AUSTRALIA AFTER DARK -- DVD Review by Porfle

Originally posted on 12/13/11

 

If you're in the mood for something spicy, saucy, and hot, try some buffalo wings.  Otherwise, you may prefer AUSTRALIA AFTER DARK (1975), one of the dullest schock-u-mentaries ever.  It's like cashing in all your boredom points and taking a cross-country bus ride to Yawnsville.

Ozploitation director John Lamond, who would later give us NIGHTMARES (so to speak) and FELICITY, leads us on a MONDO CANE-inspired tour through the down-under of Down Under with this disjointed cinematic grab bag.  Opening with what looks like a poor man's Bond-movie titles sequence (nude blonde slowly rotates against black backdrop as strobe light flashes) and some understandably sad-looking aborigines, we're then treated to a leisurely succession of unrelated vignettes ranging in interest from slight to none, roughly half of which involve naked people. 

Unfortunately, Lamond's lens seems to have attracted some of the homeliest 'roo babes in Ozzie Land like moths to a flame, and some of them brought their butt-nekkid boyfriends with them.  As the monotonous narrator drones relentlessly on, we watch them sunbathing in the nude, swimming in the nude, painting each other's nude bodies, and nuding it up during Satan-worshipping rituals and custom bikini fittings.
 


The low-budget cinematography and painful 70s fashions combine with the meandering narrative to create an effect that's strangely enervating.  A promising drive through the King's Cross district (sort of like Times Square in its sleazy days) leads to a body-painting segment that resembles an old Alka-Seltzer ad.  A visit to a gathering of sado-masochists ends just as someone's being racked up, then segues into a study of ancient aboriginal rock paintings, a tour of the gallows at Old Melbourne Gaol, and an upper-class restaurant that serves snakes and grubs.  It's kind of like watching "History Channel After Dark."

More weirdly boring stuff includes a bunch of beer-guzzling losers in a field betting on a game in which they toss coins onto an outstretched blanket, followed by some waterless boat races held in an arid region (even during this non-sexual sequence, the camera lingers under a stairway and peeks up the skirts of passing girls like a dirty old man).  Then, before we've had a chance to catch our breath, the film whisks us out to the airport to watch planes taxi around for awhile.  It's exciting because this is how jet-setters travel to different places!

After tattling on the inordinate alcoholic intake (52 gallons per person annually) in Australia's Northern territories and showing us more sad aborigines boozing their troubles away, we go to the country's gay capitol, Perth, to witness (gasp) two guys getting married.  This sequence proves once and for all that gay weddings are just as boring as straight ones, and we don't even get cake.  A sexually-ambiguous stripper performs, then a woman talks about all the "saucer craft" that have landed in her field as we see a montage of familiar UFO photographs.



Things start to heat up a tad when a naked blonde is tied to an inverted cross and boffed by a guy in a fright mask (it's those pesky Satan-worshippers I mentioned before).  A lengthy stretch near the end tries to regain our dwindling attention by focusing entirely on nude women engaged in various activities such as bathing in milk and mud (the latter being a spiritual return to the primordial slime or whatever) and having guys slurp food off their bodies.  Dispensing with the subject of Australia altogether, the narrator then gives us a lecture on what a "fetish" is while a lingerie-clad woman poses.

In the penultimate segment, we meet transvestite oddball Count Cornelius, who is what you might call a "lifestyle comedian."  The Count amuses himself by spouting proclamations ("Beautiful schoolgirls remind me of sexy nuns") and festooning his environment with placards containing "Laugh-In" style one-liners.  Talk about After-Darksville!  The film mercifully draws to a close at last with some relaxing shots of a nude Gina Allen snorkeling on the Great Barrier Reef with some fish, as the narrator informs us that she's returning to--you guessed it--the primordial something or other.

After trying to find a way to enjoy this movie--the usually surefire "so bad it's good" deal wasn't working here--I finally realized that a trancelike surrender is required to endure it, much like the educational films they tried to bore us to death with in grade school (only with more full-frontal nudity).  One of the nicer things about AUSTRALIA AFTER DARK is that the score seems to have been gleaned from the same music library used by the better porn filmmakers of the 70s.

