User reviews

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))

I found this film by accident as I didn't realise that they had made a sequel to the very intriguing and dark Mystery Road.

Our lead is sent on a case again in the middle of nowhere in Australia, but he is a wreck (not surprising when you look back on the first film). Anyhow, he ends up having to liaise with a local cop who is passive on all the ills he sees round him, and each is a foil for the other. There is mass corruption and life to some others is worthless, or local cop can end up in either direction, especially as he takes an emotional investment in the goings on of Human Trafficking of young Chinese women.

So what we have is a case of redemption. Will the local cop leave the world as it is, or challenge the immorality? Everyone else seems to just play along, but our lead says no! Will the local cop back him or not?

Like the first film, this is sumptuous, and the real star is the glorious cinematography, which contrasts the dark heart of the human soul. Yet we have hope in it all.

Our lead is as intriguing as ever, and his own failings are something that endear you to him. I'm very happy they made this film, as we continue the journey. There's a Mad Max element to the lead character & story (albeit no fantasy), but it's still violent and unforgiving.

Again, this is a case worth investigating, and I can't wait to the next film in this series. Very dark yet very beautiful to watch, there's a heart in this movie and you will find it. Deserves better than the ratings so far have given it credit for.

'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.

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.

Overly curious visitors to an outback mining town are told to be careful where they step, for there are snakes around. When Aboriginal detective Jay Swan is sent by the federal government to investigate the disappearance of Chinese migrant women, he encounters the snakes. The town is full of them. This is because many town residents, including the mayor, are on the take for the mining company and for the rest, they depend on the company in one way or another. "Without the mine," says one resident "there's nothing you know." Even among the Aboriginals, Swan gets no traction in his search for the missing migrants. "Brother boy, you're a guest here like the white man," one tells him. Not only does Swan fail to find someone he can trust, he cannot even trust himself half of the time because of a drinking problem. Yet Swan's persistence and toughness begins to pay off when a town resident dies in suspicious circumstances. As Swan takes advantage of holes in the armor of the mining company and their abuse support network, he also must convince fearful, abused and bullied people to step out of the shadows.

The film revolves around a timely subject; human trafficking. The migrant women in the film and those who dare to speak against the mining company, are bullied, abused and made to feel worthless and insignificant. "The world was not made for you," they are told "you were made for it. You think you can make a difference?!" And these women have good reason to be afraid and stay in the shadows. "When you find the truth," they ask the police, "what will you do? Will you protect us?" Probably not.

Goldstone includes some amazing images of the outback and intriguing shots taken overhead by drones. The film is a thrilling story about an important and timely subject, and it has interesting characters, yet it feels a bit constrained. This may have something to do with budget, acting and/or depth. International premiere seen at the 2016 Toronto International Film Festival and the beautiful, historic Winter Garden theater.

When I saw the first film a couple of years ago, I did not think they would make a sequel. It looked kind of a one-off film, but I'm very happy for this and I'm sure there will be another one. There's no mention of 'part 2' in the title, so people might end up watching this without knowing there's one before this. But it's good to name a film according to the plot/story. Those who saw the original will be familiar with the characters and the story narration, so they will know what to and how much to expect.

This is my first film of the 2017. I don't believe in such sentiments, but I think its a great start and hoping to watch many more good ones. Now coming to the film plot, it continued from the previous. After the successful first assignment as a detective, Jay Swan is sent to another small mining town to deal with a missing person case. Seems no ones are happy on his arrival, including the local cop. But his doubts about how the powerful people misusing their power makes a cop named Josh to act instantly.

Almost 2 hour long film, narrated with a slow pace. Thus far of the tale are developed steadily. Since the Josh gets into investigating, the people with illegal business starts to feel the heat. Meanwhile, Jay learns a few things about his people from an old local indigenous man. Josh and Jay, they both make a progress, which leads to a step away to solve the multiple cases. The final quarter turns into an action film and leaves a big open to the story to continue.

"And they follow the same god. Money god."

That's what I disliked. Being a long film and not able to finish it off properly makes it fall behind quite a bit long distance from the original film. But I still enjoyed it. Those locations were well used to tell the story. In fact, it kind of reminded me another detective film 'Jesse Stone'. The opening scene from this as well, kind of similar, like being drunk while arriving in a new town. Unlike that film, this is not a television film and high quality film from all the aspect. It is also considered one of the best Aussie film of the year. So if you are a film fanatic, you should not miss it.

