Month: April 2017



Although primarily known for producing scores of talented players in rugby union, the nation of Samoa (population 179,000) has a recently established presence in Aussie rules.

The game was first introduced in the Samoan capital of Apia back in 1997, with the country’s governing body being founded the following year as the Samoa Australian Rules Football Association (SARFA). An exhibition match drew an impressive crowd, and the new footy players showed athleticism, toughness, and a natural aptitude for the game.


Due to Samoans’ rugby fanaticism, the first games of footy were played under hybrid rules, including 15-on-15, restricting certain players’ movement and playing on rectangular rugby fields, as opposed to cricket ovals. This was called Samoan rules and was used as a catalyst to get people involved in the basics of footy. The SARFA also developed a mutual relationship with the AFL’s Western Bulldogs, as Samoa shares the same colors (blue, red, and white) as the Bulldogs’ jumper. Several AFL players visited Samoa for coaching clinics and development camps, most notably Bulldogs legend Brad Johnson.

The country’s international team was originally known as the Bulldogs. They debuted at Australia’s Arafura Games in 1999, where they took home the bronze medal; two years later, the Samoans competed against Nauru during an international test match in Melbourne.

The year 2002 was big for Samoan footy, with Bulldogs being selected to the inaugural Australian Football International Cup. While they only finished seventh overall, this was a major step forward for Samoa, showing that they could compete at a high level against other countries. Also in 2002, AFL games were first broadcast on Samoan television.

The Bulldogs returned to Australia to field a team in the 2004 Multicultural Cup, but lost to the Israeli team in the Grand Final. In 2005, they finished in fifth place at the International Cup, beating Great Britain decisively and scoring a narrow win over Canada, while suffering losses to powerhouses Papua New Guinea and New Zealand.


The SARFA was reincorporated as AFL Samoa in 2007, and the national team was renamed the Kangaroos in time for the 2008 edition of the IC, mostly due to the influence of Aaron Edwards, a Samoan-born footy player for the North Melbourne Kangaroos. That year, Samoa beat India, but lost again to New Zealand and suffered a disappointing loss to the Japanese team as well.

In addition to Samoa’s historic relationship with the Western Bulldogs, they also share close ties with the Moorabbin Kangaroos, a team in suburban Melbourne that competes in the Southern Football League. There remains an ongoing effort to keep a strong senior league going in Samoa, as footy already has a strong foothold among schoolkids. With the AFL looking to expand their geographic footprint in the South Pacific, they will no doubt have their eyes on Samoa in the near future.

Samoa currently boasts 240 senior players and 132 junior players, in addition to a schoolboys’ tournament and a full-time development officer appointed by the AFL.



  • Karmichael Hunt (played 2011-2014) – Hunt is of Samoan descent on his dad’s side and his mother is a Cook Islander. While he hasn’t directly engaged with Samoan footy on the international level (having been born and raised in New Zealand), Hunt played in the AFL as a versatile midfielder/defender with the Gold Coast Suns for four seasons. Before his AFL career, Hunt played rugby league with the Brisbane Broncos from 2004-2009, and he currently plays rugby union with the Queensland Reds.
  • Aaron Edwards (played 2003-2014) – Born in Samoa to a Kiwi father and Samoan mother, Edwards emigrated to Melbourne, where he played under-18 footy with the historic Dandenong Stingrays team in the TAC Cup. While Edwards played a few seasons with both West Coast and Richmond, his most notable career arc was when he played as a key forward for the North Melbourne Kangaroos from 2007-2012, kicking 122 career goals. Like many Polynesian converts to Aussie rules, Edwards played rugby union as a youngster before picking up a footy at the age of 13.
  • Fia Tootoo (played 2008-present) – A Samoan national who lives in Melbourne, Tootoo plays at the semi-pro level for the Nyora Saints, a team in the Ellinbank & District Football League. Tootoo is also a key member of the Samoan national team.

Eyes Wide Shut (1999)


Stanley Kubrick’s esoteric last hurrah finds the audience absorbing the public and private lives of Dr. Bill Harford (Tom Cruise) and his wife Alice (Nicole Kidman). The couple have been together for several years now and consider themselves to be very happy, but at the NYC cocktail party of a wealthy patient of Bill’s, some potential cracks begin to show themselves in the marriage.

Bill reunites with Nick (Todd Field), an old medical school colleague who has since decided to pursue a career as a jazz pianist. Bill is also later occupied by a medical emergency upstairs, where his host’s girlfriend nearly overdoses on a speedball. Throughout the night, both Bill and Alice are approached when they’re alone – Alice by a middle-aged Hungarian man, and Bill by two young models. Both resist their respective advances.

The evening after the party, Alice asks Bill if he had sex with the two models, to which Bill reassures her that he didn’t. However, he is disturbed when Alice subsequently reveals that years earlier, she had come dangerously close to having an affair and willingly fantasized about such an encounter.