The DVD from Intervision is "fully restored from a print discovered in the cellar of the Lower Wonga Drive-In" and is widescreen with Dolby Digital 2.0 sound.  There's an audio commentary with director Lamond and "Not Quite Hollywood" director Mark Hartley, but my copy of the DVD seems to be missing the trailer reel mentioned on the box. 

About as shocking and titillating as a pile of wet socks, AUSTRALIA AFTER DARK does boast a kind of tranquil monotony, and is, in the words of Douglas Adams, "mostly harmless."  Finally making it to the end credits is a catharsis similar to walking out of the hospital after a long stay--you feel weak as a kitten but pleasantly relieved that it's over.

AUSTRALIA AFTER DARK -- DVD Review by Porfle

THE ABC OF LOVE AND SEX AUSTRALIA STYLE -- DVD Review by Porfle

Originally posted on 12/18/11

 

Ozploitation director John D. Lamond returns to titillate us once again with 1978's THE ABC OF LOVE AND SEX AUSTRALIA STYLE, a by-the-letters primer on "doin' it" that manages the remarkable feat of making sex boring.

Unlike the previous Lamond documentary we talked about, AUSTRALIA AFTER DARK, this one eschews the scattershot approach and focuses on a single subject.  Assuming we know little or nothing about it ourselves, the film opens during Professor Leonard Lovitt's sex education class for kids and invites us to join them in listening to his lecture.  This sequence is done with stop-motion animated puppets and is pretty much the only marginally charming part of the whole thing. 

As the professor starts his projector, the film proper begins with two women in leotards dancing badly around some giant alphabet blocks to an innocuous disco tune.  This gives way to a letter-by-letter journey through the alphabet beginning with "A" for "anatomy", in which we're introduced to the differences between male and female genitalia.  (More on that when we get to the letter "G.")  "B" is for "birth", offering some extreme close-ups of a nursing baby that had me thinking, "Huh?"

 

"C" for "contraceptive" seems to be an excuse for some product placement along the lines of the "Budget Rent-a-Car" shots in AUSTRALIA AFTER DARK, and "D" for "dreams" informs us that people like to dream about sex.  Surprisingly, "E" for "erotic", while managing to define the word, comes up short actually demonstrating it.  An attempt to mimic the "erotic" eating scene in TOM JONES consists of two stiffs staring meaningfully at each other while gnashing chicken, grapes, and bananas in an affected manner.  

Elsewhere, another couple pretend to have oral sex in a movie theater--mainly we just see the guy's face--and then join the "mile-high club" by kissing real hard in an airplane.  Kissing real hard seems to be the prevalent means of simulating the sex act in many of these vignettes. 

"F" for "fun" shows us a couple of people hopping around in a bubble bath.  "H" for "homosexual" is an excuse to indulge in "funny" stereotypes as a bunch of queens camp it up during a gay party, followed by a somewhat more enjoyable lesbian encounter.  "Innocence" is equated with "ignorance" as virginity gets the bird.  The scenario used to illustrate "J" for "jealousy", in which a woman tries to pick up a man in a bar, is intended as a startling role-reversal while having nothing at all to do with "jealousy."  As you might guess, "K" for "kiss" shows various couples kissing real hard.

Onward we slog through the rest of the letters as "love", "masturbation", something starting with an "N" that I can't recall, and of course the big "O" are similarly dramatised in lighthearted but relentlessly dull fashion as narrators Michael Cole and Sandy Gore drone monotonously.  This isn't just a parody of a dry, clinical sex manual--it often comes off as one, even throwing in the occasional comment by some Swedish sexologist who resembles Quasimodo's mom.  For anyone actually trying to get off to this movie, her appearances would be the equivalent of thinking about baseball. 

 

It's hard to imagine this tepid pseudo-educational film appealing to the raincoat crowd, though, or even the "watch naughty movies on cable after Mom and Dad have gone to bed" faction.  Observing various (mainly unattractive) couples acting out the enervating voiceover isn't the kind of thing one might want to use as a sex aid, or see at a drive-in or grindhouse.  So who the heck is this largely unerotic sex movie meant to appeal to?  Even the captive audience of an actual "Introduction to Sex" class would find it hard to sit through.

