User reviews

A film that for its entirety is crying out for a satisfying ending to make all that has come to pass worthwhile, Strangerland fails at its final hurdle and becomes a tale with huge potential that remains left in the dusty plains of the outback wherein the stories mysteries lie.

Strangerland is most certainly a unique disappearance mystery, a strange hybrid of domestic drama moulded into the intrigue of just what happened to the two Parker children, last seen wandering off into the great unknowns of outback Australia, but despite consistently threatening to become a great addition to the recently mostly barren Australian cinema classic handbook, Kim Farrant's film just can't gel into something totally recommendable or overly memorable.

First time director Farrant does show glimpses of a filmmaking talent, her images of the land and direction of some of her actors is of a high order and Strangerland's tone is often nerve rackingly eerie and there's an air of dread that permeates through most of film. From Maddison Brown's performance as promiscuous teen Lili, the town of Nathgari itself and the looming shadow of the barren landscape that surrounds our characters mixed with Keefus Ciancia's atmospheric score, all combine to give Strangerland a unique identity worthy of lead Nicole Kidman's committed turn.

In the doldrums for some time now it's great to see Kidman showcase her considerable talents once more with a layered turn as the conflicted mother of the lost children Catherine Parker. Kidman's performance is both brave and unflattering and she's a highlight of Strangerland's ensemble. Ably supported by the evergreen Hugo Weaving as the local detective, Kidman elevates the film despite the overplayed presence of a distracting Joseph Fiennes who once again reminds us as to why his been largely forgotten about since his appearance in Shakespeare in Love. Young Australian performer Meyne Wyatt is also worthy of a mention in his role as young Aboriginal local Burtie.

Strangerland has moments; it also sucks you into its mysterious centre only to drop the bundle in the films last act. If Strangerland had in fact had a better catch on its hook it could've quite easily become one of, if not the Australian film of the year but as it stands it's going to be remembered only for a timely reminder that Nicole Kidman can in fact act and lead a film. A disappointing result for a film that just might have been.

2 ½ high quality skate parks out of 5

Trouble is stirred up in a stifling hot Australian desert town after the two children of new arrivals Nicole Kidman and Joseph Fiennes go missing...and everyone who came into contact with them becomes a suspect in their disappearance. Well-acted study of stunted small town lives, with Nicole Kidman particularly gripping as the sad, desperate mother of the kids (a promiscuous teenage girl and her restless younger brother). Some of the drama has a prickly edge, and the dialogue is strong, however the supporting characters are not a terribly interesting lot, while the simmering tempers in this dust bowl town are not used to heighten the tension (director Kim Farrant treats it as subtext, preferring to focus on the embattled married couple). Repetitive aerial shots of the mountain terrain and surrounding desert grow tiresome (arty yet unrevealing), but the complicated scenario is enough of a draw for admirers of character studies. ** from ****

After their free spirited, too mature for her age and nubile daughter Lily (a walking Lolita cliché) takes off with her brother into the desert the already unstable marriage falls prey to resurfacing old resentment. Nobody in the small sleepy outback town knows where she has disappeared off too yet many seem to have had some involvement. As the movie progresses we see the mother (Kidman) fall further in desperation induced mental frailty while dad (Fiennes) holds her responsible for their daughters 'adventurous nature' so to speak. Although it starts off well with what seems to be a wholesome plot, either a mystery or a psychological thriller, it lingers and resumes in exploring the relationship between mainly the parents and the towns people. Some over-dramatization doesn't do the plot any good and by the end it leaves you hanging. It lacks a firm direction and goes on tangents instead, many scenic shots, dramatic outburst and at last an unsatisfactory ending. It is the indecisiveness that irritates. When presenting a strong leading plot line it needs to be followed through, at least partly. Fiennes and Kidmans' performances are impeccable despite the failing script.

I can't believe that it wasn't obvious at the first reading that the script was letting it down. Basic idiosyncratic transitions and poor dialogue abounds. Hugo Weaving (something of a fixture in Australian films) manages to make the best of his scenes, and gives a good credible performance throughout. Nicol Kidman works wonders to give the other credible performance. Mr Fiennes is miscast and struggles from his first frame to his last, to even convince us that he belongs there at all.

The rest of the great problem with this film is down to the appalling direction. Basic character relationships are ignored, logic is ignored, some the smaller roles seem to have been left to tag along by themselves, dramatic tension is frequently killed in its infancy by casual happenstance, and there are too many red rock dessert shots, that look for all the world, like stock footage.