Directed by the same director and once again he managed the multiple tasks, like handling camera, editing, music and script. Predictable story, but it's not about the story, it's how the story was presented. The actors did help with that part to accomplish what the filmmaker wanted. Aaron Pederson was awesome, and now he's one of my favourites from down under. I hope like all the Aussie actors, he would also get a chance to work in Hollywood projects.

The case was not detailed for us. We learn Jay is working to find the missing girl, but no flashbacks or any other kind of revelations. At some point it gives out the result in a simple, but heart wrecking way. It's more a realistic in revelation going forward than giving hints for the viewers to make predictions. Like I said, it's not as good as the first film, that's only because of the ending. I'm also not sure the same story would continue in the next part.

The way it concluded might not be complete, but it is something different than the usual solution in a cop film. So you have to accept the fact than complaining it. Other than that, I'm sure it is one of the best detective films. The films, both the installments were not internationally recognised so well, but it definitely deserves that honour. It might take years people come to know, though I hope you would check it out after reading this review, only if you haven't seen it yet. Recommended!

7/10

'Goldstone' features same atmospheric scenes and landscapes as Mystery Road, which alone makes it an interesting watch. The technical aspects - acting, cinematography and action - are very good. The plot is OK, but the storytelling is not as good as in Mystery Road.

It's not a detective story as in in Mystery Road, where the viewers follow the main character as he unveils the events. 30 minutes into the movie we know everything. So the plot is rather absent. But the atmosphere is there and there's slightly more action than in 'Mystery Road'.

This movie just came to the US and it was playing at the theater where I work. I wasn't really planning to see it because the poster looked pretty generic, but after watching the trailer I changed my mind because it looked very well shot and I have yet to see a bad Australian film.

Man, am I glad I watched this. EVERY aspect of this movie is so well handled. The cinematography, directing, writing and acting are all so well done without being too flashy. It all fits with the story being told.

Every single performance was great. I especially enjoyed Aaron Pederson's understated, tormented performance. Understated is actually an accurate adjective for all of this film. The only performance I thought was mediocre was the actress who played May. This was most likely the casting, but I would've liked her English to be more broken. I also felt she was a little too confident for the position she was in.

The writing is really good. The story is nothing revolutionary but it's simple and effective. The movie is definitely slow but I was never bored. What I really loved was the dialogue. There were moments when it was very powerful but never heavy handed. I think the wonderful performances and subtle direction assisted in that. Also, I loved Josh's character arc. His arc, as well as the slow build up, made the climax SO satisfying.

The cinematography was gorgeous but subtle. Expressive but never too flashy. Probably the best aerial shots I've personally seen in a movie. The shootout is so well shot and directed. Really got me going.

All in all I would definitely recommend this to a patient movie-goer. I had a really great experience and enjoyed every second. This score is also something to be mentioned, beautiful and emotional.

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.

This film is definitely better than most. It's sort of a modern noir film. I know, it's not all dark settings as many films noir can be, but the story, the feel of the whole thing and the themes are definitely along the noir strain. And it's very well done. From the score, which does a great job of setting moods and tone, to the filmography and the sets and views, to the acting and editing, it's all very good. Personally, I think it's just a tad better than Mystery Road, which is very similar and also good. They're both worth seeing, and maybe more than once.

Since his debut Australian film Beneath Clouds in 2002, Aussie director Ivan Sen (who also often writes, edits, scores and acts as DOP on his films) has developed an impressive resume of local films, often tinged with Aboriginal themes and undertones, that has seen the talented filmmaker reach a peak with Toomelah in 2011, but his greatest success audience wise, 2013's Mystery Road has now allowed him to develop one of the most surprising follow-ups in recent memories with the return of Aaron Pedersen's detective Jay Swan in Goldstone.

Mystery Road was a proficient if slightly underwhelming police thriller but Aboriginal detective Swan offered a unique and intriguing central figure for audiences to lay hold on and the film also showcased Sen's ability to work on a bigger canvass than he previously had participated on.

Building on the groundwork of that film, Goldstone feels like both a bigger event and a higher reaching one and while this time around Swan feels like more of a shell of his previous self, here he is unkempt and a clear alcoholic, Sen is entering new ground with this thriller which finds itself tinged in Australian themes, language and folklore but also not that far removed from fever dream mystery's not dissimilar to late 90 European nature and the town of Goldstone offer's Sen a playground of ideas that touches on all things from our lands natural resources, its past histories, people smuggling the very nature of small town life in the harsh surrounds of the Australian outback.

Sen has always been a visually talented director and Goldstone shines in this department, the neon signs of Goldstone's seedy establishments offer much intrigue and seedy vibes while the films sparsely used yet moody score fits in well with the Wending-Refn feels.

