20/20 Filmsight - Film Criticism by David O'Connell

Independent Australian filmmakers’ recently rekindled love of genre continues with Red Hill, a modern reboot of the western revenge story that kicks like a scalded mule. First time feature writer-director Patrick Hughes has provided a film that is seriously rough around the edges, but gets enough right that it will leave the majority of local viewers more than content.

The big draw card is of course Ryan Kwantan – better known to ladies as the button-eyed Jason Stackhouse of True Blood fame – but many film buffs will be more impressed with the casting of legendary aboriginal actor Tom E. Lewis as a harbinger of a deathly revenge. It feels like Jimmie Blacksmith reborn, not least because the two characters share the same name, albeit spelled differently.

Kwantan slips effortlessly into the role of a young police officer, Shane Cooper, who’s recently relocated with his pregnant wife to Red Hill, a one-horse town in the Victorian highlands. The move has been forced upon the couple and Shane carries some emotional baggage from his previous beat in the big smoke.

These early scenes are dedicated to screen with some nice economy and plenty of atmosphere, as Shane begins his first day on the job trying to ingratiate himself with police captain Old Bill, played with clear-eyed menace by Steve Bisley.

Unfortunately for Shane, his debut is about to take a turn for the worse and getting along with his new boss will soon be the least of his problems. A breakout from a state prison has unleashed upon the highlands Jimmy Conway (Lewis), a merciless former tracker and convicted murderer, and for some reason he’s heading straight for Red Hill.

When we first see Jimmy he looks more like something out of a horror film, one side of his face removed by a frightening scar. It’s a decision that would have probably destroyed any other actor’s ability to emote, but such is Lewis’s gravitas and skill that he makes it work. Against this intimidating presence and that of a gnarled Bisley, Kwantan does well to hold his own, the young Australian proving well cast with his ability to balance physicality with vulnerability.

Hughes knows how to make a film look good too. Utilising the exceptional skills of cinematographer Tim Hudson, if it’s not dark the town of Red Hill seems to be in a permanent crisp autumnal twilight. Make no mistake: this is a fine-looking flick, particularly for it’s low shooting budget, which one of the connected types I was sitting with estimated to be under A$1 million. That said, the economic constraints and a tight shooting schedule do show up on occasion through some weird editing (Hughes again) and a clutch of slightly out-of-focus shots.

Red Hill’s biggest weaknesses – like just about every Australian film – lie in its script. There’s a bunch of problems, not least of which is Hughes’s continual insistence on keeping Shane away from the action. Our protagonist works hard to be active, but it’s tricky when you’re constantly five miles out of town. Meanwhile, Jimmy’s in the high street blasting away a bunch of gents we hardly know and don’t really care about.

There are also little leaks in logic and a smattering of unlikely character decisions and developments – Shane’s Matrix-like ability to learn the delicate skill of horse riding comes to mind. Also, Hughes is in danger of over-flogging the genre conventions at times, with a couple of mannered showdowns and some overblown music pushing things towards self-parody.

The whole thing could have just been a bit tighter, and it’s what Hughes seemingly didn’t think to do as much as what he did that often frustrates.

Still, for every moment that gets fluffed there are two that are absolutely nailed. Shane and Jimmy’s first encounter is a good one, and the filmmakers must love it when they get to witness the audience reaction to a fantastic cold room scene. The visual effects and stunt departments deserve plenty of praise also, and every moment is sold almost entirely on some brilliant sound design, courtesy of Frank Lipson.

Red Hill has now been picked up by Sony and is receiving a fairly hefty marketing push. It should make its money back, and that’s always a good thing. If nothing else, it’s another fine example of the technical skill that exists in the Australian industry. Perhaps the biggest praise of all, however, should go to producer Al Clark: for the budget this is a brilliant looking film, and in all likelihood it was Clark’s begging, borrowing, scrounging and saving that delivered such a classy result.



I say: Red Hill will undoubtedly soon be hyped beyond its worth, but keep your head down and see this reasonably cold and it will provide plenty of enjoyment.

See it for: This is a great looking film, but it’s Lewis and some exceptional sound design that really sell the final product.