ERSKINEVILLE KINGS

"There are so many promising and valuable elements in Erskineville Kings it’s a real pity that the film doesn’t quite match up to them as a whole. White’s eye for cinematic language is astute, although sometimes he seems to have got off on the novelty of making a 90 minute work instead of his usual 90 second tvcs. Shot for contrast, his obliging cinematographer John Swaffield has used morning and afternoon sunlight unremittingly, and frequently inserted architecture-against-blue-sky-with-power-lines shots to build up our sense of Erskineville. And not bad, for all their vaguely contrived feel. Excellent mood and feel with some heartfelt dialogue and the kind of naturalistic performances that propelled films like Saturday Night and Sunday Morning, Erskineville Kings only lacks one thing to make it great: more work on the script. Another few drafts would have helped percolate some of its elements into a better, more satisfying emotional brew. As it stands, it lacks a payoff for the audience, and despite enjoying it, I can’t help feeling dissatisfied by it. But to be fair, Alan White has achieved what he set out to do: portray the Australian male reluctance at genuine communication, using the film itself as an example of it."
Andrew L. Urban

"The 'traditional' Australian male’s way of dealing with crisis (read: going to the pub) is the centrepiece of Alan White’s powerful new film. But don’t make the mistake of thinking the film is emotionally empty as a result. Years of tension, resentment and recrimination between two brothers explode in a stuffy room on a hot afternoon, leading to one of the most satisfying Australian films of the year. OK, it’s been done before and the allusions to other films are many - Twelve Angry Men and Dog Day Afternoon are two cited by the director himself - and it’s thematically similar to Radiance. But to go this deeply into the Aussie male psyche in the late 1990’s is a new and worthwhile experience. Erskineville Kings is not an in-your-face film - at least initially. The drama builds slowly over the course of one crucial day in the characters' lives. This, of course, couldn’t be pulled off without talented cast; and White has assembled a terrific one. The brothers, played by Marty Denniss and Hugh Jackman, take most of the screen time. Both give mighty performances - Denniss as the more sensitive Barky and Jackman (playing against type a little) as the gruff and stoic Wace. The supporting cast includes Aaron Blabey, Joel Edgerton and Leah Vandenberg in the small but significant role of Lanny. The film looks great, capturing precisely the depressed mood of a decaying inner-city locale - and you can almost feel the heat as the characters traipse the streets and play pool in a stuffy back room at the pub. This is a rewarding and honest new Australian film - don’t stay away from this one."
David Edwards