Animal Kingdom

The film Animal Kingdom (2010) is an Australian film, centering around an 18-year-old boy, Joshua- or "J"- (James Frecheville) who's mother has just passed away from a heroin overdose. The paramedics come and take her away as J watches Family Feud on the television, hardly aware of her death, it seems. He calls his estranged grandmother, Janine (Jacki Weaver) since he has no idea what to do about funeral processions, and she invites J to move in with her. He's still in school, and he does so, getting himself introduced into her lifestyle. She has three sons who stick close by her loving side, Darren, the youngest, (Luke Ford), Craig, the middle brother, (Sullivan Stapleton) and Andrew- or "Pope" as he likes to be called- is the eldest, suspected of armed robbery (Ben Mendelsohn). Craig is a pusher for heroin in the small town where they live, with Darren following his lead as he chooses, and Pope is on the lamb, hiding out from a gang of renegade detectives. J stays out of their business as much as he can, but Craig wants to help his brother, Pope. It's that very generosity that gets him shot by the same detective gang, leaving his young wife a widow with their child. Pope moves back in with Janine, and J goes to stay with his girlfriend, Nicole (Laura Wheelwright), though her parents aren't thrilled about it. Before he knows what's what, his uncles are pushing him to shut up while the police urge him to let them in on the details. His uncles have killed a squad car of two officers to get back at them for their assault, and J is mixed up in it. He wants to protect Nicole, and himself, but how far can he go in either direction before he's bound to get hurt- or hurt somebody else?

This film is loosely based on events taking place in 1988 in Melbourne, Australia. The script, written by the director, David Michôd, was originally entitled J, and explored the underground workings of Melbourne, focusing on the workings of a crime family, the Pettingills, and the Walsh Street Police Shootings. A fellow producer, Liz Watts saw a lot of potential in his draft, but argued that it lacked structure and deeper characterization. he agreed, and spent time working on a number of drafts until this one was finally produced and developed into film. This film received 18 nominations from the Australian film board, and an Oscar for Jacki Weaver as Best Supporting Actress. In total, the film has received 32 nominations, and 10 wins.

This film shocked me as far as quality goes. There wasn't an aspect of it that I didn't feel was up to par. The cinematography was gritty, yet clear and exciting. The shots were well placed and interestingly set. The writing definitely stood out to me, even from the first three scenes, which is great to be able to detect in a visual piece, because it's so behind the scenes. But the direction was very precise and wonderfully executed. The score also stood out to me as being memorable, dramatic, and strangely appropriate for an Australian film, though I cannot imagine why I feel that way. It all just worked really well.

Critiques I'd make on the writing would have to go firstly to the voice over done by J. In first act of the film, he lets us into his head, building him as a character who may not be able to- or even want to- speak his mind. We get a taste of how he really feels when no one else is watching, and I liked it, but wasn't sure it was needed. After that moment, we don't go into J's head again. That stood out to me upon finishing the movie as being a way for the writer to expose information for a brief moment with no follow through, which doesn't have to be the case. Just include a couple more blurbs of J's thoughts and then we're with him more often- which I genuinely would have LIKED because there is something socially not right with J and he never speaks, really, or seems to have much knowledge on etiquette. The voice overs would have helped me to figure him out a lot more, but I stand by that they should have been expanded upon or dropped-- it's the same way with flashbacks. Don't have one all of a sudden, and then no more, ever. That spells "cop out." Make it a theme, or make it gone.
The characters in this piece were reeeeally good and interesting, though. I've never heard of Liz Watts, but KUDOS, girl, for telling the writer to make them bigger, better, and awesome because to me that's one of the greatest strengths of the film, and the reason I'd like to own it. Their motivations are all unique and really strong.

This is definitely a drama that borders on some weird maternal sexual tension, as well as sexual tension between an older man and a younger girl, and a feeling of isolation from a character who doesn't speak, as well as the overwhelming feeling of us vs them about cops and drug lords, something that every country is familiar with, and it makes the film universal even though it's in Australia. I enjoyed every minute of it, and never found it to be boring. For a movie over two hours long, it doesn't drag on to me. Like I mentioned earlier, the score was really intricate and interesting, and I'd love to hear more from composer, Anthony Partos, who did a large part of the soundtrack. It really was well constructed and it's sticking with me. I say, watch it. There's something in it for a lot of people as far as I'm concerned-- but a word to the wise, it DOES border on uncomfortable. So don't expect a "feel good" after effect. It doesn't take you where you want to fall asleep.