Gary Sweet

Gary Sweet

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The Chronicles of Narnia: The Voyage of the Dawn Treader Review


Good
This third instalment in the Narnia series changes the director and studio, as well as the setting (from the land to the sea). The result is a rousing adventure that's enjoyable even if it still feels rather sanitised.As war rages in Britain, Lucy and Edmund (Henley and Keynes) have left London to live with their obnoxious cousin Eustace (Poulter). One day when he's taunting them about tales that they were royalty in Narnia, a painting comes to life and pulls all three of them into its watery depths. Rescued by now-King Caspian (Barnes) and his first-mate mouse Reepicheep (voiced by Pegg), they embark on an epic voyage in the ship Dawn Treader, sailing off the edge of the map on a quest to restore balance to the kingdom.The story is much more cinematic than other Narnia chapters, and director Apted makes the most of both the ship and the islands they visit along the way, adding a sense of scale and scope. Clever camerawork makes the digital creatures feel more matter-of-fact (to everyone except the horrified Eustace), and only a few dodgy effects (mainly the mermaids and a dragon) let things down on the technical side.In addition, the actors are more relaxed this time, giving more confident, natural performances. Franchise newcomer Poulter is especially good, walking the fine line between being a loathsome jerk and a needy young boy. So it's a shame that the plot feels so simplistic, composed of a series of set pieces as the ship stops at various ports of call and our heroes encounter seemingly random inhabitants who helpfully give them information to continue their journey.

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The Tracker Review


OK
Men will go to great lengths to pursue justice. The quest for it in this film raises the question... whose justice? Is this the justice of the white man of Australia when a black is accused of murdering a white woman? Does rage over the offense translate to immediate conviction? While doubts hover over the expedition of 1922 across the dry miles of the Australian outback on the trail of the accused, other forms of guilt develop, and justice is applied in an unexpected way.

The four characters of the expedition are identified by their function in the story. Leading the pursuit of the runaway native is the stiff-backed "Fanatic" (Gary Sweet), a complex, intelligent man full of racial hatred, self-righteous zeal and self-justifying cruelty. However deep his contempt for anyone not of his color or calling, he has the wisdom to employ the services of the "Tracker" (David Gulpilil), although without much trust from the man. His own recognition of subtle marks on the ground suggest the subtlety of his mind.

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Alexandra's Project Review


Excellent
It's his birthday, and a husband returns home from work expecting a not-so-surprising surprise party. But the house is deserted, and all that's left of his wife is a videotape where she and the kids wish him a happy one. The children are sent off to a relative's house and the wife engages in a vivid striptease seduction. But she cuts her act short, beginning instead a one-way monologue to her husband, sifting through the complex issues of their troubled marriage. Clearly, Alexandra's Project is entrenched in the realm of dysfunctional relations and comes up with a novel way of handling it: a psychological thriller told in monologue form, where a husband cannot interact with his wife's "battle of the sexes" speechifying.

Directed by Rolf de Heer, Alexandra's Project is minimalistic and very formal. The actors, after a brief introductory section, have almost no interaction together, and it's basically a one man show as husband Steve (Gary Sweet) attempts to figure out exactly what his wife is going on about, and ultimately where she is. The wife, Alexandra (Helen Buday, whom some may recognize from Mad Max Beyond Thunderdome), starts out simply, discussing their basic problems, but eventually it gets into issues of sexism, fidelity, and ultimately compassion. She does, ultimately, take off her clothes for him, but the effect is strangely unnerving after she's brought up her mastectomy, and the possibility that another person (and not her husband) may be behind the camera watching her undress.

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Gary Sweet

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