Goldstone

Goldstone could have been a far better movie than the interesting one it is. As a pastiche of several other classics along the lines of; Bad Day at Black Rock, Shane, Magnificent 7, and others, it ambles on to tell a fairly conventional but interesting story of corruption and moral decay set in an outback mining village (often referred to as the 'Town')

The multi-talented writer, director, cinematographer, editor and score composer, is Queensland born (to an Aust Indigenous mother and Croatian/German Father) Ivan Sen. Mr Sen has perfected the look of many trend-setting movie makers as well as some of his own unique touches. This should hold the patient viewers interest with its superb desolate landscapes and settings but falls somewhat short with odd, foolish touches - such as an over the top shootout where the neighborhood miners carry on performing menial out-door tasks while serious heavy- gunfire rains mercilessly around them (if this was supposed to be John Wayne type humour, it doesn't work).

A strong character performance by indigenous performer Aron Pederson as the investigating detective is weakened from his being eternally paralytic - leaving himself way too vulnerable to the deadly situations he's working within. The business 'crooks' all tend to be clichéd and rather one dimensional, while their henchmen are too gung-ho Americanised. The predictable & needless over-use of four-letter words becomes tiresome and the walk-away-from gunfire ridden car smash-up (while well done) is a stretch, to say the least. But, all that aside, it's a good-looking, attention holding, Technicolour/Noir, Modern Aussie Western – that could have been a social conscience classic.

Overly curious visitors to an outback mining town are told to be careful where they step, for there are snakes around. When Aboriginal detective Jay Swan is sent by the federal government to investigate the disappearance of Chinese migrant women, he encounters the snakes. The town is full of them. This is because many town residents, including the mayor, are on the take for the mining company and for the rest, they depend on the company in one way or another. "Without the mine," says one resident "there's nothing you know." Even among the Aboriginals, Swan gets no traction in his search for the missing migrants. "Brother boy, you're a guest here like the white man," one tells him. Not only does Swan fail to find someone he can trust, he cannot even trust himself half of the time because of a drinking problem. Yet Swan's persistence and toughness begins to pay off when a town resident dies in suspicious circumstances. As Swan takes advantage of holes in the armor of the mining company and their abuse support network, he also must convince fearful, abused and bullied people to step out of the shadows.

The film revolves around a timely subject; human trafficking. The migrant women in the film and those who dare to speak against the mining company, are bullied, abused and made to feel worthless and insignificant. "The world was not made for you," they are told "you were made for it. You think you can make a difference?!" And these women have good reason to be afraid and stay in the shadows. "When you find the truth," they ask the police, "what will you do? Will you protect us?" Probably not.

Goldstone includes some amazing images of the outback and intriguing shots taken overhead by drones. The film is a thrilling story about an important and timely subject, and it has interesting characters, yet it feels a bit constrained. This may have something to do with budget, acting and/or depth. International premiere seen at the 2016 Toronto International Film Festival and the beautiful, historic Winter Garden theater.

I found this film by accident as I didn't realise that they had made a sequel to the very intriguing and dark Mystery Road.

Our lead is sent on a case again in the middle of nowhere in Australia, but he is a wreck (not surprising when you look back on the first film). Anyhow, he ends up having to liaise with a local cop who is passive on all the ills he sees round him, and each is a foil for the other. There is mass corruption and life to some others is worthless, or local cop can end up in either direction, especially as he takes an emotional investment in the goings on of Human Trafficking of young Chinese women.

So what we have is a case of redemption. Will the local cop leave the world as it is, or challenge the immorality? Everyone else seems to just play along, but our lead says no! Will the local cop back him or not?

Like the first film, this is sumptuous, and the real star is the glorious cinematography, which contrasts the dark heart of the human soul. Yet we have hope in it all.

Our lead is as intriguing as ever, and his own failings are something that endear you to him. I'm very happy they made this film, as we continue the journey. There's a Mad Max element to the lead character & story (albeit no fantasy), but it's still violent and unforgiving.

Again, this is a case worth investigating, and I can't wait to the next film in this series. Very dark yet very beautiful to watch, there's a heart in this movie and you will find it. Deserves better than the ratings so far have given it credit for.

'Goldstone' is the sequel to 'Mystery Road', a decent Australian outback murder-mystery, but I actually liked 'Goldstone' better, as it has more unknowns and undercurrents than it's predecessor. Pedersen is back as Detective Jay Swan, but he's a bit more disheveled this time, having gone through some type of trauma in his life. He arrives in Goldstone, a tiny outback town, looking for a missing girl and isn't really welcomed and has to try to find her with resistance from everyone.

The cast is great - Josh (Russell) is the only police officer for 100's of kilometres and it's great to see him wrestle with what's right vs what he can and can't turn a blind eye to; Maureen (Weaver) is the crazy-eyed, false-smile mayor; Jimmy (Gulpilil) & Tommy (Lewis) are local aboriginal elders, and while Gulpilil's role is small, it's significant; Johnny (Wenham) is the greedy mine manager, supplying jobs (and alcohol); and May (Davidson) is a woman trapped in a tough situation. Josh and Jay clash, as he doesn't need outsiders interfering, and Maureen and Johnny certainly don't want their racquet foiled.

Plenty happens, even though there's lots of great scenery shots, as well as some from overhead (crane or helicopter), that look amazing. It's filmed in western Queensland, but could be anywhere in the Northern Territory, South Australia, Western Australia or New South Wales - extremely desolate and at times, beautiful. It's a slow burn, but everything comes together strongly for the final 20min, with a good ending. Plenty of social commentary - aboriginal interests vs mining interests; city vs country way-of-life; greed vs ethics; but in the end, it's an above average cop thriller that works on a few levels.

Again and again, Australia proves it has an exceptional talent, for crafting quality cinema.

Goldstone is yet another real Aussie gem of a film. Its a story that has depth and beauty, juxtaposed by self effacing, unapologetic, honesty. A reflection, in many ways, of the stark Australian outback, in which it is set.

There's a good detective drama on offer here too, backed by a really soulful, back story. A story that, in a straightforward but touching way, draws the viewers attention to the sad reality of life, for minorities and those marginalized by society.

Aaron Pedersen has much to be proud of in the lead role as police officer Jay Swan. Like the film itself, his performance is understated, yet, at times, almost inexplicably moving. The other cast members distinguish themselves too, including Alex Russell, who plays Swan's local police counterpart, Josh.

In short Goldstone is remarkably well written, directed and acted. True Aussie cinematic gold. Nine out of ten from me.