and for my money, what works about the film is strong enough to make some of the weaker plot moments forgivable.
Will Gibson's HD camera-work is impressive, maintaining a consistent style from start to finish, aided by solid editing, score and sound design. Now maybe people will stop whining about how 'we can't make genre films here' and we might see some imagination and variety creep into Australian cinema.
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