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This is hands down the best film in the English language I've seen for at least two years. Not only does it do its source absolute justice, it adds a genuine, highly original Oz visual atmosphere to its themes. The cast is nothing short of amazing, with every single character bringing the utmost of their craft to the roles. Judy Davis delivers one of the best performances of her illustrious career, but Kate Winslet, Kerry Fox and Sarah Snook are also fantastic. Liam Hemsworth isn't just hotter than Chris, he's also the far more nuanced thespian. Hugo Weaving, one of the best actors of his generation, sinks his teeth into his beefy part of an exceedingly well-mannered cop in the 1950's Oz outback.

Winslet is the mysterious stranger arriving by night whom he delivers her luggage to in the beginning of the film. He quickly recognizes her as the girl he sent away following the death of a boy her age 25 years earlier. The townsfolk, including her quick-tempered mother played by Davis, alternate between suspicion of the motives of her return and attraction for her stunning dressmaking skills and resolute character.

Some people will find the meandering story, which constantly shifts between mystery, comedy, tragedy and romance hard to follow. It's their own fault. Everyone else will highly appreciate the original story, the excellent camera work and set design, the abundance of love shown in every frame for a project that took 15 years to realize. Its domestic success as the 2nd most successful film of 2015 after you-know-which-one could not be more deserved.

One can therefore only wonder why the Adacemy snubbed this for the Oscars, especially if you look at the usual suspects which represent the contenders this year. And as justified as the #OscarsSoWhite debate is, this omission also reminds us of another group of movie artists which are all too often absent from the list of nominees: Women. For what makes "The Dressmaker" so highly enjoyable on top of its original story, local feel and excellent cast, is that it offers a feminine angle of storytelling which we do not get to see enough.

Good, vengeful, beautiful colors, beautiful dresses, Kate always adorable, beautiful photography... The title led me astray, I thought it was a comedy, but so much drama, poor Tilly, just when you think everything will be fine, another loss comes , poor thing, but it could be cuter, I almost got tired of it... Rewatching it by mistake... But fabulously charming...

An attractive woman returns to her hometown in rural Australia. With her sewing machine and haute couture style, she transforms women and exacts sweet revenge on those who didn't believe in her achievements, but fabulously charming...

It is exactly the film changing perspectives. A great story. A brilliant cast. The revenge , the love, the fake sin. And a place of Australia. Not the last - Kate Winslet and Judi Davies giving something who could be defined as more than splendid performances. Bitter humor and admirable cinematography. And exactly the film who you deserve. Because the characters and the situations are more than familiar . From literature. And, maybe, from near reality. Short, a gem. It is not the most inspired word but it is a small definition of a magnificent work.

Over the years there have been many quirky, eccentric characters featured in Australian films such as Muriel's Wedding, The Castle and Priscilla Queen of the Desert. The stories have been uniquely Australian to be appreciated by Australian audiences but occasionally they become worldwide hits like Crocodile Dundee. It's the laid-back Aussie humour that international audiences sometimes just don't understand which prevents the majority of Australian films from crossing the cultural barrier. The Dressmaker has been successful at the Australian box office for it features a story where the underdog or misunderstood succeeds along with a story that promotes the Aussie dry wit with dialogue that appeals to the everyday Australian.

Myrtle 'Tilly' Dunnage (Kate Winslet) returns home to rural Australia after spending time abroad developing her fashion designing skills. As a child she was sent to a boarding school in Melbourne by Sergeant Farrat (Hugo Weaving) for she was accused of murdering a boy who bullied her. Her mother, Molly (Judy Davis) initially doesn't recognise her and isn't convinced she's her daughter. She eventually accepts her in her house and Tilly transforms it into a fashion factory where she makes clothes for the women of the town. In the meantime, she becomes romantically involved with Teddy McSwiney (Liam Hemsworth) whom she has known since they were children. The town still hasn't forgiven her for apparently killing the boy and believe she is cursed. Tilly will virtually stop at nothing to exact revenge on those who did her wrong.

The Dressmaker is a long way from being perfect but what it does offer is an entertaining two hours that is well-paced and beguiling. There might be a few too many flashbacks and slow motion sequences but the compelling storyline featuring a wide range of interesting characters allows the majority of the film to shine. Some of the depictions of the characters might be broad but that's just the perfect fit for quintessential Australians.

