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Once in a while a film comes along which tries to be mettlesome, plucky, and inspiring while aloof retaining enough “warm and fuzzy’ to appeal to American audiences. The result is usually a self-indulgent sigh fracture that smacks of too many engineers in the locomotive. First time writer/director Dan Castle attempts it in “Newcastle,” and the result will leave audiences wide-eyed with amazement.
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The setting is a share of Australia flanked by the sound of heavy industry on one side and the break of some of the best waves in the world on the other. It is here that a complex family drama is played out, with three brothers caught in a struggle for individual freedom and respect from each other. Older brother Victor has seen his championship surfing days advance and go, so it’s no wonder he harbors some resentment towards his 17-year-old brother Jesse, on the rise to becoming a champion himself. Jesse’s twin brother Fergus throws everyone for a loop with his ever-changing hair color and enigmatic personality. Dad tries to possess it all together but, like any working class parent, struggles to accept the time to even be show enough to produce a inequity. An assortment of surfer guys and gals adds even more discover pressure, and what starts out as a beach outing becomes a defining moment for everyone.
That said, “Newcastle” is anything but a film about surfing. Yes, it was a requirement that the actors be able to surf, but most young Australians do anyway. So casting was not a dilemma. And it’s this intellectual ensemble cast that makes the multi-layered yarn work so well. Themes of parental responsibility, sibling rivalry, and unspoken sexuality revolve around a gritty coming-of-age record which, ultimately, is really more about brotherly appreciate than anything else.
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The story’s upright focus is on the relationships among the young men, specifically the two younger brothers and their feelings towards each other, their parents, their mates, and their girls, or guys, as the case may be. It’s always hard to single anyone out in an ensemble cast but this film touches the heart more than anything by the performances of Lachlan Buchanan and Xavier Samuel as Jesse and Fergus. Their relationship is both heartening and heartbreaking in turn, and it only works because the on mask chemistry is so palpable. Their commanding presence says that these guys have a shiny future in cinema. Reshad Strik is riveting as the tortured older brother and Shane Jacobson shines as the father who is the antithesis of the typical American movie’s working class brute of a dad – this guy has the heart of an ox. Kirk Jenkins (Andy), Ben Milliken (Nathan), and Israel Cannan (Scotty) are the core of the surfer mates – Cannan provides distinguished of the film’s humorous relief (and contributes several songs to the soundtrack) . All add nuances and layers to their characters which surface when one least expects it.
Production values belie the film’s modest budget, with the polished witness of a Hollywood movie from the first to last breaking wave. The soundtrack is killer, an absolute requirement for any film featuring competitive sports. Most of all, though, the cinematography is breathtaking. Richard Michalak’s shots of surfers riding the waves, with his camera looking up from the ocean floor, had me shaking my head with wonder. It was like nothing I’d ever seen. I avoid spoilers at any cost but I feel confident in saying that there are several scenes which will bring tears to your eyes. “Newcastle” sets a fresh standard for underwater photography.
Various elements in the film, taken individually, aren’t necessarily anything we haven’t seen before. But it’s the contrivance Castle integrates them and the lengths to which he is willing to seize them which makes “Newcastle” so refreshing. There is some remark which may be too downhearted for theatergoers who have issues with male nudity and sexuality. Some scenes will likely have young guys squirming in their seats, but perhaps America has progressed to the point that we can savor a film which dares to be different.
With “Newcastle,” Dan Castle pushes the boundaries of the typical American coming-of-age carve sports competition film (in this case, surfing) . Perhaps he can do it because it is not, in fact, an American film at all but hails from Australia. Perhaps he can regain away with it because it wasn’t churned out by a Hollywood studio and didn’t have the hand of the usual producers and distributors whose financing would undoubtedly near with strings attached. Or perhaps it’s impartial because he had a vision and the tenacity to surround himself with others who wouldn’t compromise. In the waste, nothing is as it seems at first spy. “Newcastle” is a totally unexpected film at a time when there are far too few.
If you fancy surfers or surfing and are satisfied then this movie is for you. The surfers are hot but it’s not really a elated movie. If fact there is only homoeroticism in this flick. Don’t peep for any same-sex “brokeback” moments. It’s a very believable yarn of honest kids coming-of-age with a beach help plunge. The area is simple but doesn’t regain listless. I didn’t give it 5stars b/c I am cheerful and I was hoping the outsider would advance “out” in the movie but I didn’t near “out” when I was their age. Unlike “Shelter”, there’s precise surfing in the flick.
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