Hugo Weaving is really the main reason to check this film out as he completely anchors everything about it. Movie is about this father and son who as the movie goes on we find out are on the run from the cops and we find out why and what the exact nature of their relationship is--and that's actually one of the nice mysteries of the film. We never quite know at least until the end exactly what the level of relationship is between this father and son team---do they love each other? detest each other? does one have wildly different feelings about the other then the other does about them? it's very much to the movie's credit that we really cannot take it for granted that the son either loves or hates his dad and ditto the dad to his son. The film does a very good job conveying that complexity of their established relationship.
Unfortunately once you get past the father and son stuff--there's not really a whole lot else to the movie content wise---its the two of them on the lam kind of, and the two of them alternatively bickering (sometimes viciously so) and bonding (sometimes very sweetly so) the only thing that keeps the movie from getting repetitive tho is the 2 performances--again Weaving just anchors the movie with his glowering yet oddly somewhat sympathetic character and the kid who plays his son Chook is equally as good at going back and fourth between wanting nothing more then to escape his dad and loving him with all his heart.
There's also a very compelling visual element to the film that helps the film move along in its somewhat lumbering middle section nicely enough. There's a scene where it literally looks like Weaving is driving his car in the middle of a lake--its not quite what it looks like--and i'm sure people in Australia will understand immediately what the car is driving on--but I had no idea why it looked like the car was driving on water! About the lumbering middle section--I suppose the reason its like that is because the film is more concerned with trying to be somewhat realistic and playing up the realism of the situation between the father and the son rather then playing up the drama of them being on the lam--and it works very much in the film's favor as you get to care about the two of them and what's gonna happen largely because of this. Unfortunately it also has the effect of making the film seem somewhat slower then it should be, but you know this is a small intimate father and son movie and that's probably the way the pace should be.
One quick thing about that ending---when it was over a number of the people i was in the theater with were grumbling about why it had to be that way--but the movie absolutely has the right ending--in fact you could say it has the only ending the movie could have and still feel true to itself. It was a pretty good movie overall but definitely a hard one to cuddle up to! (and Hugo Weaving's character shouldn't have it any other way.)
Unfortunately once you get past the father and son stuff--there's not really a whole lot else to the movie content wise---its the two of them on the lam kind of, and the two of them alternatively bickering (sometimes viciously so) and bonding (sometimes very sweetly so) the only thing that keeps the movie from getting repetitive tho is the 2 performances--again Weaving just anchors the movie with his glowering yet oddly somewhat sympathetic character and the kid who plays his son Chook is equally as good at going back and fourth between wanting nothing more then to escape his dad and loving him with all his heart.
There's also a very compelling visual element to the film that helps the film move along in its somewhat lumbering middle section nicely enough. There's a scene where it literally looks like Weaving is driving his car in the middle of a lake--its not quite what it looks like--and i'm sure people in Australia will understand immediately what the car is driving on--but I had no idea why it looked like the car was driving on water! About the lumbering middle section--I suppose the reason its like that is because the film is more concerned with trying to be somewhat realistic and playing up the realism of the situation between the father and the son rather then playing up the drama of them being on the lam--and it works very much in the film's favor as you get to care about the two of them and what's gonna happen largely because of this. Unfortunately it also has the effect of making the film seem somewhat slower then it should be, but you know this is a small intimate father and son movie and that's probably the way the pace should be.
One quick thing about that ending---when it was over a number of the people i was in the theater with were grumbling about why it had to be that way--but the movie absolutely has the right ending--in fact you could say it has the only ending the movie could have and still feel true to itself. It was a pretty good movie overall but definitely a hard one to cuddle up to! (and Hugo Weaving's character shouldn't have it any other way.)