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Daniel Krige (written by)
5 July 2007 (Australia) more
Some places can break your heart.
Pete & Jerry are cousins living in Sydney's Western Suburbs, where life consists of drinking, getting stoned, getting in fights and hanging out. But things change forever when Pete and Jerry both fall in love with the same girl. | add synopsis
Incredible lineup for Tiff's Midnight Madness!
(From Fangoria. 21 July 2009, 2:14 PM, PDT)
Mooks presents: West. more (5 total)
| Khan Chittenden | ... | Pete | |
| Nathan Phillips | ... | Jerry | |
| Gillian Alexy | ... | Cheryl | |
| Michael Dorman | ... | Mick | |
| rest of cast listed alphabetically: | |||
| Blazey Best | ... | Bunny | |
| David Field | ... | Doug | |
| Robin Goldsworthy | ... | Guy buying drugs | |
| Barry Harrison | ... | Kenwood's Mullet Mate | |
| Anthony Hayes | ... | Kenwood | |
| Emma Jackson | ... | Nurse | |
| Adrian Jarrett | ... | Angelo | |
| Brendan Krige | ... | Kenwood's Nuggety Mate | |
| Daniel Krige | ... | Todd | |
| Cameron Lansdowne | ... | Kenwood's Tattooed Mate | |
| Tim McCunn | ... | Steve | |
| Felicity Price | ... | Elizabeth | |
| Matt Reeder | ... | Chicken Shop Manager | |
| Felicity Soper | ... | Jean | |
| Yael Stone | ... | Stacey | |
Directed by | |||
| Daniel Krige | |||
Writing credits(in alphabetical order) | ||
| Daniel Krige | written by | |
Produced by | |||
| Robert Connolly | .... | consulting producer | |
| Andrew Mason | .... | executive producer | |
| Matt Reeder | .... | producer | |
| Anne Robinson | .... | producer | |
Original Music by | |||
| Andrew Lancaster | |||
| David McCormack | |||
| Johnette Napolitano | |||
Cinematography by | |||
| Damian Wyvill | |||
Film Editing by | |||
| Roland Gallois | |||
Casting by | |||
| Kirsty McGregor | |||
Production Design by | |||
| Marc Barold | |||
Art Direction by | |||
| Alex Holmes | |||
Costume Design by | |||
| Justine Seymour | |||
Makeup Department | |||
| Briony Denver | .... | makeup attachment | |
| Sabrina Domenis | .... | assistant makeup artist | |
| Lara Jade | .... | makeup department head | |
| Sylvia Rose | .... | makeup attachment | |
Production Management | |||
| Sandy Stevens | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Danielle Blake | .... | third assistant director | |
| Andrew Pante | .... | second assistant director | |
| Gordon Westman | .... | first assistant director | |
Art Department | |||
| Greg Refeld | .... | stand-by propsman | |
Sound Department | |||
| Rainier Davenport | .... | sound recordist | |
| Glenn Finnan | .... | boom operator | |
| Damon Mouris | .... | sound effects editor | |
| Andy Wright | .... | dialogue editor | |
| Andy Wright | .... | sound re-recording mixer | |
Stunts | |||
| Damian Bradford | .... | stunt driver | |
| Mick Corrigan | .... | stunt double | |
| Mark Glindeman | .... | stunt double: Nathan Phillips | |
| Greg Robinson | .... | stunt driver | |
| Leon Stripp | .... | stunt assistant | |
| John Walton | .... | stunt coordinator | |
Camera and Electrical Department | |||
| Simon Ansell | .... | grip | |
| Yiannis Aspradakis | .... | still photographer | |
| Colin Chase | .... | best boy electric | |
| Matt Coulam | .... | grip | |
| Mark Glindeman | .... | gaffer | |
| Daniel Guerra | .... | still photographer | |
| Paul Hamlyn | .... | grip | |
| Gabe Hammond | .... | clapper loader | |
| Shaun Hartas | .... | grip | |
| Jason Klaffer | .... | best boy grip | |
| Tonsil McFarland | .... | camera operator | |
| Jeremy Peek | .... | grip | |
| Michael Rich | .... | key grip | |
| Lisa Tomasetti | .... | still photographer | |
| Jay Torta | .... | assistant camera | |
| Andrew Ward | .... | additional electrician | |
| Damian Wyvill | .... | camera operator: a camera | |
Casting Department | |||
| Sueanne Flyght | .... | extras casting | |
| Mollie Hancock | .... | casting assistant | |
| Emily Tilelli | .... | casting assistant | |
Costume and Wardrobe Department | |||
| Barry Harrison | .... | costume attachment | |
| Lisa Harrison | .... | costume supervisor | |
Editorial Department | |||
| Trish Cahill | .... | digital intermediate colorist | |
| Heather Galvin | .... | on-line editor | |
| Geoffrey Stott | .... | digital intermediate support | |
| Justin Ngy Tran | .... | assistant on-line editor | |
Other crew | |||
| Amy Barclay | .... | script supervisor | |
| Linda Davies | .... | unit nurse | |
| Vanessa Edwards | .... | production accountant | |
| Tobin Hughes | .... | location manager | |
| Fiona Hutchison | .... | production coordinator | |
| Craig Lane | .... | assistant: Mr. Hayes | |
| Sue Smith | .... | script editor | |
| Edweana Wenkart | .... | unit publicist | |
Thanks | |||
| John Lee | .... | special thanks | |
| Jackie McKimmie | .... | special thanks | |
| Geoffrey Rush | .... | special thanks | |
| Carole Sklan | .... | special thanks | |
| Quentin Tarantino | .... | special thanks (as Quentin Tarrantino) | |
Australia:90 min
1.85 : 1 more
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I caught this at the Sydney Film Festival and went in looking forward to seeing it as I'd only just read about it in the festival guide.
I found it to be quite tedious. Mainly because I didn't care about any of the characters (with the exception of Nathan Phillips who gave believable empathy with his performance). The lead actor (Khan Chittenden) had a difficult character but showed no emotion throughout the entire film, which in turn made it hard to feel anything for him. I don't know if the responsibility for that falls to him or the director, but if you're hanging a film of a central character like his it would help if we could read what's going on behind his eyes. From what I could understand his character was meant to be troubled, he gave no signs of this (other than the scripted obvious ones). He was a block of wood. With eyes. That didn't do anything.
The films setting is the western suburbs, however none of the actors (apart from Anthony Hayes) looked like they belonged there, which made it hard to accept their performances. It didn't help that they were photographed as if they were modeling a Mooks catalogue.
I left this film wanting to know why they made it. This kind of subject matter has been done before and done much better than this. I was hoping that it would add something new, either by experience or the point of the story. But it didn't.
** out of Ten.