Force of Nature: Oltre l'inganno

I rather liked The Dry, although I didn't rate it (or the book on which it was based) as much as most Australians, so I had quite high hopes for this one.

Alas, they were dashed almost as soon as the film began. The overblown, portentous music was set my Dud Alert quivering, and it was all downhill from there. Ridiculously over complicated plot with about four separate strand running at once, none of which were really resolved satisfactorily, and a couple of them not at all. I pitied the actors who had to deliver what must be some of the clunkiest lines of dialogue ever written, and perhaps the poor quality of the screenplay explains why the performances were so uniformly poor; even Eric Bana, who's an excellent actor, is terrible in this.

Just don't bother. There are far better ways to spend your time.

Not as good as the first film ...I think , mainly because the missing lady , was annoying and unpleasant , just couldn't feel anything for her ... Otherwise , not bad ...Kind of satisfied the urge I have lately to return to the old fashioned style of cinematography , when films were more about character development and acting than special effects and non stop action . This film ,definitely , achieves that : there was almost no violence or fights or car chases, or , for that matter -casual nudity or sex . That's why for me it was a pleasant reminder of the days once and for all gone ... I mean , I love some crazy action , but sometimes just want to sit quietly and enjoy a bit of a cerebral thriller )

This film was gripping and unsettling. Contrary to popular opinion, I enjoyed the second one more! It delved into the realm of psychological thriller more than a drama, which the first film leaned into. This made it exciting to watch. The lush forest landscape was a stunning antithesis to the dry countryside depicted in the first movie and the performances were very believable. Sadly, there is a "but". In the way Australian films quite often go, it didn't quite hit the high mark of a jaw-dropping plot twist at the end. Rather, it flatlined. The story could have been more ambitious and punched higher by providing more twists and turns. Additionally, the film explored a number of sub-plots that weren't answered in the end or cleverly tied-off. Overall, this is worth a watch in the cinema and I thoroughly enjoyed the experience.

A significant Australian made hit in early 2021, The Dry was both a critical and commercial success as the tale of Eric Bana's softly spoken federal agent Aaron Falk returning to his isolated hometown to help solve a murder of an old friend resonated across a wide spanning film going community, with many thankful that author Jane Harper's creation had more coming for them with her book series having multiple Falk entries planned.

A victim of last years Hollywood strike that saw its August 2023 release postponed until recent weeks, Force of Nature: The Dry 2 (an unfortunate title if there ever was one for multiple reasons) finally arrives with Bana and director Robert Connolly on board once more but sadly this time around much of the goodwill and good work that the first Dry entry left us with is gone here on a drab and damp next instalment that makes one wonder if Falk's cinematic adventures are going to be short-lived from here on out.

Far removed from the dusty and dried out surrounds of the first film, Nature finds the sleepwalking Bana and new zombified version of Falk venturing out into the Victorian mountain ranges to help with the search efforts for Anna Torv's Alice, an informant of Falk's who has gone missing in the rugged wilds during a corporate retreat that includes such colleagues as Deborra-Lee Furness's Jill, Robin McLeavy's Lauren and Richard Roxburgh's shady CEO Daniel and while the landscape we and Falk find ourselves in now have a flavour and energy, much of what happens in this wannabe Agatha Christie-lite tale is far from engaging.

Suffering from a central mystery that isn't entirely gripping and a procedural that is like a robotic progression of ticking a few boxes before climaxing in a far from memorable fashion, the core of Nature's problems stem directly from the material it's adapting and Connolly and Bana's inability to infuse that with any extra movie magic that would have made this well-budgeted Australian production anything but a pretty but extremely minor distraction.

The Dry found success in its mix of cinematic qualities rarely found in local productions, interesting main and side characters and a murder mystery that gripped from the first frame, all ingredients that aren't found in Nature, with the film failing to ever engage to a high level as we trudge along our way through mostly dialogue themed interactions with a bunch of fairly unlikeable and undeveloped characters we come to care very little about.

Initially set up to be what could have been an iconic new addition to Australian cinema history it's sad to see Falk the character and Bana the performer with so little to do here and despite some attempts to create more engagement through flashbacks and one of the most bizarre serial killer subplots I can recall, the story of Falk and his future potential don't seem so appealing moving forward after a bright initial start.

Final Say -

Well-filmed and full of possibilities, Force of Nature: The Dry 2 is a nothing more than major step backwards from the original 2021 outing and a mediocre effort from all involved, potentially halting the cinematic universe of Aaron Falk in its tracks.

2 hazardous waterfalls out of 5.

Jordan and Eddie (The Movie Guys)

An example of the inept use of a three-part structure. This is an example of a montage that is a disorderly juggling of the past and the present. The very idea of investigating economic crimes and the disappearance of a key informant is intriguing, but it is implemented and written in the worst traditions of the detective genre: not prescribed characters and, as a result, lackluster roles with superficial dialogues; stupid plot decisions justifying circumstances. The screenwriter "turns off" smartphones and forgets about the compass to justify lost tourists; tourists quarrel over the map like children, and as a result, the map floats downstream, and a girl from the group tries to fish it out of the water, flounders in the water and bruises her head. In the stream! The stream is knee deep! Just think, the girl went with the flow for a few seconds and got a head injury... how? The director did not bother to show it, just put the viewer in front of the fact.

The stupidest thing is how the group navigated on the map - without a compass, visually looking around. Are you serious? Only a schoolboy can come up with such nonsense, but the director seriously continues to confuse with the absurdity of what is happening, straining with alarming notes. I am simply amazed at how much human and material resources have been invested in this ridiculous theater of "forced losses" with empty chatter and women's screams. "Women's screams" is a directorial technique that is used wherever possible and where it is not necessary. I don't like the slang definition of "stuffy", but in this characteristic designation it corresponds to the content - it's shrill, stuffy, boring constructive junk. The director is unable to organize the acting, he does not see falsehood, does not know how to place accents, does not understand the material, and this misunderstanding is reflected in the viewer. It's a pity for Eric Ban, he has the image of an intelligent man, but in this film his virtues have dissolved into directorial incompetence.

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