movieguy3000

Dangerous Animals is an impressively shot film - the cinematography is polished, though admittedly safe and uninspired. It doesn't take many visual risks, but it gets the job done. The real standout here is the lead actress, who delivers a fantastic performance, supported by a strong cast overall. That said, the first 10 minutes are weighed down by awkward, cringeworthy dialogue and performances that set a shaky tone early on. Thankfully, the film redeems itself as it progresses.

The story is solid, with effective horror-thriller elements that keep you engaged. The VFX is convincing, the locations are well-used, and the score and soundtrack add a great deal to the atmosphere. However, Jai Courtney's portrayal of the villain feels like a parody of the Aussie larrikin archetype - more caricature than character. It lacks depth and feels like it belongs in a different film entirely. The script doesn't help him either - at times, it feels like he's phoning it in.

It's worth pointing out: this is not a shark movie, despite how it's marketed. Don't be misled - it's a survival thriller-horror at best. Your lucky to see the sharks 3 times.

Despite its flaws, Dangerous Animals is a step above the usual fare coming out of Australian cinema. It's far more compelling than Fear Below, and shows there's still hope for quality genre films in the local industry.

However, the film lacks one crucial element: rewatchability. It's not particularly memorable, mostly due to underdeveloped characters and a lack of emotional connection. The love story subplot feels rushed, disconnected, and unconvincing - it would've been more effective had the two leads not been strangers just one night before. Their separation weakens the emotional stakes.

In the end, Dangerous Animals is a good watch with tight pacing and all the right ingredients - but it's missing that final spark. To truly land, a film needs more than just thrills; it needs heart. Story, character, and world-building - that's where the next Australian breakout hit needs to aim higher.

Fear Below is a well-produced film on a technical level, with strong cinematography, solid costume design, and impressive location choices. The visual effects are passable, though it's clear that editing is used strategically to mask a limited budget-particularly when it comes to the shark, which is rarely seen.

The performances are competent, though not standout. Reactions to life-threatening situations, especially during shark attacks, feel flat and unconvincing. The lead actress delivers a convincing British accent, but it still feels strangely forced and disconnected from the setting. Her emotional scenes, particularly when crying, come across as staged rather than authentic.

Unfortunately, the characters themselves aren't compelling enough to carry the story. The mob boss character fails to exude any real menace, and Josh McConville's portrayal of an ethnic character using a European accent feels miscast; an actor of that background would have added needed authenticity. The story lacks depth and tension-it's neither particularly scary nor engaging.

The music score is decent but ultimately forgettable. While Fear Below is competently made, it struggles with weak storytelling and flat character development. For a more impactful and emotionally engaging experience, check out The Cost, the director's previous and much stronger effort.

Overall, the team behind Echo 8 has done exceptionally well considering the limited budget. It's a commendable effort and a solid foundation if the plan is to build a trilogy-but there are some key areas that need improvement moving forward.

The martial arts choreography is already quite good, but for the sequels to really stand out, it needs to elevate from good to great.

The script and storytelling, however, fall short. The pacing is slow, the dialogue occasionally cringeworthy and awkward. The film would benefit from dropping the cheesy one-liners and focusing more on grounded drama and intense action. Characters need to evoke genuine emotion-both from themselves and from the audience.

In terms of performances, most of the cast struggles, but Maria Tran delivers the strongest performance. The actress playing the mother also holds her own, and Mike Leeder brings a photogenic and compelling presence to the screen.

Visually, the poster leans too far into a sci-fi aesthetic-it would be better reimagined in the style of a gritty martial arts action film.

The cinematography is one of the weaker elements, feeling more like a student film or backyard project with an amateur color grade to match. For future installments, bringing in a professional cinematographer could make a huge difference.

That said, this is still a remarkable achievement for indie filmmakers out of Western Sydney, and a milestone for the Asian-Australian creative community.

Hey Screen Australia-maybe it's time to invest in this team instead of continuing to fund content that fails to find an audience. This is the kind of work people want to see.

Maria Tran is absolutely one to watch, and it's exciting to imagine what she could create with proper backing and real investment.