Aside from a snippet of cuteness here and there (the elevator-sex scene reaches the film's peak of verbal humor by deftly including the words "lift" and "elevate" in the narration), the only interest is in the brief bits of nudity, including, at around the halfway point, some actual shots of penetration. 

However, for any couples desperate enough to be using this film to put a cheerful charge into their love life, up jumps "R" for "rape" to throw some cold water on it with a jarringly out-of-place lapse into grim seriousness.  Lamond cheats a bit by giving us "X" for "excellence", and then "Y" for "you" gives him an excuse to recap the entire film with a montage of scenes that were already dull the first time.  As for "Z"...well, he couldn't think of anything for "Z."  What about "zipper"?  Or "zoo"?  Okay, maybe not "zoo."

The DVD from Intervision Picture Corp. is widescreen with Dolby 2.0 sound.  No subtitles.  There's a commentary with director Lamond and "Not Quite Hollywood" director Mark Hartley.  The box mentions a trailer reel but I couldn't find one.

A mildly interesting peek at 70s sexual mores and dull filmmaking, THE ABC OF LOVE AND SEX AUSTRALIA STYLE (which, incidentally, has absolutely nothing to do with Australia) pits lots of nudity and some brief scenes of hardcore sex against unrelenting boredom in a touch-and-go battle that left me teetering on the edge of indifference.  Around about the twentieth time some random couple was shown toying with each other's buttons and kissing real hard, I found myself wishing the alphabet wasn't so darn long.

 

THE ABC OF LOVE AND SEX AUSTRALIA STYLE -- DVD Review by Porfle

TURKEY SHOOT -- Blu-ray Review by Porfle

 

Originally posted on 9/17/15

 

I've seen so many tantalizing trailers for "Ozploitation" flicks lately that it's always a pleasure to get to watch one of these trash classics in its entirety.  That's why a basically awful movie like TURKEY SHOOT, a.k.a. "Escape 2000" and "Blood Camp Thatcher" (1982), gets a cheerful response from me even though many viewers would most likely tune out within the first five minutes.

The Australian film industry during the 70s and 80s underwent a real renaissance of exploitation films that transcended their low budgets and meager production values by cramming in as much violence, gore, nudity, slam-bang action, and overall shock value as they could muster.

TURKEY SHOOT is a prime example, using its by-the-numbers plot (which director Brian Trenchard-Smith of BMX BANDITS fame describes as "I AM A FUGITIVE FROM A CHAIN GANG meets THE CAMP ON BLOOD ISLAND and then plays THE MOST DANGEROUS GAME") like a clothesline on which to pin various chase sequences, gleefully fake but extreme gore, several shootouts and explosions, and some gratuitious nudity for our entertainment. 

Much of the story takes place in a prison camp of the then-future year 2000, where a fascist government sends its disobedient citizens for "re-education."  This, of course, involves terror, torture, sexual humiliation, and mind-control, not to mention a little game in which prisoners are offered freedom if they can survive being hunted like animals by the sadistic warden Thatcher (Michael Craig, MYSTERIOUS ISLAND, THE VAULT OF HORROR) and a group of wealthy, jaded sophisticates.  

Docile citizen Chris Walters (Olivia Hussey, BLACK CHRISTMAS, ROMEO AND JULIET) is imprisoned for being in the wrong place at the wrong time, while Paul Anders (Steve Railsback, LIFEFORCE, "Helter Skelter") is a chronic political offender caught running a renegade radio station.  Rita (Lynda Stoner, "Prisoner: Cell Block H") is a "loose woman" who seems to have been chosen solely for the amusement of the guards.

Our own twisted amusement is piqued early on when hulking chief guard Ritter (Roger Ward, "Fifi" in MAD MAX, QUIGLEY DOWN UNDER) beats inmates to death while his cackling toady Red (American actor Gus Mercurio) tries to violate Chris in the shower but gets the old "caught in the zipper" treatment.  Paul, meanwhile, is subjected to a torture cage which allows Railsback to indulge his penchant for method acting. 

