Solo

Hey, I've got a good idea: let's make a hit-man movie just like all those other ones. We'll start with a scene of our world-weary, gravel-voiced, chain-smoking, smart-talking hero (who you will recognise from countless similar film and TV appearances) disposing of a sawn up body (actually a nice little scene), then we'll have him visit yet another chirpy cockney psychopath (except this actor can't do a cockney accent, but hey, he's stocky and bald and he's been in 3 other movies lately so he must be good.) Then we'll have our hero, (who's trying to turn his back on the mob!) meet a lovely, fresh-faced young girl in a very macho environment (irony). Of course, she's extremely intelligent, and doing a Phd, and is naturally attracted to a hit-man. Who isn't? Then let's introduce the next ham, (playing the central cop) by having him snorting coke from his desk in the office, at police HQ - wow! I hope these comments haven't depressed you too much. Unfortunately Solo depressed the hell out of me - and that was just the first 10 minutes.

Having read the screenplay on Project Greenlight, I was keen to see how it turned out. It was true to the script, which is what one would hope when the director is also the writer, but there were scenes which could have been deleted without diminishing the impact of the film. When I read the script, I got the feeling of a comic-book story and there's nothing wrong with this--gritty, tough, seamy underside of a big city. Somehow the film didn't quite carry this across and seemed to be trying to add more credibility to what could be just a good, slightly-clichéd action flick. One thing that I thought was that it was shot on video. Some of the scenes definitely lacked the sharp crispness of film and I was surprised to see the Kodak logo in the end credits. I was also surprised that they could shoot it on film and keep it in the AUD1M budget. Shooting on video could have actually added a grainy dimension which would suit this film noir genre. The choice of music was as good as it gets.

I was out in Sydney during their Film Festival and just happened to see "Solo" being advertised at this cool little cinema down by the Opera House called the Dendy. I went and checked it out and have to say enjoyed myself thoroughly right the way through with some turns in the Movie that caught me off guard.

The Aussie humour I dig so much and this movie captured it in spades. Found out later that the dude who made this film had won project greenlight and it was his first feature. This guy will go places and I'm looking forward to the next flick he brings out as I love that edge he created in Solo and I love a movie that I walk away thinking I should've seen it coming but I just got blindsided.

Top Marks from me! Well done.

Although this story is cliché'd or not the most original, this indi film, still manages to be an essential exciting watch. Jack Barrett, a now older looking Friels, again turning in a solid performance plays a stand over man/hit-man who by his ragged and wearied looks, has done one too many hits, not just with his latest, but one of past, that comes back to bite him on the ass. The film starts off with Friels disposing of certain body parts in the water, off one of Sydney's beaches. He chucks up, realizing at this moment, he can't keep doing what he's doing, and too, he's just turned 53, so it's time to grow up. He confronts his boss, some English geezer, of course laughing at him, but Friels can't make himself anymore clearer. He grants Friels his freedom providing he does last hit, involving a real live spark of a university student, (Bojana Novakovic) doing a paper on a certain crime figure. Friels of course prolongs this, as forming a friendship with this girl. These mob guys of course, who run the drug and prostitution rackets are getting peeved by this. Just to let him know they mean business, they let off a couple of warning shots at Friels and company, while they stand on those big flat rocks, that overlook Clovelly Beach, while sharing some hot chips. I loved the sucking up kid, Trent, who mob father's played by Tony Barry. The man at the top is Haywood, at first, almost unrecognizable, proving again, how he's just one of Aussie's best actors ever. But the real acting revelation in this though was Novakovic, although she's done earlier films, quite the seasoned pro, who brings so much to her spirited role, where still so young, life is just big party, but she has ulterior motives here. The last thing, tough boy, Friels wants to do is kill her, so he fakes her death, where the twist later is a killer. Friels too shows us what happens if someone mistreats his aging pro friend (Angie Milliken). The other treat is the comic An Rah somebody, where he and his sisters have a standoff with Friels in an open Cabramatta Street, and for good reason. Another scene ensues a couple of ones later. This film, the first, from a newcomer director is impressive debut, a solid thriller with good bits of action, that makes good use of some Sydney locations. If not this, watch this film just the hot Novakovic.

Despite the excitement I had watching the build up to this movie on FOXTEL after seeing Morgan O'Neill win the project greenlight Australia competition, even my expectations were surpassed. O'Neill has crafted an authentic Australian crime movie that fulfills its promise to entertain.

We are introduced to Barrett in the movie, sublimely played by Colin Friels, and I would challenge any viewer to feel a pathos for this heartless dealer in death. However O'Neill achieves what every director aims for: to make us care for the characters he has created. To be perfectly honest I thoroughly enjoyed all the performances and thought the casting was top notch.

The camera work also deserves a mention as there are some wonderful lighting effects . The jazz soundtrack is sensual and matches the side of Sydney O'Neill is exhibiting. There is also some Australian hip-hop in a scene set in Sydney's seedy King's Cross whose only criticism I have is that it isn't long enough.

As a Sydney-sider this is the first time since watching "Two Hands" that I have felt a movie has captured the texture of one of the world's great cities.

Another special mention must go to Vince Colossimo whose performance I thoroughly enjoyed and I felt to be the best of the movie, perhaps this is down to the fact that I like seeing this type of a character in the movie.

O'Neill has also mastered the use of Australian humor in his work as the lines feel natural to the characters and reminded me of the Lock, Stock type of delivery. Kudos O'Neill, Kudos