A group of young backpackers, one Australian; Ben and two British; Liz and Kristy head out on a road trip to Darwin, but on their way there they stop off at Wolf Creek National Park to have a gander at the scenery surrounding the enormous crater and of course to have some fun. After returning back to the car to get going, they find out the car's dead. So, they get ready to spend the night there, but that's until Mick, a local stumbles across them and offers to fix their car by toeing it back to his place. They accept the offer, but little do they know that his kind gesture will have devastating consequences.
After my sister bragged about how excellent it was after seeing it at the cinema and then again after purchasing the DVD and so did a friend of mine who thought it was surprisingly good, I thought I held off long enough and I just had to see it for myself. Well, I don't know why it took me this long, but this was one relentlessly, realistic horror piece that I thought delivered when it came to the crunch. The simply plotted story might not be anything special since its quite derivative of other horror films and its inspired ( that's loosely of course) by some infamous Australian crimes, but the film knows how to get under your skin with its alienating, desolate landscape and extremely intense, sadistic violence. And not to forget Mick Taylor's totally unnerving outback larrikin Mick; who steals every frame he's in with that thick crusty accent and that menacing cruel streak, which comes from nowhere.
I see and read many complaints about the opening 50 minutes being boring, sure it's damn slow, but I thought the lurking dread and realism of these characters are rather nicely milked out within that time period that when it hit it strides, we're taken out of our comfort zone because we're confronted with this realistic situation of horrifying desperation of manipulative pain and terror amongst a vastly harsh terrain where its easy to disappear and if you don't; there's just no real escape from this scarring mentality. The way Mick strings along his captors, is like a cat playing around with a mouse; it's intensely, unsettling with the taunts and the way he lets them squirm about without entirely cutting away. It's explosively rough and brutal in nature, by taking grip of you and refusing to let go without resorting to any gloss. Anyhow, you don't want to see someone go through that sort of ordeal, even if you don't entirely care for them. Well, maybe not if you're one sick puppy ;). But anyway you should know what you're getting yourself into when watching a film like this. I wouldn't go on to say it overly explicit, but there are two or three memorably grisly moments that might be too much for the faint-hearted. More so it drums out a malicious vibe in these acts than actually being gorily, over-the-top.
All of this bleakly, psychological terror doesn't crop up until the last 35 minutes, but its definitely worth the wait. The story might be familiar but it does provide a couple of surprises and the sparse script is basic fluff with some macabre and offbeat humour flowing through its veins. After getting to know the three and watching them fool about, made the third act for me menacingly uneasy. Some illogical lapses are evident which might go beyond belief and you might think there are some stupid actions taken, but would you be thinking entirely straight after being through this kinda mess. What wasn't a mess was the gallant direction of Greg McLean who beautifully brought out the picturesque backdrop with its sprawling, bone dry landscape that was eerily haunting because of the isolation and ghost-like appearance. It relies on its intrusive camera-work to give it a nitty gritty feel that overwhelms the viewer because of the naturally hypnotic viewpoint with some visually impressing shots. The set-pieces are impeccably well staged with zest and precision in its horrific matter. The score plays it low-key and it works the better for it, within keeping with the unbearable, loneliness that illustrated. The characters might not be fully developed, but they're down-to-earth. The performances are strong enough by Nathan Phillips, Cassandra Magrath and Kestie Morassi to make you pay notice and make you feel and believe what they're going through. The film has obviously gone back to its horror roots to deliver one bone rattling, in-your-face kind of fear where appearances can be deceiving.
A gruellingly, pulsating rural shocker that might not reach the heights that it's talked up to be, but the film does have potential and is compellingly effective nonetheless.
After my sister bragged about how excellent it was after seeing it at the cinema and then again after purchasing the DVD and so did a friend of mine who thought it was surprisingly good, I thought I held off long enough and I just had to see it for myself. Well, I don't know why it took me this long, but this was one relentlessly, realistic horror piece that I thought delivered when it came to the crunch. The simply plotted story might not be anything special since its quite derivative of other horror films and its inspired ( that's loosely of course) by some infamous Australian crimes, but the film knows how to get under your skin with its alienating, desolate landscape and extremely intense, sadistic violence. And not to forget Mick Taylor's totally unnerving outback larrikin Mick; who steals every frame he's in with that thick crusty accent and that menacing cruel streak, which comes from nowhere.
I see and read many complaints about the opening 50 minutes being boring, sure it's damn slow, but I thought the lurking dread and realism of these characters are rather nicely milked out within that time period that when it hit it strides, we're taken out of our comfort zone because we're confronted with this realistic situation of horrifying desperation of manipulative pain and terror amongst a vastly harsh terrain where its easy to disappear and if you don't; there's just no real escape from this scarring mentality. The way Mick strings along his captors, is like a cat playing around with a mouse; it's intensely, unsettling with the taunts and the way he lets them squirm about without entirely cutting away. It's explosively rough and brutal in nature, by taking grip of you and refusing to let go without resorting to any gloss. Anyhow, you don't want to see someone go through that sort of ordeal, even if you don't entirely care for them. Well, maybe not if you're one sick puppy ;). But anyway you should know what you're getting yourself into when watching a film like this. I wouldn't go on to say it overly explicit, but there are two or three memorably grisly moments that might be too much for the faint-hearted. More so it drums out a malicious vibe in these acts than actually being gorily, over-the-top.
All of this bleakly, psychological terror doesn't crop up until the last 35 minutes, but its definitely worth the wait. The story might be familiar but it does provide a couple of surprises and the sparse script is basic fluff with some macabre and offbeat humour flowing through its veins. After getting to know the three and watching them fool about, made the third act for me menacingly uneasy. Some illogical lapses are evident which might go beyond belief and you might think there are some stupid actions taken, but would you be thinking entirely straight after being through this kinda mess. What wasn't a mess was the gallant direction of Greg McLean who beautifully brought out the picturesque backdrop with its sprawling, bone dry landscape that was eerily haunting because of the isolation and ghost-like appearance. It relies on its intrusive camera-work to give it a nitty gritty feel that overwhelms the viewer because of the naturally hypnotic viewpoint with some visually impressing shots. The set-pieces are impeccably well staged with zest and precision in its horrific matter. The score plays it low-key and it works the better for it, within keeping with the unbearable, loneliness that illustrated. The characters might not be fully developed, but they're down-to-earth. The performances are strong enough by Nathan Phillips, Cassandra Magrath and Kestie Morassi to make you pay notice and make you feel and believe what they're going through. The film has obviously gone back to its horror roots to deliver one bone rattling, in-your-face kind of fear where appearances can be deceiving.
A gruellingly, pulsating rural shocker that might not reach the heights that it's talked up to be, but the film does have potential and is compellingly effective nonetheless.