The fact that everything is done on the cheap is more obvious in these early camp scenes than during the hunt, which takes place in the Australian wilderness.  There, however, we get an abundance of hokey gore effects (hands are chopped off, a skull is cleaved by a machete, etc., and a strange man-beast character who accompanies one of the hunters gets cut in half after chowing down on someone's pinky toe) and some poorly-staged action involving a mini-bulldozer that looks quite comical at times. 

The huntress Jennifer (Carmen Duncan) cuts an impressive figure riding her horse while wielding a crossbow that shoots explosive arrows.  Thatcher and Ritter get in on the action as well, as does Noel Ferrier of THE YEAR OF LIVING DANGEROUSLY in the role of "Secretary Mallory."  It's a no-brainer that Paul and Chris will eventually get together and turn the tables on their pursuers, leading to a lively camp-revolt finale that packs in all the blood squibs, explosions, and stock footage that the producers could afford. 

Railsback, hot off his success in THE STUNT MAN, seems a little awkward as an action-guy character and clearly wonders what the heck he's doing shooting a turkey like TURKEY SHOOT.  I've always found him to be an interesting actor though, ever since he played Charles Manson in the 1976 TV-movie "Helter Skelter."  Olivia Hussey seems jittery and uncomfortable throughout--as we learn from cast and crew interviews, she was constantly terrified that the Australian wildlife was out to get her.  This does work in her character's favor, however.  (Her shower scene, incidentally, clearly involves a body double.)

On a technical level, the film is hardly more lavish than a "Mr. Show" sketch.  The camp itself resembles a collection of storage buildings, and there's very little to indicate the story's "futuristic" setting.  (A rousing score by Brian May of MAD MAX fame is a definite plus.)  While director Trenchard-Smith claims that the character name "Thatcher" is part of the film's underlying political message, none of that goes beyond the impact of the typical Facebook meme.

The Blu-ray from Severin Films is in anamorphic widescreen with Dolby 2.0 sound.  No subtitles.  Severin's typically generous bonus features include: "The Ozploitation Renaissance", a recent interview with Aussie filmmakers Brian Trenchard-Smith, Antony I. Ginnane, and Vincent Monton; a solo interview with Trenchard-Smith from the 80s; a director's audio commentary; behind-the-scenes doc "Turkey Shoot: Blood & Thunder Memories"; the film's trailer and an alternate "Escape 2000" title sequence; and in-depth cast and crew interviews from the documentary "Not Quite Hollywood." 

In interviews, both Steve Railsback and Lynda Stoner express their dismay at the finished product, especially in regard to how the original script they were given was gutted and the budget slashed.  Still, none of this really matters--with all its faults, the film has its own sordid charm--and the people most likely to enjoy it are bad-film fanatics anyway, an area in which TURKEY SHOOT delivers in spades.   


Street date: Sept. 22, 2015
Stills used are not taken from Blu-ray

TURKEY SHOOT -- Blu-ray Review by Porfle

NEXT OF KIN -- Blu-ray Review by Porfle

Originally posted on 2/23/19

 

A real gem in 80s Australian cinema, NEXT OF KIN (Severin Films, 1982) breaks through all the usual Ozploitation gore and sensationlism to give us a down-under-sized taste of Euro-inspired horror with touches of Giallo.

Not that it doesn't shock, or shies away from morbid elements that give it a nice shivery ambience.  But in the pleasingly literate script by director Tony Williams and Michael Heath, nothing's gratuitous--every dead, bloated body in a bathtub, every bashed-in skull, every punctured eyeball drives the plot relentlessly forward.

In fact, the story takes its sweet time getting started, allowing us to settle comfortably into the relatively normal world of an ivy-covered old folks' home--actually a sprawling mansion--before gradually turning it into a nightmare. It's here that Linda (Jacki Kerin, effective in her only feature film) grew up and is now returning after having inherited the place from her recently-deceased mother.

