P.j. Hogan

Even for a riotous Australian black comedy, this film packs in just a bit too much chaos. It's consistently smart and funny, with lively characters and especially witty dialog, but some of the sideroads never go anywhere. Still, there's so much terrific material in here that it's well worth a look for fans of the genre. And it's great to see Collette return home to reunite with her Muriel's Wedding director P.J. Hogan nearly 20 years after they launched their careers.

The story centres on suburban housewife Shirley (Gibney), who is obsessed with The Sound of Music and wishes her unruly family was more like the Von Trapps. But no, her husband (LaPaglia) is the town's philandering mayor, and their five daughters all think they're mentally ill. Then when Shirley herself ends up in a psych ward, Dad brings in the drifter Shaz (Collette) to watch the girls. She takes no prisoners, whipping them into shape while trying to give them some self-respect. She also shows them that the people society considers "normal" are probably crazier than they are. Meanwhile, eldest daughter Coral (Sullivan) gets a job at a shark exhibit run by a salty fisherman (Schreiber) who has a connection with Shaz.

Writer-director Hogan packs the film with rude references to The Sound of Music, from a pastiche pre-title sequence to Shaz's unconventional Maria-like approach to child-rearing (with heavy overtones of Mary Poppins). The film is colourful and sometimes too hyperactive, with Collette often going way over-the-top as the wildly unhinged Shaz, who also upends the life of their compulsive next-door neighbour (Fox). Much of this is simply too wacky for us to go along with, but other scenes are quietly insightful and very, very funny. Often at the same time.

Continue reading: Mental Review

In a plot that I can only describe as inspired-by-peyote, Kathy Bates decides to head to rural Britain for the funeral of a murdered pop star after hubby Dan Aykroyd abruptly dumps her. Dressed in sequins and seen mainly in Six Feet Under-like flashbacks/materializations, Jonathon Pryce plays the pop star. As it turns out, pop star is gay and has left his estate to his lover (Rupert Everett). Bates and Everett then take it upon themselves to hunt down the murderer. What follows includes both Barry Manilow and Sally Jessy Raphael.

Continue reading: Unconditional Love Review

Though it goes against everything he stands for, this rejuvenated Pan actually shows signs of growth and maturity. Special effects advancements help Peter and his cohorts pop off the screen. Cinematographer Donald McAlpine expands the rich color palette he utilized in such vivid films as Moulin Rogue and Romeo + Juliet. And director P.J. Hogan slips in subplots of unrequited love, develops pangs of loneliness, and mixes fleeting flights of happiness with his heroism.

Continue reading: Peter Pan (2003) Review