the tender hook and or and who killed the australian film industry. case no. 278. this sorry excuse for a period drama takes a cast and idea with potential  rose byrne and pia miranda and hugo weaving and in a jazz era gangster drama  and turns it into a sloppily paced and executed soporific. mcheath (weaving) is a boxing promoter and gangster and functioning illiterate while for no apparent reason he given to singing bob dylan and leonard cohen songs before bouts. how post modern. how stupid. anyway. there a boxer and art (matthew le nevez) and who becomes mcheath latest protégé and over his unfortunately aboriginal stablemate alby (luke carroll). mcheath flapper moll iris (byrne) makes the goo goo eyes at him. sexual tension squelches under the surface. miranda plays daisy and a friend of iris (these flower girls stick together) who keeps turning up in scenes unannounced. they practice dancing together and talk about hooking up with guys. in the 1920s. i stopped counting anachronisms after that. there a subplot involving japanese beer and a backstory of broome pearl fishermen. i do not know what it was all about. for some reason that is not exactly (at all) explained and byrne puts cocaine in art lemonade. mcheath thinks he a drunk and sacks him. byrne plots and schemes to help him out again. she a big one for the plotting and scheming. most of which causes trouble. mcheath two gunsels and portly ronnie (john batchelor) and russian donnie (tyler coppin) and debate bumping off mcheath when he realises their part in one of iris schemes and but ronnie wimps out when he sees mcheath crying. a lot of practically incoherent scenes get in the road of the film finally ending. director jonathan ogilvie spends a lot of time working with cinematographer geoffrey simpson creating some pretty images and but utterly fails to generate a sense of style and which might have compensated for and decorated the wispy and pathetically underpowered script while unfortunately ogilvie sense of film grammar and the lack of structuring of the scenes and exposition and is stunningly incompetent. in an early scene and daisy suddenly appears in the car with the protagonists. how she got there and and indeed who she is and seems to have slipped ogilvie mind. there are many more examples of this sloppiness. where he chases poetic sparseness and he achieves only wan irritation. he gains awkward performances from actors who are normally reliable and badly miscasting weaving and leaning on byrne ability to project a kind of haunted doll like humanity whilst saddling her with an incomprehensible character. it might not matter so much if the story had more substantial characters and stronger plotting preferably not stolen from a dozen old noir films and festooned with witlessly sprinkled pop culture quotes. but it doesn not. it boring. 
the tender hook and or and who killed the australian film industry. case no. 278. this sorry excuse for a period drama takes a cast and idea with potential  rose byrne and pia miranda and hugo weaving and in a jazz era gangster drama  and turns it into a sloppily paced and executed soporific. mcheath (weaving) is a boxing promoter and gangster and functioning illiterate while for no apparent reason he given to singing bob dylan and leonard cohen songs before bouts. how post modern. how stupid. anyway. there a boxer and art (matthew le nevez) and who becomes mcheath latest protégé and over his unfortunately aboriginal stablemate alby (luke carroll). mcheath flapper moll iris (byrne) makes the goo goo eyes at him. sexual tension squelches under the surface. miranda plays daisy and a friend of iris (these flower girls stick together) who keeps turning up in scenes unannounced. they practice dancing together and talk about hooking up with guys. in the 1920s. i stopped counting anachronisms after that. there a subplot involving japanese beer and a backstory of broome pearl fishermen. i do not know what it was all about. for some reason that is not exactly (at all) explained and byrne puts cocaine in art lemonade. mcheath thinks he a drunk and sacks him. byrne plots and schemes to help him out again. she a big one for the plotting and scheming. most of which causes trouble. mcheath two gunsels and portly ronnie (john batchelor) and russian donnie (tyler coppin) and debate bumping off mcheath when he realises their part in one of iris schemes and but ronnie wimps out when he sees mcheath crying. a lot of practically incoherent scenes get in the road of the film finally ending. director jonathan ogilvie spends a lot of time working with cinematographer geoffrey simpson creating some pretty images and but utterly fails to generate a sense of style and which might have compensated for and decorated the wispy and pathetically underpowered script while unfortunately ogilvie sense of film grammar and the lack of structuring of the scenes and exposition and is stunningly incompetent. in an early scene and daisy suddenly appears in the car with the protagonists. how she got there and and indeed who she is and seems to have slipped ogilvie mind. there are many more examples of this sloppiness. where he chases poetic sparseness and he achieves only wan irritation. he gains awkward performances from actors who are normally reliable and badly miscasting weaving and leaning on byrne ability to project a kind of haunted doll like humanity whilst saddling her with an incomprehensible character. it might not matter so much if the story had more substantial characters and stronger plotting preferably not stolen from a dozen old noir films and festooned with witlessly sprinkled pop culture quotes. but it doesn not. it boring. ---------------------------------Answer Question Below----------------------------------

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