Linda's a likable sort with a good head on her shoulders, easing back into old relationships with the townspeople including old boyfriend Barney (John Jarratt, DJANGO UNCHAINED, WOLF CREEK) and taking over the home's frazzled financial management, but even she quickly becomes a nervous wreck when people start dying and generally weird, almost supernatural things begin to happen inside that dark, spooky old building.

Some of it seems to be connected to a mystery surrounding her mother's death and how certain people on the staff may be involved. This includes resident physician Dr. Barton (familiar face Alex Scott of "Lillie", "The Avengers", FAHRENHEIT 451, THE ABOMINABLE DR. PHIBES) and the efficient but enigmatic Connie (Gerda Nicolson, GALLIPOLI, "Prisoner: Cell Block H"), both of whom seem in on some secret they're keeping from Linda.

A new resident, Mrs. Ryan (Bernadette Gibson, "Prisoner: Cell Block H"), adds another shadowy presence to the group of old people whose age and infirmity are played for maximum effect in grotesque and squeamish ways.  Most disturbing of all is the dark, unknown figure who keeps popping up in Linda's periphery like Michael Myers.

The first half of the film indulges us in a slow, simmering buildup with little violence or overt terror but lots of eerie Gothic unease and creepy-crawly suspense punctuated by a few very effective jump-scares.  As the mystery surrounding her mother's death closes in around Linda, nightmare flashbacks increase her emotional distress, with whatever malignant force that was always within the house now threatening to come after her as well.

Once all this meticulous build-up has been established, the story then plunges us into the kind of bloody horror and nail-biting suspense that we've been primed for.  Even here, the film shows remarkable restraint, never getting too wildly improbable or going off the deep end, and keeps us solidly involved in what's going on until the last frame.

As a work of cinema, NEXT OF KIN is exquisite, with director Tony Williams' constantly inventive staging only occasionally calling attention to itself due to its sheer ingenuity.  (I was reminded at times of Dario Argento.) Cinematography and lighting are equally good, frequently lavishing us with the most eye-pleasing visuals that such a setting might yield. Also adding to the overall effect is a musical score by Tangerine Dream member Klaus Schultze.

The Blu-ray from Severin Films is transferred from original Australian vault elements and looks fantastic.  The bonus menu includes two commentary tracks--an informative one with director Williams and producer Tim White, and a more informal one with members of the cast--as well as interviews with Williams and actor John Jarratt, deleted scenes, trailers, early short films by Tony Williams, an image gallery, a location revisit, and more.  The Blu-ray cover is reversible.

Unlike many films of this nature, NEXT OF KIN proved to be effortlessly involving--without overly relying on lurid sensation--right up to its most satisfactory fadeout, which I found even more impressive once I learned how ingeniously executed that final shot was.  It's one of the best Australian horror films I've seen, a real standout among that industry's most memorable cult classics. 


Buy it from Severin Films

Release Date:2/26/19

Special Features:
Commentary with Director Tony Williams and Producer Tim White
Commentary with Mark Hartley & Cast Members Jackie Kerin, John Jarrett & Robert Ratti
House Of Psychotic Women Intro By Kier-La Janisse for Morbido TV
Extended Interviews from Not Quite Hollywood
Return to Monteclare: Location Revisit, 2018
Deleted Scenes
Before the Night is Out: Ballroom Footage, 1979
Original Theatrical Trailer
UK VHS Trailer
German Theatrical Trailer
Alternate German Opening
Image Gallery
Tony Williams Short Films
REVERSIBLE COVER

NEXT OF KIN -- Blu-ray Review by Porfle

NIGHTMARES -- DVD Review by Porfle

 Originally posted on 6/16/11

 

Aussie soft-porn director John Lamond watches HALLOWEEN, decides to venture into slasher territory himself with NIGHTMARES, aka "Stage Fright" (1980), and comes up with one of the duller entries to the genre.

A little girl named Helen wakes up in the back seat of a car to find Mommy being "attacked" by an amorous boyfriend while driving, and in her panic she causes a crash.  Going through the windshield doesn't kill Mommy--Helen does, when she pulls her back into the car by her feet and drags her throat over some jagged glass.  Being blamed for her mother's death drives little Helen coo-coo, and she develops an urge to grab big shards of broken glass and lash out at people with them.  (This brief prologue, with Lamond's daughter Jennie as the young Helen, is probably the most interesting part of the film.)

