Goldstone

Goldstone essentially picks up where Mystery Road left off.

Which is wonderful for the viewer, because Mystery Road is one of my favourite films, I am a huge fan of writer/director Ivan Sen, and Aaron Pedersen's "aboriginal detective" is one of my favourite all time film characters.

What makes these films so special, aside from superb writing, acting, and direction? Cinematography --- as I said in my review of Mystery Road, the country itself is the unbilled co-star and the aerial shots are to die for.

The themes. Sen is too good a writer to avoid core underlying themes of morality, good and evil, greed and kindness. Even when you think you are just watching a sunset, you realize there are other things going on.

Which brings us to the true genius of this writer/director -- in the opinion of this reviewer, Sen manages to construct the tone and mood of a 1940s film noire in 21st century Australia, in daylight, and in full colour.

If you think that is easy to do .. try it some time.

Recommended.

Don't be shy -- give it a try.

((Designated "IMDb Top Reviewer." Please check out my list "167+ Nearly-Perfect Movies (with the occasional Anime or TV miniseries) you can/should see again and again (1932 to the present))

'Goldstone' is the sequel to 'Mystery Road', a decent Australian outback murder-mystery, but I actually liked 'Goldstone' better, as it has more unknowns and undercurrents than it's predecessor. Pedersen is back as Detective Jay Swan, but he's a bit more disheveled this time, having gone through some type of trauma in his life. He arrives in Goldstone, a tiny outback town, looking for a missing girl and isn't really welcomed and has to try to find her with resistance from everyone.

The cast is great - Josh (Russell) is the only police officer for 100's of kilometres and it's great to see him wrestle with what's right vs what he can and can't turn a blind eye to; Maureen (Weaver) is the crazy-eyed, false-smile mayor; Jimmy (Gulpilil) & Tommy (Lewis) are local aboriginal elders, and while Gulpilil's role is small, it's significant; Johnny (Wenham) is the greedy mine manager, supplying jobs (and alcohol); and May (Davidson) is a woman trapped in a tough situation. Josh and Jay clash, as he doesn't need outsiders interfering, and Maureen and Johnny certainly don't want their racquet foiled.

Plenty happens, even though there's lots of great scenery shots, as well as some from overhead (crane or helicopter), that look amazing. It's filmed in western Queensland, but could be anywhere in the Northern Territory, South Australia, Western Australia or New South Wales - extremely desolate and at times, beautiful. It's a slow burn, but everything comes together strongly for the final 20min, with a good ending. Plenty of social commentary - aboriginal interests vs mining interests; city vs country way-of-life; greed vs ethics; but in the end, it's an above average cop thriller that works on a few levels.

Again and again, Australia proves it has an exceptional talent, for crafting quality cinema.

Goldstone is yet another real Aussie gem of a film. Its a story that has depth and beauty, juxtaposed by self effacing, unapologetic, honesty. A reflection, in many ways, of the stark Australian outback, in which it is set.

There's a good detective drama on offer here too, backed by a really soulful, back story. A story that, in a straightforward but touching way, draws the viewers attention to the sad reality of life, for minorities and those marginalized by society.

Aaron Pedersen has much to be proud of in the lead role as police officer Jay Swan. Like the film itself, his performance is understated, yet, at times, almost inexplicably moving. The other cast members distinguish themselves too, including Alex Russell, who plays Swan's local police counterpart, Josh.

In short Goldstone is remarkably well written, directed and acted. True Aussie cinematic gold. Nine out of ten from me.

A wonderfully slow paced movie that gives you time to chew on the underlying fat of what is so screwed up with the Aussie outback political culture. Ivan Sen does not leave anything out, touching on the Stolen Generation, the rape and pillage by mining companies on sacred land, the destruction and disintegration of the Indigenous culture, and even the exploitation in the sex slave trade. It is ugly, almost revisiting that icon Australian movie, WAKE IN FRIGHT.

It sometimes takes an outsider to see what is so wrong with a country, as Ted Kotcheff did with Wake In Fright, Louis Malle with Alamo Bay and Wim Wenders with almost everything he made in America. But Australia has its very own soul searching local filmmaker in Ivan Sen, who peels away those layers a bit at a time, with every layer revealing the true ugliness of this country.

The plus side was the technical aspect, with the cinematography being the added bonus, perfectly capturing the mood in the isolated remote locations. Once again that was superbly handled by the director himself, who also had a hand in the music.

If you are searching for a fast paced action thriller, than keep away from this movie. But if you desire to be challenged and mentally stimulated without having topics shoved down your throat, than seek this movie out, and enjoy what it has to offer.

Goldstone could have been a far better movie than the interesting one it is. As a pastiche of several other classics along the lines of; Bad Day at Black Rock, Shane, Magnificent 7, and others, it ambles on to tell a fairly conventional but interesting story of corruption and moral decay set in an outback mining village (often referred to as the 'Town')

The multi-talented writer, director, cinematographer, editor and score composer, is Queensland born (to an Aust Indigenous mother and Croatian/German Father) Ivan Sen. Mr Sen has perfected the look of many trend-setting movie makers as well as some of his own unique touches. This should hold the patient viewers interest with its superb desolate landscapes and settings but falls somewhat short with odd, foolish touches - such as an over the top shootout where the neighborhood miners carry on performing menial out-door tasks while serious heavy- gunfire rains mercilessly around them (if this was supposed to be John Wayne type humour, it doesn't work).

A strong character performance by indigenous performer Aron Pederson as the investigating detective is weakened from his being eternally paralytic - leaving himself way too vulnerable to the deadly situations he's working within. The business 'crooks' all tend to be clichéd and rather one dimensional, while their henchmen are too gung-ho Americanised. The predictable & needless over-use of four-letter words becomes tiresome and the walk-away-from gunfire ridden car smash-up (while well done) is a stretch, to say the least. But, all that aside, it's a good-looking, attention holding, Technicolour/Noir, Modern Aussie Western – that could have been a social conscience classic.