Goldstone also boasts a fantastic support cast for Pedersen's rather disappointing return as Swan, with Alex Russell's local police offer Josh, David Wenham's shorts wearing mining boss Johnny, David Gulpilil's tragic Aboriginal elder Jimmy and Jacki Weaver's local mayor Maureen all providing the film with a collection of floored human beings that showcases Sen's ability as a writer, much like he did with Toomelah.

Filled with striking visuals, Goldstone is much more than the simple story of Jay Swan's hunt for a missing Chinese national and while it's disappointing for the film that Pedersen and Jay Swan as a character are the films biggest weaknesses, this surprising sequel with a significantly touching end coda is one of 2016's very best local film products and another step for Sen that seems to suggest there's a genuine Australian classic lying in wait for his taking.

3 ½ cakes out of 5

Well-done Aussie mystery involving a missing girl, a remote desert town, and indigenous people. Features a great performance, against type, by Jacki Weaver. Solid all around. Solid, in fact, is probably the best word to describe this. It's not flashy, it won't win a lot of awards, but it's sure not boring.

'Goldstone' is an Australian drama set in the outback, and featuring a story centred on the relationships between the mining industy, corrupt local officials, and the often abused indigenous population. It's basically a strong movie, and the scenery is harsh and stunning, but the direction often feels pedestrian, failing to convey tension in the action scenes, and the motivation of its central character, a rogue detective who turns up drunk, is a little underdeveloped. If you like it, watch 'Mystery Road', a recent television series featuring the same central character and similar themes (there's also another movie in the series with the same name).

The harsh climate of the Australian Outback is best watched on film or TV rather than actually living there, and Goldstone does it full justice. The driftwood and sand color palette corrugated iron shacks in the vast flat ochre landscape is stunning and the film is worth seeing for this if nothing else. I loved the slow almost dreamy style unusual for an action film, but unfortunately, due to the glacial pace of the action there isn't much else. Although Aaron Pedersen does a credible job, he really isn't given much to do, unlike the prequel, Mystery Road, he spends most of his time getting drunk or sobering up, with no explanation as to why he is on the grog. Maybe he needs a woman to brighten up his life.

I am giving this film a 9 as it is the most visually beautiful arid desert photography since Lawrence of Arabia, but it lost a point with the tired old clichéd story line. How many more times are we going to see the big mining company acquiring land by foul means from indigenous people and farming folk who don't know any better, or if they do, are powerless to do anything about it? The mining companies have the politicians in their pockets and are allowed free rein to fence off property and guard it with private security thugs to hide the illegal activities which are going on. Their nefarious plans are usually exposed when someone goes missing, which brings in a nosy outside investigator with problems of his own who manages to survive various attempts to buy him off or kill him off. I am not knocking the story line, 'The Code' with an almost identical plot kept me awake all night as I binged on the episodes, but the familiarity makes the outcome predictable.

My big question is where do they get the electricity to power the air conditioning those trailers must need in the furnace of the outback? Instead of shooting at people, all Jay and Josh had to do to flush out the villains was shoot out the trailer windows and the heat would have brought out the occupants in seconds. Lastly, although we never see a cell tower, I want to know how they always manage to get perfect cell phone reception in the middle of nowhere, when I can't get a perfect signal in a heavily populated area of 25 million. Does Australia have secret long range cell phone technology which they are keeping from the rest of us?

Before watching Goldstone I was going to watch Mystery Road, but unfortunately Netflix has dropped it. Shame!

This is a fantastic Australian movie. If you can catch it on the big screen, then I'd encourage you to take it in. Strongly recommended.

At nearly 2 hrs it drags and drags and drags and drags. Scenes meander for 10 minutes for no reason, monologues that don't advance the plot go on forever. And the music overwhelms the dialog as if there's going to be some sort of emotional epiphany. Which there is not. There's no real mystery here they state what's going on in the first 15 minutes and the story wanders around in a predictable way in this morally gray universe. It's hot and flat and barren and bleak and wise indigenous folk do spiritual indigenous stuff.

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.

Tedious plot with a predictable outcome. Cinematography quite good. Jacki Weaver steals the show as the mayor of this corrupt backwater.

A functional enough cop procedural mystery, but not a thriller in any way. Totally disengaging characters, filmed in a seriously by-the-numbers approach, with a plot you can see coming a light year away, this doesn't reward your viewing very well. Some of the occasional "special" shots work well, but in the main, this is as run-of-the-mill as they come.