It no doubt made great headway as it stood the test of the template during the funding process, as it was labeled a feminist story (it even failed at that) it was to be directed by a woman, it was to be set within a sand storm in country Australiana, and it even featured a smattering of indigenous characters and folk law.

It's a shame that the piece could not have been saved by skillful work shopping during the early stages of production, and good film making throughout.

Tensions flair between a couple living in the outback when their son and daughter disappear during the night in this Australian mystery thriller. The film is drooped in atmosphere with eerie aerial shots that emphasise the isolated nature of the outskirts town, some very moody skies and an absolutely haunting music score. There is a constant sense of something sinister afoot, and as the two parents learn increasingly shocking things about their children in their quest to find them, their disappearance serves as a catalyst: a wake-up call for just how out of control their kids are and how they have failed as parents. Everything progresses at a deliberately slow pace and it is understandable why some might not take kindly to the film since it plays out as more of a Michelangelo Antonioni mystery movie than a standard Hollywood thriller. There is, however, a lot going on beneath the surface and the chief drawback of the film, if anything, is how elusive this all remains by the end. There is the slightest hint of childhood sexual abuse, the vaguest suggestion of the kids being afraid of their own parents - but frustratingly, nothing is ever clear. The ambiguity with regards to their daughter's disappearance is, on the other hand, an excellent touch, highlighting that the film is primarily about the parents and their gradual, mutual realisation that they are not entirely satisfied with their lives and each other. Indeed, while the small town setting initially seems to represent freedom and escapism from past mistakes, in the end, the setting only forces them to confront their inner demons face-on.

This is a stupid movie with a stupid and inane plot and paper thin characters. I must admit, though, the title is quite fitting.

I love Nicole. One of the best of her time. She normally chose good movies to be part of. Not this one, though. Can't understand what made her accept being part of this...thing. It started out well, but soon loses pace and logic. I couldn't see it thoroughly. Nothing happens. Ridiculous scenes...even sex scenes. Strange and ridiculous. The actors, couldn't deliver cause there's nothing to. A lot of scenes should be cut off, cause they don't make any sense at all. And the end, gosh, deplorable. Deplorable ending. I can't understand what's the point of this movie? For what purpose was it made? And what about the title? Strangerland?! My God! Awful!This movie could have been good.The ambiance, the actors...what a waste of talent and of my time!

Well i watched this all excited thinking oh yes Nicole Kidman's in it, she's normally in good films. I like her. Good actress in good films etc

Anyway the story starts off promising, a mystery a mother and father in despair, a few family secrets are revealed, we get to know the characters a little bit and then nothing literally nothing. I kept waiting for it to pick back up and get to the good bit but alas it doesn't go anywhere. I think i started playing on my phone half way through it as well.

Anyway to conclude nothing happens, no conclusion to events. No nothing. My 8 year old could have written a more gripping storyline.

It will kill a few hours if you are bored anyway. :)

Just taking a guess here but whoever wrote the movie never had teens go missing? Guessing?

Big names in a movie makes you think there is substance, but it just lays flat as a pancake and it makes no sense. No idea how so much hot sex plays into thIs but - yea not realistic in the least. It comes across as creepy and weird.

Just pass on this movie you won't be missing anything.

Strangerland had a lot of qualities attached to it: brilliant cinematography, stunning scenery of the Australian landscape, great production value, deep involving score. But the film's most beautiful part is the acting, everyone involved did a great Job, but it was Kidman's show, she is so powerful in this movie, natural, complex, raw & simply brilliant in every aspect, easily one of her finest acts. The Film could be deeply disturbing, mesmerizing if handled by a more mature director, or maybe if the story was simplified. Definitely worth watching, at least for the astonishing acts involved & the stunning cinematography. Strangerland is somewhat a difficult film to talk about. It does have absolutely stunning scenes reflecting brilliant work of a mature film maker, but in other scenes "specially the first part of a film "the director didn't seem to be in control, lost in the plot or at least felt like she had a lot to deal with. Throughout the film audience keep coming across a lot of quite random events they assume would make a major impact on the plot or at least they would have answers for. However a lot of these triggers are gone unanswered by the end of the movie, leaving the crowd lost. Which created a confusion while they try to focus on the main story line. Going through the most horrific situation ever, losing your kids, Strangerland spectacularly represented the emotions of the parents involved allowing the actors to shine on screen in many confronting scenes.

