Sign up to get our cinematic goodness delivered to your inbox every weekend. Highly convincing, Intense and Ultra Violent. 6 – 1980-2000: Handover & Second Wave, The History of Hong Kong Action Pt. The shots of the city landscape during the film are also well done and at times can feel like a love letter to Melbourne. Awards It's an efficient, never exhausting, multi layered and well-done modern thriller. I could not get through this film. All these conflicted residents are thrust together and torn apart in equal measures (hah) underneath the watchful eye of Duke, who is secretly hiding in another flat, playing God whilst learning he’s closer to meeting him (a reveal divulged in the age-old trick of coughing up blood into a tissue, with the classic cliches not stopping there). Sometimes films arrive with an unforeseeable relevancy that mar their releases; Gangster Squad encountered a substantial wave of controversy when its climactic cinema-set shootout chillingly mirrored the 2012 Aurora shootings, tearing the fine-line between fantasy and film – and now, seven years later, Paul Ireland’s Measure For Measure has unwittingly landed at the worst possible time. Unlock access to all of Film Inquiry`s great articles. In fact, this subversion of the classic Guy Ritchie/Quentin Tarantino formula – where a gaggle of gangsters feud and talk fast until there’s only one man standing – is Measure For Measure’s greatest strength and weakness. The dialogue and the acting were terrible. It’s disturbing in both its immediacy and tragic verisimilitude, but it also unfortunately recalls the recent Sydney stabbing incident, where a mentally-ill man killed one woman and injured others, until he was subdued by a group of brave civilians (with the notable weapon of choice being a milk crate). Adaptation or not, you have to present material to an audience that is palpable. Copyright 2019 Measure for Measure ©  All Rights Reserved, Terms & Conditions   |   Privacy & Policy, 5293,5204,5271,5279,5267,5275,5278,5204,5228,5204,5282,5267,5287,5278,5234,5286,5281,5281,5286,5274,5278,5271,5285,5285,5282,5275,5269,5286,5287,5284,5271,5285,5216,5269,5281,5279,5204,5214,5204,5285,5287,5268,5276,5271,5269,5286,5204,5228,5204,5237,5281,5280,5286,5267,5269,5286,5202,5240,5281,5284,5279,5204,5295. Measure For Measure is currently touring Australian film festivals, with a theatrical release due in 2020. As The Duke steps outside town to restore his health, the business' command is given to Angelo, but his temperamental, out-of-control behavior keeps The Duke's eyes over the tumultuous situations, as he still intervenes even from a distance. MEASURE FOR MEASURE. Metacritic Reviews. The racial and religious conflicts continue to rise among them, betrayal, conspiracy and the unjust arrest of Claudio, who sees himself in jail accused of something he didn't do. Alex Lines. Can't wait to see what Mr. Ireland will do next. Hugo Weaving gives a stunning performance as a gangster longing for retirement, when one of his buyers goes on a violent rampage around the complex, shooting and killing several immigrants, as he became intolerant for non-English speakers. Measure for Measure does a lot of things right, starting with very good performance's from the whole cast especially Hugo Weaving, Harrison Gilbertson and Megan Hajjar, who all add a lot of emotion and put a large amount of passion in the film and it most definitely reflects well with their performances. This event leaves the diverse community shattered, and over the course of several hectic days, Paul Ireland and Damien Hill’s script examines the jagged fragments left behind. Filled with convincing performances from a brilliantly synched cast, impressively shot, and structured with an enigmatic, charismatic sense of intimacy, Ireland conceived a knockout epic-style urbane tale about masculinity, loyalty, principles, solidarity and rage, as well as a beautifully intense forbidden love story. With his DVD collection and wealth of film knowledge in tow, Alex continues to write about film, something he knows gets the ladies. User Ratings Become a Member and support film journalism. FAQ A visionary, modern take on the Shakespeare's novel of the same title, actor-turned-director Paul Ireland's sophomore feature is an intricated multi-character study set on a complex apartment dealing with a spiral of ethnic violence. I don't really understand the plot, as the accents are hard to understand, and the foreign language parts aren't subtitled. Vienna is beset with brothels and loose morality, so it's up to the Duke to provide some divine intervention. And don't get me started on the horror genre! | | September 11, 2019. Whilst the technical sloppiness of this production can be forgiven due to its independent nature and sharp focus on performance over aesthetic (the opening credits in particular are quite rough), it’s hard to pin down exactly what this latest Shakespearean interpretation is trying to say, it seemingly harbours the same sentimental approach to complicated racial politics that submerged Paul Haggis’ painfully dated Crash. There’s a considerable spirit to this production, but a firmer grasp upon this rich material could’ve worked wonders – or, to be more inline with Hill’s hardened characters, it had the chance to be better. Let us know in the comments below! When he's not frowning at Australia's slack attitude towards film and film-making, he's attempting to crack into the prestigious business of show, by making amateur comedies with his friends. My Campy Slumber Party: Xanadu, Muses, and Disco, Oh My! 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