Animated Smurfs

Animal Kingdom (2010)

The backdrop to this movie is Melbourne, Australia in the mid-1980′s, which (according to the director) had one of the highest per-capita murder rates in the world. At the time, there were several deaths in Melbourne in which wanted and suspected criminals were killed by the police under suspicious circumstances. These killings in turn supposedly ignited a slew of retaliatory murders perpetrated on police officers (cf. the “Walsh Street” police shootings).

This is a movie about a young man (Josh or “J,” played by James Frecheville) whose extended family are all criminals. Using the character of seventeen-year-old J as a sort of catalyst, the movie explores a variety of crime-related issues, from the effects of growing up in a world where criminal activity is the norm, to the escalation of crime that is a natural consequence of vigilantism (especially when the vigilantes are police).

The characters are all played very well, with exceptionally good performances given by Ben Mendelsohn, Jackie Weaver, Sullivan Stapleton and young James Frecheville in his debut as J.

While “Animal Kingdom” starts slowly (perhaps -too- slowly for some), it continually builds in intensity throughout the entire movie, culminating with an ending that is both shocking and yet inevitable. In particular, the movie has a very compelling scene played perfectly by Mendelsohn, with an awesome supporting role played by Luke Ford – I’m sure this scene repulsed many in the audience (it certainly repulsed me). At first, I feared that the scene was added by the director merely as a gratuitous exploitation of the audience’s emotions. However, as the movie progresses, the scene’s outcome becomes an integral part of the plot development, and is therefore necessary for the completion of the main story.

This movie will not be for everybody – the subject matter and the honest way in which the movie portrays it made the movie somewhat taxing at times to sit through. However, I think those willing to consider the necessity of telling the story of “Animal Kingdom” will find the movie entertaining and thought-provoking – I certainly did.

I will be honest, I have always found it hard to get excited about seeing an Aussie movie. I’m of the general opinion that the Oz film industry is normally too wrapped up in being ‘true blue’ that they forget to make films with a universal theme and subsequently building an output that strays very little. Well hasn’t 2010 proved me wrong. First there was the breath of fresh air that was Bran Nue Dae followed by the memorable American-set debut by Sydney director Andrew Lancaster, Accidents Happen, and the moving WWI drama Beneath Hill 60. Then, like the final dose of a patriotic inoculation to my anti-Oz entertainment views of old, comes first-timer David Michod’s Sundance winning Animal Kingdom, gaining my first five-star rating for the year.

With nary a flaw to be found, this crime-drama unfolds at a terrifically slow-burning yet somehow exhilarating pace. The intricately detailed tale has been crafted with such care and dedication that every single frame seems to be oozing with importance, whilst the amazing soundtrack significantly adds to the immersive atmosphere. Drawing you in from the very first scene and never letting you go, you can’t help but think about what happens long after the final credits roll. The ambitious movie-making and successful result is even more remarkable when you consider that Michod never resorts to gratuitousness (with violence or sex) or over-the-top, colourful personalities – fallback devices for many modern ‘gangster’ pictures – instead allowing his immaculately constructed story and deeply invested characters, all of whom share a layered relationship with one another, to sweep us away.

Jacki Weaver has received numerous critical plaudits for her unnerving performance as Grandma Smurf – a resourceful, persevering women who’ll stop at nothing to protect her boys – and deservedly so; the powerful handle she has on her sons and her willingness to embrace the criminal environment is deeply disturbing and chilling. Also tremendous, and for me the acting highlight of the picture, is Mendelsohn. An eerily quiet felon that can explode into unhinged and desperate violence at any moment, the monstrous Pope commands every bit of our attention. Witnessing his calm exterior when being arrested by the cops for a heinous crime – either because he assumes he’ll go free or because going to prison just doesn’t faze him – is extraordinary. Elsewhere youngsters Frecheville and Ford do a commendable job holding their own against such an experienced cast; Stapleton is fascinating as the drug-fuelled middle sibling; adding class and impact as always is international star Pearce whilst the immensely talented Edgerton presents a likable and charismatic alternative as Cody family friend Barry.

A triumph of Australian cinema, this could very well be one of our nation’s greatest.

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