Fast-forward through the formative years to an adult Helen (pretty Jenny Neumann), who suffers from chronic nightmares.  She auditions for a local theater group and wins a part in a play, where she meets fellow thespian and potential boyfriend Terry (Gary Sweet).  Things turn ugly when actors and stage crew start turning up dead after being stalked and slashed, mostly just after they've had sex.  Is Helen the killer?  Or is it someone less mind-bogglingly obvious?  Why am I asking you?



Just when we're expecting a murder mystery, director Lamond pulls a fast one on us by telegraphing the killer's identity in such obvious terms that you'd have to be about six months old not to get it right away.  Then he pretends that it's still a big mystery by using the standard POV shots of the stalker, complete with heavy breathing.  Since the killer doesn't wear a mask, the heavy breathing gives us the impression that she's really out of shape or something.  But she manages to chase people all over the dark, cavernous theater and constantly pop up in front of them, ventilating them with big shards of glass. 

The script throws in the old red herring of showing Helen walk into a room and then having her talk loudly in two different voices, but she isn't fooling anybody.  "Cathy won't let me have a boyfriend!" she complains to suitor Terry.  Yeah, right.  I don't know why Lamond didn't just go ahead and show Helen killing people, since this would've made the movie a lot more interesting.  Or, he could've at least made an effort to maintain some semblance of mystery.  (Everything you need to know about the plot, in fact, is right there in the film's spoiler-packed trailer.)

Anyway, along with the endless POV shots littered throughout the film, most of which literally go nowhere, we're treated to a few murder sequences in which naked couples caught in the act of makin' whoopee get chased around for awhile before being covered in fake blood.  One girl gets slashed on her boob and butt cheek, while her boyfriend receives the old groin gouge.  Strangely enough, though, these scenes manage to generate zero scares or suspense.

Since the show must go on, the play continues amidst the periodic carnage.  Most scenes take place either at night or inside the theater, so the film is very dark.  It's also filled with choppy editing, bad dubbing, and stilted acting.  Not necessarily a criticism, though, because that's just the kind of movie this is.  I no longer expect films like this to be good--I just expect them to be what they are, and if they can do that well, it's enough. 

Unfortunately, NIGHTMARES fails to meet even this low standard, and is mainly just incomprehensible and dull.  At times it manages to evoke a kind of low-level giallo vibe, but without the crucial element of style.  It's as though Dario Argento had decided to write and direct a film blindfolded and using only his left foot.



The cast is adequate, although we tend to agree when the play's egotistical director, George (Max Phipps, "Toady" of THE ROAD WARRIOR fame) disparages their acting abilities.  Co-writer John Michael Howson adds some interest as caustic theater critic Bennett Collingswood.  As Terry Besanko, Gary Sweet succeeds in making his character come across as the bland soap-opera actor he's meant to depict.  Nice-looking Jenny Neumann manages to portray Helen without falling out of a window or anything.  The score by Brian May (MAD MAX, THE ROAD WARRIOR) is even more bombastic and overheated than his usual stuff, with sawing cellos and blaring brass working overtime to keep us awake.

The DVD from Severin Films is in 2.35:1 widescreen with Dolby Digital sound.  No subtitles.  Extras consist of a commentary with director John Lamond and "Not Quite Hollywood" director Mark Hartley, a John Lamond trailer reel (mostly his softcore porn stuff), the featurette "A Brief History of Slasher Films", and trailers for this and other Severin releases.

NIGHTMARES is an okay time waster, but not something you should depend on for actual entertainment.  It's the sort of thing that was best seen on Cinemax after midnight back in the 80s, when you couldn't sleep and there was nothing else on TV. 

NIGHTMARES -- DVD Review by Porfle

"THE FLOOD" Release Date Announcement & Official Trailer

 

OFFICIAL RELEASE DATE ANNOUNCEMENT

"THE FLOOD"

Arrives on DVD, VOD and Digital Platforms This November

 

When a woman's husband, daughter, land and innocence are ripped from her, she embarks on a brutal journey of retribution and revenge.