Bill wanders around the streets of New York, distressed and disillusioned. He has an exchange with a prostitute, but eventually refuses to cheat after becoming ashamed and embarrassed. He then runs into Nick again at a local jazz club and discovers that Nick has a special engagement planned for the rest of the evening in which he must play piano blindfolded. Curious, Bill wants to see for himself, but Nick objects to Bill getting involved. Eventually, he relents and gives Bill the information that, in order to attend the event, he has to wear a costume, a mask, and must also give a verbal password when he arrives.

Bill’s web of intrigue eventually becoming a mysterious and harrowing journey into the underbelly of New York, potentially discovering disturbing truths about himself in the process and endangering both his marriage and his life.


Eyes Wide Shut is a film by the legend himself, Stanley Kubrick. He’s been a personal favorite of mine for quite sometime, but I had long resisted watching Eyes Wide Shut based on its reputation as an impenetrable, long-winded, bizarre film, as well as my general distaste for Tom Cruise’s filmography. Nonetheless, I gave in and gave it a watch about a month ago, and I genuinely enjoyed it.

The film’s unusually laborious production process rivaled even that of The Shining, Kubrick’s 1980 epic horror film. Eyes Wide Shut holds the Guinness World Record for the longest continuous film shoot (nearly 15 straight months), with two supporting cast members – Harvey Keitel and Jennifer Jason Leigh – eventually leaving the production due to other acting commitments. Another actress, Vinessa Shaw, was initially contracted for two weeks of filming, but ended up working for three times that amount. Kubrick’s notorious perfectionism led to numerous script changes and an acute attention to production design and cinematography.

Speculation swirled about Kubrick’s film, which was adapted by Kubrick and Frederic Raphael from the novel Traumnovelle by the Austrian author Arthur Schnitzler. Kubrick had first considered adapting Schnitzler’s work as far back as the early 70s, when he was searching for a novel to make into a film in a relatively short timeframe and on a tight budget (he eventually decided to make A Clockwork Orange instead). Still, this pet project of Kubrick’s had long fascinated him as an exploration of both fears and sexual desires.

By the time Eyes Wide Shut‘s production finally got off the ground, the elusive, enigmatic Kubrick hadn’t made a film in a decade (1987’s Full Metal Jacket) and many assumed that he had retired from filmmaking altogether.

Tabloids buzzed when it was revealed that then-real-life husband-and-wife Tom Cruise and Nicole Kidman would be starring in the film, with some speculating that it would be “the sexiest movie ever.” Kubrick, therefore, was smart about marketing the film, revealing very little, even in press kits and production notes.

(Side note: It’s worth mentioning that despite the potential titillation of seeing a real life celebrity couple nude on film, and large amounts of plot devoted to sexual issues, Cruise and Kidman actually never have sex onscreen. “No one familiar with the cold precision of Kubrick’s work will be surprised that this isn’t the steamy erotic thriller a synopsis — or the ads — might suggest,” remarked TV Guide at the time of the film’s release.)


Once filming was finally completed, the lengthy post-production process began on Eyes Wide Shut, with Kubrick as involved as he had been an any of his previous films. On March 1, 1999, Kubrick screened a cut of the finished film to Kidman, Cruise, and a group of Warner Brothers executives, all of whom were very happy with the result. Six days later, the 70-year-old Kubrick died suddenly of a heart attack while in his sleep at his home in England. The film was released about five months later.

The production design, costume design, and cinematography of Eyes Wide Shut are all outstanding. The cinematography captures a genuinely eerie atmosphere and builds mystery and suspense very methodically in a way that few films do. Kubrick pioneered the use of controlled natural lighting in Barry Lyndon and does the same in Eyes Wide Shut. Most obviously, there’s the glow of a Christmas tree in almost every room (the movie takes place during Christmastime in New York, not in Vienna during Mardi Gras, as depicted in Schnitzler’s novel).

While the slow pace of Eyes Wide Shut may alienate some viewers, I felt like it wouldn’t have worked any other way. There are some occasions, especially early on, where the deliberate actions of the characters aren’t always believable and sometimes feel unnatural. However, I found Cruise’s character to be generally relatable and sympathetic, and the terror that he experiences at various points in the movie does feel well-crafted and creepy in the best ways.


There remains a debate about whether Eyes Wide Shut was completed the way Kubrick had intended. The director was known for making both major and minor changes to his films up until the last minute, so whether Eyes Wide Shut was released 100% according to his vision is unknown.

Here’s what we do know:

  • Former Kubrick collaborator Michael Herr (co-writer of Full Metal Jacket‘s screenplay) said he received a phone call from Kubrick four days before his death, where the director said that he had some misgivings about technical issues (particularly with color, sound, and music), but that the studio was happy with the result.
  • Jan Harlan, Kubrick’s executive producer and brother-in-law, also said that Kubrick was very happy with Eyes Wide Shut, as did one of the film’s supporting actors, Todd Field, and Kubrick’s daughter Katharina.
  • Garrett Brown, who invented the Steadicam and worked with Kubrick on The Shining, said he considered Eyes Wide Shut to be an unfinished product: “I think it was snatched up by the studio when Stanley died…it was three months before the movie was due to be released. I don’t think there’s a chance that was the movie he had in mind. It’s a great shame, because you know it’s out there, but it doesn’t feel to me as if it’s really his film.”