A lot of the dialogue is witty and adds much to the Aussie humour on show. Davis garners most of the laughs in a performance which demonstrates her sensational acting ability. Winslet perfects the Aussie accent with this being her second time playing an Australian after 1999's Holy Smoke! Many of the scenes she shares with her screen mother are hilarious. Weaving also has his turn in the spotlight with a wonderful performance as the cross-dressing police officer. Hemsworth plays it straight in comparison to his co-stars and reliably fulfills his role as the love interest. Support actors such as Shane Bourne, Sarah Snook, Kerry Fox and Barry Otto also succeed in projecting the individual traits of their characters.

Credit must go to the costume designs with the haute couture style befitting of the movie title. With the story being reminiscent of a Clint Eastwood western where the main character comes to town, mingles with the locals then affects their lives one way or another, the music score by David Hirschfelder has some resemblance to a western. It's an exciting score that perfectly sets up the moods of the characters and the theme of the plot. The cinematography by Donald McAlpine also enhances the look of the film, ensuring that the rural town maintains its 'western' appearance.

Although clichés do affect the characters and story, the overall quality of the film ensures that most viewers will be entertained. Jocelyn Moorhouse (the director and co-writer) should be chuffed with her film's box office success even though not all critics have praised her work. Sometimes it's the majority you have to please, not the minority. http://mlaimlai2.wix.com/magical-movie-review

'The Dressmaker' is not the type of film that instantly attracts me to the cinema. It's the wrong genre, (although this movie is difficult to place) the wrong story and it creates the wrong type of atmosphere. Leave this to the women and go and see something a little more.......you. How wrong I was and how glad I am to have jumped out of my comfort zone. It was a good excuse to take my good old mum and treat her to a midday-midweek viewing and some company with her first born or that is what I told myself when I entered the theatre only to find it filled with women and retirees excited to be out and about without the frightening hording masses that congregate on weekends.

'The Dressmaker' has been dubbed as the long awaited return of Director Jocelyn Moorhouse to the chair since 1997 and she has delivered a film that will be remembered for some outstanding performances from Judy Davis, Hugo Weaving and Kate Winslet. I agree with the statement that this film doesn't fit into any particular mold but this peculiar inconsistency is what keeps the audience fixated on the screen. Just when you think that the story is heading down a certain path it quickly turns sideways, takes a detour before arriving at its intended destination. Some viewers may find this lack of direction annoying and even film destroying but I think this could be a little over dramatic.

'The Dressmaker' holds a certain charm that never leaves it as it sways back and forth from one type of genre to the next. It can be billed as a 'black comedy' but it does allow the audience to experience an array of emotions. At times you will be laughing at the antics on screen and at other times you will be gripped by the drama unfolding.

Based on the novel of the same name by Rosalie Ham, 'The Dressmaker' centres around Myrtle 'Tilly' Dunnage (Kate Winslet) and her chaotic return to a small Australian country town in rural Victoria in 1951. Tilly's tumultuous departure years before were under controversial circumstances and the small rural community have not forgotten. She is everything the town isn't - sophisticated, stylish, experienced and worldly and she has come back for one reason......to reek havoc on those that callously betrayed her all those years ago.

Kate Winslet rarely puts in a bad showing and her turn as Tilly Dunnage is made even more exceptional with a flawless Australian accent. The audience will forget that she is English as she seamlessly slides into the fabric of her surroundings, not once slipping up when delivering her dialogue. Judy Davis is the star of the show as Tilly's mad mother, Molly Dunnage. Davis effortlessly steals every scene she is in with outstanding engagement with a character that is a little bit off centre. Judy will be recognised for this performance with an AACTA and it will be thoroughly deserved.

Hugo Weaving adds his superb presence as the cross dressing cop, Sergeant Farrat. His character grows on the audience with eccentric colourful manner, bringing the best out in Weaving that gives this wonderful film an extra element of charm. Liam Hemsworth provides the eye candy for the ladies in a solid role as Teddy McSwiney. Both Davis and Winslet are caught hot under the collar on numerous occasions. He is the stereo-typical tall, blue-eyed, rugged country boy who is the proverbial apple in his mother's eye and does exactly what Moorhouse hired him to do......stand there and look pretty. Good onya Liam.

Joining the familiar talent is a who's who of Australian television that many international audiences won't recognise but they do give the film a more authentic Aussie flavour. Could this be the breakout role for Sarah Snook? Her character Gertrude Pratt is totally transformed by Tilly Dunnage only to treat the outsider with disdain when 'theories' are whispered throughout the town.

I cannot see any reason why this film won't be enjoyed by the masses. It is Australian and its dry wit may not appeal to foreign markets which is a shame. The narrative is all over the place but don't let this put you off. Dig a little deeper and you will be rewarded with some brilliant performances.