Birdeater Begins as Wake In Fright Successor, Ends Like Home and Away Episode

In an early scene of “Birdeater,” directed by Jack Clark and Jim Weir, there’s a fleeting glimpse of a poster for Ted Kotcheff’s “Wake in Fright” (1971). Kotcheff’s film is known for its unsettling portrayal of homosociality in the Australian outback, presenting a hallucinatory, nightmarish comedic experience. As the epigraph of Kenneth Cook’s novel, which the film is based on, says: “May you dream of the devil and wake in fright.”

This thematic territory seems ripe for exploration once again. Horror cinema is currently enjoying unprecedented popularity and critical acclaim. From its opening image, “Birdeater” looks poised to become a part of this new wave of horror films through an anarchic Australian lens.

The narrative centers on Irene (Shabana Azeez), an anxious English woman in a relationship with Louie (Mackenzie Fearnley), a quintessential Aussie “nice guy.” They are heading to Louie’s bachelor party, held in a rural location that can only be reached by ferry. This setup brings to mind the classic theme of Australian horror: the danger that outsiders or city dwellers face when they step into the remote bush and outback.

Consider the harrowing journey of backpacker Liz Hunter in “Wolf Creek” (2005) or Canadian Carl Winters’ struggle in “Razorback” (1984). Both characters encounter deadly threats while navigating the treacherous Australian terrain. Similarly, John Grant’s ordeal in the outback town of ‘Yabba’ in “Wake in Fright” haunts viewers with its bloody, alcohol-fueled chaos.

Echoes of Ari Aster’s “Midsommar” (2019) also resonate here. Irene and Louie’s relationship is far from perfect; her reliance on medication and his overprotective behavior hint at a toxic dynamic. Their bond is rooted in a past accident and her need to secure a visa to remain in Australia.

When Louie’s friends gather for the buck’s party, personality clashes quickly surface. The group includes Christian (Jack Bannister), a bumbling, hen-pecked virgin, Dylan (Ben Hunter), the loose cannon, and Louie, the well-meaning control freak. Dylan’s awkward toast, aimed as a retaliation against Louie, reveals the underlying tensions: he labels Louie as the smart one, himself as the funny one, and Charlie as the nice one.

This bachelor party is a modern affair, inclusive of women like Grace (Clementine Anderson), Charlie’s partner, and Irene. The arrival of Irene’s ex, Sam (Harley Wilson), heightens the sense of impending chaos, reminiscent of the explosive weirdness in “Wake in Fright.”

However, after a promising first 40 minutes, the film falters. The initial intrigue and tension dissolve, revealing the opening sequences to be mere bait without thematic depth. The narrative turns into a well-made music video or ad, with all setup and no satisfying payoff. The elegant cinematography, haunting score, and innovative sound design give way to a dull, dialogue-heavy two-hour runtime.

As the film progresses, the mystery unravels along conventional lines. Even the exploration of contemporary issues like gaslighting, coercive control, and toxic codependency feels gimmicky, lacking psychological insight and depth.

Despite these shortcomings, “Birdeater” excels in certain areas. It’s visually stunning and superbly edited, with a top-notch score and sound design—the best since 2011’s “Snowtown.” The acting is commendable, with Ben Hunter’s portrayal of Dylan standing out, alongside Mackenzie Fearnley’s compelling performance as Louie. The film captures the essence of a blokey Australian nightmare where refusing a beer is an affront. It’s also one of the few Australian films since “Upgrade” (2018) that truly deserves a big-screen viewing.

Yet, the film ultimately feels thematically shallow and disappointingly derivative. Unlike “Wake in Fright,” “Birdeater” leaves viewers with little substance once the initial haze lifts. It is worth watching for its craftsmanship, but it doesn’t live up to the more conceptually rich films it aspires to emulate.

“Birdeater” is in cinemas now.

Source: Umbrella Entertainment