I saw this at Sydney Film Festival. One of the worst movies I've ever seen (and I see a lot!). I felt sorry for the actors - the script was AWFUL. The direction, woeful. Holes all over the plot. The Director was calling this a feminist movie - can't see that at all. Joseph Fiennes had an Australian accent for the first scene and then reverted to his normal English accent - lazy direction! Sex scenes that the audience laughed out loud at. Awful. Director said it took 13 years to make this movie. Sad. One of the finest Australian actors, Hugo Weaving, wasn't even good in it. None of the main actors turned up for the Australian premiere - no surprise there. I stayed for the Q&A after the film to get some answers. The Director continued to talk it up without really answering the questions. I'll never get those 2 hours of my life back!

The best things about this movie are the cinematography, the acting (despite the lame script) and the beautiful and haunting outback locales. The story is so strung out...so stretched. The whole thing could have been told in 30 minutes. As it is the story is padded out with long and luxurious takes of the outback, the stereotypical outback town (of which there are very few these days) and the side story of Kidman's character losing it big time.

I am thoroughly sick and tired of Australian films these days (yep-I'm Australian). They tell off-beat boring stories or focus far too much on the outback that the rest of the world must think we all live in the desert with koalas and kangaroos for pets, speak with an appalling twang and drink copious amounts of beer whilst swatting away huge flies.

Here's the reality... Most Australians live in large cities or suburbs not unlike LA (I know LA so I can compare our cities quite well). Few of our films deal with our cosmopolitan and multi-racial population. Aussie films either show whitebread Aussie families or Aboriginal families in distress. No mention or filming of the other ethnic groups here.

Now whilst trying to tell tales about your culture is a laudable thing, to make a film truly internationally interesting it needs to sell to a wider audience otherwise our film industry will always be relegated to the quirky sidelines while Hollywood conquers all.

I've never seen any movie so obviously devoid of substance. Pardon me, but how can actors, well known actors with solid reputations, just mouth the words, let the minutes slip by, tic tic, knowing they are in an empty movie? Why not walk off the set, it's that weak. I'm in awe - how did this get released? Ok, let's not waste any more time. Bottom line- I can find something in the worst of movies, but not this one, wish I had read the reviews first. Skip this movie, folks.

Fiona Seres and Michael Kinirons created the story and screenplay for this disturbing Australian film, directed by Kim Farrant. Some viewers are finding it slow and sluggish, but take a step back and realize that the pacing of the tragic story matches the hours of endless agony victims of trauma endure and the film becomes more meaningful.

Actors Nicole Kidman, Joseph Fiennes, and Hugo Weaving are all artists of the first caliber and the strength they bring to his story makes it work well. After leaving Coonawarra, New South Wales because of a scandal created by a 15 year old have relations with a school teacher (Martin Dingle Wall), the focal family are newcomers to the remote Australian desert town of Nathgari, Catherine (Nicole Kidman) and Matthew (Joseph Fiennes) Parker's lives are flung into crisis when they discover their two teenage kids, Tommy (Nicholas Hamilton) – a night walker - and Lily (Maddison Brown), have mysteriously disappeared just before a massive dust storm hits. With Nathgari eerily smothered in red dust and darkness, the townsfolk join the search led by local cop, David Rae (Hugo Weaving). It soon becomes apparent that something terrible may have happened to Tommy and Lily. Suspicions run riot (Lily's sexual obsession with such boy's as Burtie (Meyne Wyattt) and Jarrah (Trangi J. Speed-Coe) among others, rumors spread and public opinion turns savagely against the Parkers – some wonder if Matthew had been abusing Lily sexually when she was younger. With temperatures rising and the chances of survival plummeting with each passing day, Catherine and Matthew find themselves pushed to the brink as they struggle to survive the mystery of their children's fate. Matthew finds Tommy days later but Lily remains missing – and it is that unknown that spins Catherine into near mental collapse as she wanders the desert naked. Secrets and lies and the only thing holding the Parker's together is their estranged but true love for each other.

The film deals with alienation on all levels – with every character in the film – made more dramatic by the magnificent scenery of Australia as well captured by cinematographer P.J. Dillon. This is a tough film to watch but a fine, daring work of cinema.

Just a well adjusted family trying to make its way in a quaint small town. NOT!

A pretty weird little waste of time. Unlikeable, unrelateable and unresolved mess.

Give this a miss..