Birdeater

Very difficult to understand what anyone saying in this film because the dialogue is so muffled. At first I thought it was a British film. I got so excited when I heard the Australian accents because I adore Australian cinema. This is an exception to that rule. The plot had no direction whatsoever. Very confusing. There was no protagonist which makes this film even more uncomfortable. You don't know who you're supposed barrack for. They're all very strange undesirable characters. I didn't like one of them. So had no interest at all in one of them. It annoying to watch because of this and in all a poor attempt at film making.

OK, where do I begin?

At the beginning of the movie they have a warning to the audience saying that there's toxic masculinity and an acknowledgment to the aborigines people that they were on their land or something?

I had read this was a horror movie. There was no horror in the movie. I also read a couple of articles where the journalists were apologizing for the toxic masculinity in the film. I didn't see any of that either.

This is one of the weirdest films I have ever seen in my life. This is one of the stupidest films I've ever seen. 99% of this "horror" movie is a group of kids sitting around talking.

Please save yourself nearly 2 hours. You'll thank me later.

1/10 very odd movie.

Birdeater throws Irene (Shabana Azeez) headfirst into a nightmare. What starts as a bucks weekend getaway for her fiancé Louie (Mackenzie Fearnley) and his mates quickly spirals into something far more sinister. The film cleverly avoids revealing its hand too early, building an atmosphere of dread laced with dark humour as the true intentions behind the trip become clear.

Birdeater courageously delves into the dark side of masculinity. The blokey camaraderie on display curdles into something toxic, fueled by excessive drinking, questionable decisions, and a pervasive sense of entitlement. The film reminded me a bit of Wake in Fright, another Australian classic that explores similar themes (there's an explicit reference to it in one scene if you watch carefully). But Birdeater injects a healthy dose of surrealism into the mix. Think of waking dreams and hallucinations that blur the lines between reality and psychosis.

The performances are solid, with Azeez holding her own as the increasingly isolated Irene. She believably conveys a growing sense of fear and confusion as the weekend unravels. The rest of the cast falls into familiar archetypes - the loudmouth larrikin, the nervous follower, and the quiet observer. While they're effective in creating an unsettling group dynamic, there's not a lot of room for nuance in their portrayals.

The real star of the film is the editing. It's sharp and frenetic, mirroring Irene's escalating anxiety. Fast cuts and jarring transitions create a sense of unease, leaving you perpetually on edge. The camerawork is similarly effective, often lingering on unsettling close-ups or lingering on empty spaces, adding to the overall sense of dread.

The film's greatest strength lies in its atmosphere. The Australian outback becomes a character in itself, vast and unforgiving. The use of colour is particularly interesting. The initial scenes are bathed in warm, golden hues, suggesting a sense of normalcy that quickly gives way to a cold, sterile palette as the weekend takes a dark turn.

However, Birdeater's plot takes a while to get going, and some of the dream sequences felt a little indulgent. The ending, while ambiguous, left me wanting a bit more resolution.

Overall, Birdeater is a compelling, albeit uneven, film. It's a slow burn that will stay with you long after the credits roll, thanks to its chilling portrayal of a toxic relationship and its exploration of the darker aspects of masculinity. If you're looking for something atmospheric and thought-provoking, Birdeater is worth a watch. But if you crave a clear-cut narrative and a satisfying resolution, you might want to steer clear. I walked away feeling unsettled but impressed by the film's visual style and its unflinching portrayal of uncomfortable truths.

Billed as an Australian psychological thriller, whose inspiration clearly and proudly comes from one of the great grandfathers of iconic Oz cinema in the form of Wake in Fright (eagle eyed viewers will spot that films poster appearing in this film), filmmakers Jack Clark and Jim Weir herald in their directional debuts with the impressive if equally frustrating experience that is Birdeater.

Celebrating successful festival runs over the last 12 months and launching recently into select Australian cinemas, Birdeater embraces its "feral" moniker in parts as a planned to be quiet bachelor/bucks party weekend goes off the rails when past and present trauma between soon to be married couple Louie and Irene comes to the surface in a stereotypically boys only environment that has on this occasion become something else.

Building its early foundation with a great set-up, with Clark and Weir beginning their debut affair with some fantastic mood setting courtesy of memorable work by DOP Roger Stonehouse and some hugely atmospheric score work by composer Andreas Dominguez, Birdeater really races out of the blocks with a narrative loaded with potential but sadly the narrative juice at the core of this exploration of toxic relationships, mental health, male fragility and psychological warfare runs out of steam well before the half-way mark, a huge problem for this two hour exercise that is unable to sustain its early momentum.

There's still a lot to like here and it's not hard to see why the film became an audience favourite with attendees at festivals such as SXSW Austin, the Melbourne International Film Festival and the Sydney Film Festival as Birdeater is unafraid to tackle some fairly weighty (if perhaps overly used themes in Australian products) and the performances and filmmaking craft on display here are undeniably above average for a low-budget independent film made on Australian shores.

Getting a lot to work with in a feature that prioritizes dialogue above all else, all cast members of Weir and Clark's darkly comedic dramatic thriller acquit themselves well with leads Mackenzie Fearnley and Shabana Azeez in particular standing out with some well-rounded performances while Ben Hunter as wildcard and the slightly unhinged Dylan making a mark as a character that you're never sure of motivational wise or ability wise.

Standing out from a crowded marketplace filled with similarly aimed independent offerings that often struggle to find notice in Australia's not always welcoming local marketplace, Birdeater can be commended in a multitude of ways but there's no escaping that there's a noticeable inability to maximise what could've been as this initially gripping feature gives way to one you will be anticipating finishing more than once throughout.

Final Say -

There's a lot to like about Birdeater and there's evidence on display here that Jack Clark and Jim Weir have what it takes to make a mark locally and abroad but after a bright starting point, their film becomes more of what could have been not a contender, disappointingly failing to become a must-see it at times showcases to be.

3 dinner toasts out of 5

Jordan and Eddie (The Movie Guys)

This is one of the best Australian films ever made. That's the first anyone has said that in many years since we usually don't make anything THIS good.

A psychological thriller with no violence, blood or gore. All verbal. That's something which I find very fascinating about this film. It has the guts to expose the reality of how people act, especially here in Australia where other films depict it very cliche. It's not afraid to make the viewers feel uncomfortable and red faced. Every situation in this film feels like one you've been through, and every character is someone you've hung out with. It's mentally insane how relatable all of this is - in good and bad ways. Each metaphor, each meaning, expands to something much larger. It's incredible.

The long breathable shots allow the audience to be impacted by such strong and raw performances from all of the cast especially during the dialogue heavy sequences specifically the dinner scene where it puts the audience in an uncomfortable position for an extended matter of time. I fell in love with the fast-paced, musically queued editing with those familiar Banjo-Kazooie and Microsoft error sound effects. After six viewings, the soundtrack has been on repeat daily. It will make my spotify wrapped next year 100%.

Give this film the support it needs to help the duo's next feature which is a schoolies thriller.