The Boys

The filmmakers of "The Boys" get so deep inside the blamings and self pity of humanity's monsters, you could almost miss the culpability of the ineffectual women who enable them to grow up into walking catastrophes. The events of this film, set off by the first day of parole for angry young headcase Brett Sprague, lead to a decision so horribly wrong-headed and repellent, that a suspended moment of nothing but a black screen is one of the most excruciating pregnant pauses in the history of films. Up to this point, there's a kitchen sink drama like almost no other (Gary Oldman's "Nil By Mouth" a close cousin, but not nearly as upsetting) and lacerating performances by the cast and crew - The sound designer gets a deserved opening credit.

It appears that this movie was well appreciated in Australia, but had an abortion of a release here in the US. Now that it's on video, it's one of the best lost gems you're likely to score this year.

This movie is the most powerful piece of cinema to come out of Australia and the performances by all actors, and in particular David Wenham and Toni Colletter where incredible.

It is in the same league as Romper Stomper, and, Chopper, but with better acting.

This film was never intended to be a documentary or to be an insight into the criminal mind and those who have reviewed it as such have totally missed the point. This is a movie about smalltime criminals that pulls no punches and tells it as it is and doesn't try to glorify these characters unlike the sort of movies you see coming out of Hollywood that are from the same genre.

If you are looking for a "moral" to the story, or to learn some "facts" about the criminal world you may be disappointed with this film.

But if you like intensely realistic plot lines and powerful acting performances then you will find "The Boys" to be one of those movies that you must add to your DVD library.

You don't often see acting like this in movies. It puts the academy awards into perspective. So said Roger Ebert in his review in Once Were Warriors. And the same applies here. David Wenham is simply jaw droppingly good in his portrayal of an unhinged, resentful and cold hearted man who sets out on a mission, intentional or not, to drive away anyone even remotely close to him. He has nothing but calculated cruelty in his words and his actions, only wanting to drop everyone to a lower level than him and give him power. Power that masks his deep insecurity and self loathing. It is simply the best acting performance I have seen in an Australian movie. Every supporting character is equally as engaging, especially John Polson as his clueless brother. Funny how a small movie mainly set in one house and based on a stage play stays with you far longer than a big budget Hollywood pic. Sometimes all you need is interesting characters and a strong script to make its mark. You will be glued to the screen from start to finish.

Some years ago in the western suburbs of Sydney there was a particularly nasty rape and killing of a young nurse on her way home from work carried out by two brothers and their friend. The incident became known as the Anita Cobby case and although the killers were caught and convicted, its reverberations still continue in the NSW criminal justice system. This film, from Gordon Graham's play, is not a recounting of the Cobby case, but attempts to answer the question: what sort of people could have perpetrated such a crime? The answer given here, in a coldly clinical examination, is a domineering psychopath and his two compliant brothers brought up in a family where the women are treated as mere conveniences.

David Wenham, more usually associated with pleasant off-beat characters like Diver Dan in the TV series "Sea Change", plays the evil Brett, who has just done time for assault, and is back home manipulating his family and girlfriend. Despite the fact he spends most of his time sitting around drinking beer, everyone is afraid of him. He has the happy knack of being able to inspire fear just by looking at someone and lowering his voice. It is a remarkably powerful performance. Toni Collette as Brett's girlfriend Michelle is able to give us some insight into why an apparently sane (if insecure) woman would want Brett - it's the buzz of his badness that attracts.

Being derived from a play, there is drama here, but because the approach is also rather clinical, it does feel a bit like looking at cockroaches through a magnifying lens. It's hard to feel much empathy with Brett - whatever made him what he is, he's pretty nasty and permanent incarceration seems to be the best option. If there is any chance of redemption it is not evident here. The other brothers Glen and Stevie are not so bad (though Stevie has a violent streak), but easily led, or bullied. In other circumstances they would not have committed such a crime. So in the end it is down to Brett and we don't even get a hint as to why he is as he is. He does tell us "we are all gods" by which he means we are all responsible for what we do. In his case he's happy to be a murdering psychopath. So look out.

While you watch this surprisingly short film, again, you are reminded, it's not quality, not quantity, and The Boys is a jarringly intense masterpiece of scenes, that seem handpicked, as they are all potent, with some truly claustrophobic moments. One reason, evidently stands out: David Wenham, as one of three ex cons, good for nothing brothers, who's just got out of the nick. The telling of this story moves back and forth, so don't try and think, just enjoy this blessed experience of high calibre acting, Lynette Curran up there with Wenham, as the much suffering mother, while Toni Collette relishes in a role in what you would call her most sexiest, as Wenham's loud mouthed girlfriend. This is basically a domestic drama, but the film's magic, is in how the story's utilized, so tight knit, a no holed drama, which is at times, is so confrontingly real, especially in Wenham's performance. The fantastic Another Hayes plays the weak, unhinged, patsy sort of brother, kind of reminding you a bit of him, in Suburban Mayhem, where he also played a, good for nothing loser. John Polson, seems the most together brother, you so want him to get his life on track, and leave with his girlfriend, sugar mummy, of higher class, but, his brothers mean too much to him. The film with it's dark music scores, and fade outs, that work perfectly for this film, mirrors real life, with an all too realness, in a chilling, engrossing watch, that sadly runs shorter than you want it too, it's last scene, memorably scarring. One Oz movie experience, which again does us proud, joining that section of fine Oz films.