Kill Me Three Times

 "This place feels like an open-air fucking insane asylum!"

With a staggered release and recent semi-ceremonial dumping onto video-on-demand platforms and home release, Kriv Stenders follow-up to the runaway success of 2011's Red Dog, Kill Me Three Times, lands with a dull splat on the Aussie cinematic pavement. The rather oblique path to audiences that this film endured works decidedly against its internationally appealing cast, with the always welcome Simon Pegg (Cornetto Trilogy, Mission Impossible, Star Trek) heading the bill, followed by Brazilian supporting player Alice Braga (Predators, I Am Legend, City of God), Teresa Palmer (Warm Bodies, Point Break) and stars of the criminally underrated 300: Rise of an Empire Sullivan Stapleton and Callan Mulvey. Veteran Bryan Brown and the Luke "the Lesser" Hemsworth round out the cast with minor roles.

Kill Me Three Times opens with black-clad, muscle-car-driving, handle-bar moustachioed hitman Charlie Wolfe (Pegg) hunting an unknown blue collar worker on the sands of a WA mining site. After a clumsy attempt at a stylish kill, for both the character and the film, Wolfe receives a mysterious job offer. The job involves following Alice (Braga), wife of the vaguely criminal Jack (Mulvey), who is having an affair with mechanic Dylan (Hemsworth), who is mates with dentist Nathan (Stapleton) whose married to Jack's sister Lucy (Palmer). For various reasons everyone wants Alice dead and Bryan Brown shows up on occasion to deliver threatening dialogue in a police uniform. It's all inter-connected and numbingly simple.

With such an internationally appealing cast, a farcical noir premise, and a picturesque location, Kill Me Three Times flaws are almost instantly blatant. The debut screenplay from Irishman James McFarland leaves much to be desired with its banal plotting, empty world and on-the-nose dialogue and is certainly dragged further down by the flat, bored direction of Stenders, who has obviously put as much effort and style into the character and camera-direction of this bloody noir-ish farce as he did with Red Dog, a film with underwhelming direction though undeniable family-friendly charm. KMTT markets itself as a triumvirate of stories of remote, back-country murder and mayhem, but it's actually one story split into three parts; the set-up and execution of an action, the context, depth and character motivations behind that action, and the consequences. Finally, add a simple and over-used 70's Southern-style guitar riff in place of a score and you have the recipe for Wasted Opportunity.

The obvious inspiration behind KMTT is to create a 70's-styled, Coen-brothers film, but the execution is almost devoid of effort or visible interest. Pegg's charm and star-power is simply wasted, a golden opportunity to capitalise on his comedic skills into an enjoyably evil character but instead he spends much of his time hiding in bushes or sitting in his car staring at the other characters. Braga is either tossed into car boots, in hiding or unconscious, and so similarly wasted.  Palmer and Stapleton are the only ones involved who seem care about what they're doing but with the limited creative authority involved, there's not much to do. What little enjoyment this film elicits comes from the performances of Pegg and Brown and the beautiful setting that is almost as devoid of life, save for the cast, as the film itself is for original ideas or satisfactory execution. A derivative, wasted opportunity.

Infini

Aussie director Shane Abbess seeks to emulate the classic sci-fi movie Aliens with his debut. Although it does work as a good horror film, some poor writing and direction has made it slightly disappointing, despite being quite an ambitious film.

In the 23rd century, an impoverished population of Earth earn money by taking part in off world mining that they travel to via a process called Slipstreaming (time travel mixed with teleportation, it's a bit unclear). Whit Carmichael (Daniel MacPherson) is on the first day of this job, but after a crisis at the home base, he is transported to the furthest outpost in the galaxy. A search and rescue team is dispatched to bring him home. Only once they get there, the team discovers that there is an airborne virus that turns the crew against one another.

As previously stated this film is very similar to Aliens at the base level. But where this film suffers is that there is too much exposition happening throughout the entire thing, followed by patches where you are unsure of what is going on. Within the first twenty minutes we are exposed to a lot of sci-fi technology that we need to understand for later in the movie, but we don't get a clear enough explanation of how exactly they work. The movie also tries to make way too many explanations about what the virus is (spoiler: it's an alien lifeform!) and how it spreads, but instead we could have just been told that it is turns you into a space zombie, that I could have taken on board and not have been so confused about. Without going into it too much, the ending is also very confusing. I wasn't sure if it was supposed to be an allegory for something because what is there seems like a bit of a cop out.

The characters are largely unsympathetic as we don't get enough time to see any development from any of them. All we know about Whit is that he has a pregnant wife and he must get back to her, as is the case with crew member Harris Menzies (Harry Pavlidis), he has a daughter. I think there was a relationship between two of the crew members, but it was so intermittent that I couldn't tell for sure. The rest of the crew isn't at all expanded on, despite that Chester Huntington (Luke Ford) is one of three characters who share in the majority of screen time. Also there is a character called Rex Mannings! (Go watch Empire Records to discover why Rex Manning Day is so important).

Despite the fact that these characters are all severely underdeveloped, the main performances are top notch. Daniel MacPherson does show an incredible amount of fear and does share a fantastic scene with Luke Ford where I am pretty sure they shared a joint beforehand. Ford is channeling Adam Baldwin in Firefly, but still makes the character his own. Harry Pavlidis gives the only endearing performance. I'm surprised that Grace Huang and Luke Hemsworth (older brother of Chris and Luke) got such high credit in the film because they are barely in it.

The film has done one thing well though. For a movie with a low budget, Abbess has made a great looking film. The shots are all expertly done and the CGI backgrounds are impressive considering most budget sci-fi flicks look pretty poor. Also Brian Cachia's score is impressive and it does give the film a sound that wouldn't be out of place in a big Hollywood blockbuster.

This debut from Aussie writer/director Abbess aims a little high to differentiate itself from other legends in the genre of sci-fi horror, but it feels a little ambitious for a first feature film. Despite settling into it's rhythm in the second act, the over the top science fiction elements and poor writing take away any enjoyment of the film.