WATCH TRAILER:

Release Date: November 2, 2021 (Digital, VOD & DVD)
Written/Directed By: Victoria Wharfe McIntyre
Produced By: Victoria Wharfe McIntyre, Amadeo Marquez-Perez
Starring: Alexis Lane, Shaka Cook, Dean Kyrwood, Dalara Williams
Distributor: 4Digital Media
Production Company: Wagtail Films
Genre: Western Action
Rating: N/A
Language: English
Runtime: 117 minutes
Aspect Ratio: 2.39.1
Audio: 5.1 Surround and 2.0 Stereo
Bonus Features: Audio Commentary with Director and Producer, Behind The Scenes

SYNOPSIS:
Set during WWII this is the story of Jarah’s coming-of-age in a brutal and lawless land – growing from a sweet child to a strong, independent and ferocious woman taking on Australia’s corrupt and bigoted system one bad guy at a time. In the best tradition of the gunslinging outlaw, when the enigmatic Jarah is pushed to the limit she explodes in a fury of retribution. But for a revenge western there is a surprising series of twists and turns that lead us closer to redemption and reconciliation.

---------------------------
For more information about THE FLOOD:
IMDB

"THE FLOOD" Release Date Announcement & Official Trailer

Poignant, Topical Australian Drama "DISCLOSURE" Arrives this June VOD/DVD Release (6/30; 7/7) -- See Trailer HERE!

There Are Two Sides To Every Story, And Then There Is The Truth

In The Poignant and Topical Australian Drama 

"DISCLOSURE"

From Writer/Director Michael Bentham


DISCLOSURE follows two couples who go to war over an allegation of child-on-child abuse. Australian documentary maker Emily, and her journalist husband, Danny, are reeling from an allegation of abuse their 4-year-old daughter Natasha has made against a local politician's 9-year-old son, Ethan.

Ethan’s parents, Joel and Bek, arrive unannounced at Emily and Danny's house intent on convincing the couple that Natasha's allegation is a fabrication. Accusations, arguments, and the ultimate search for leverage turn their civil conversation into a vicious confrontation.

“Powerful, intense, and timely” (Cinema Australia), and thriving on “razor-sharp characters and dialogue” (Film Threat), DISCLOSURE world premiered at the 31st Palm Springs International Film Festival, and was an official selection at Newport Beach Film Festival and Australia’s Gold Coast Film Festival.

The film stars Mark Leonard Winter, Geraldine Hakewill, Matilda Ridgway, Tom Wren, and Greg Stone.

WATCH THE TRAILER:

Poignant, Topical Australian Drama "DISCLOSURE" Arrives this June VOD/DVD Release (6/30; 7/7) -- See Trailer HERE!

Porfle's Movie Trivia #8: "Mad Max" (1979) (video)

How much do you know about the 1979 Mel Gibson classic "Mad Max"?

Question: what's the name of the escaped maniac Max chases in the first scene?

A. Toe Cutter
B. Dr. Detour
C. Road Runner
D. Death Driver
E. Night Rider

Pause now or proceed to the answer.

Bonus question: the escaped maniac describes himself as "a fuel-injected"--what?

A. Metal Maniac
B. Nightmare Maker
C. Engine Of Destruction
D. Suicide Machine
E. Reject From Hell

I neither own nor claim any rights to this material.  Just having some fun with it. Thanks for watching!

Porfle's Movie Trivia #8: "Mad Max" (1979) (video)

Fake Truck Grill In Head-On Crash: "MAD MAX" (1979) (video)

(SPOILERS!!!)

Rogue cop Max (Mel Gibson) is hell-bent on revenge...

...against the cycle psychos who killed his family.

He finally drives their leader into a deadly head-on collision.

But the truck driver didn't want to damage his truck, so...

...a flat sheet of metal was attached to the front...

...with the headlights and grill painted on.


I neither own nor claim any rights to this material.  Just having some fun with it.  Thanks for watching!

Fake Truck Grill In Head-On Crash: "MAD MAX" (1979) (video)