For what it’s worth, Warner Bros. insisted several times that Kubrick had turned in the final cut of the film before his death, and agreed to collaborate with Kubrick’s estate on actual completion of the film based on Kubrick’s production notes (although they did alter some sexually-explicit scenes to ensure an R rating). It’s generally believed that any further changes that Kubrick wanted to make were purely technical in nature, mostly centered around sound mixing, color correction, and other things that would not have necessarily needed his immediate input.

Certified “fresh” by Rotten Tomatoes at 74%, Eyes Wide Shut was generally regarded as one of the best films of the year and was particularly acclaimed by Roger Ebert, who dubbed it “a worthy final chapter to a great director’s career.” The film performed poorly at the US box office, but did very well in Europe.

As I’ve mentioned already, Eyes Wide Shut is slow-paced – building mystery and suspense in a deliberate, sometimes plodding manner. However, this film very much rewards the patient viewer and even earlier scenes that don’t seem important end up coming full-circle later on. If you’re in for the ride, Eyes Wide Shut is chilling, compelling, and bizarre in all the ways that you expect a Kubrick film to be.

Combining the visual spectacle of Barry Lyndon, the slow-building tension of The Shining, and the abstract, open-ended storytelling of 2001Eyes Wide Shut is a terrific achievement and a suitable enough ending to Kubrick’s sterling career.

Provocatively conceived, gorgeously shot and masterfully executed.” —The Chicago Tribune

“A dead-serious film about sexual yearnings, one that flirts with ridicule yet sustains its fundamental eeriness and gravity throughout. The dreamlike intensity of previous Kubrick visions is in full force here.” –The New York Times

“Finally a film that is better at mood than substance, that has its strongest hold on you when its making the least amount of sense.” –The Los Angeles Times

“As rich and strange and riveting as any journey Kubrick has taken us on.” –The Seattle Times

“Thought-provoking and unsettling.” –James Berardinelli


Rating: 8/10

  • Directed and produced by Stanley Kubrick
  • Screenplay by Stanley Kubrick and Frederic Raphael
  • Inspired by Traumnovelle by Arthur Schnitzler
  • Executive Producer – Jan Harlan
  • Director of Photography – Larry Smith
  • Editor – Nigel Galt
  • Music – Jocelyn Pook
  • Starring Tom Cruise, Nicole Kidman, Todd Field, Sydney Pollack, Marie Richardson, Rade Šerbedžija, Vinessa Shaw, Sky du Mont, Leelee Sobieski, Alan Cumming, Leon Vitali
  • Rated R for strong sexual content, nudity, language and some drug-related material

Gallipoli (1981)


The year is 1915, in the thick of the Great War. In the remote outback of Western Australia, a young aspiring sprinter named Archy Hamilton (Mark Lee) leads a simple life on his family’s farm. His hard-charging uncle Jack (Bill Kerr) helps him train against other local farmboys, but the young Aussies soon grow concerned over the war halfway around the world, and they all hold varying opinions on whether it’s worth fighting for their British overlords or not.

Archy signs up for a sprint at his town’s annual athletics carnival, where his primary competition is the charismatic Frank Dunne (Mel Gibson), a recently unemployed railway worker from Perth who places a bet to win the race. When Archy defeats him, Frank is bitter at losing the prize money, but they soon make peace when Archy gives the money to his uncle. With few other options, Archy and Frank decide to catch a train to Perth in order to enlist in the ANZAC (Australia-New Zealand Army Corps) campaign.

Along the way, we begin to see the differences in the two men’s approach to enlisting. Archy is the optimistic idealist, believing that he has an opportunity to fight on behalf of his family and to serve Australia in the best way he can. Frank, an Irish-Australian, is more skeptical of the British Empire’s goals in WWI. Archy unsuccessfully tries to persuade Frank to join him in the light-horse brigade, but Frank instead joins up with some of his old railway buddies in the infantry. The young Aussies depart their ordinary lives back home and ship off to Cairo.


Once in Egypt, Frank and Archy end up reuniting and are soon sent off to the Gallipoli Peninsula, where other ANZAC detachments are attempting to retake the territory from the Ottoman Empire’s forces.

The main objective of the campaign, ostensibly, is to secure a narrow strip of land called The Nek, but there are conflicts between the ANZAC commanders and the British Colonel Robinson. The once-innocent Aussies begin to get discouraged and jaded about their roles in the fight as the casualties mount and an uncertain outcome looms.


This film is, to some extent, unusual for a war movie. For starters, there aren’t a ton epic World War I films out there (the only other one that I’ve absolutely loved was 1941’s Sgt. York). And there’s a reason for that in this case, as both Australia and New Zealand hold WWI as more important to their history than WWII.

Also, while Gallipoli‘s battle sequences are very well-shot and acted, they don’t necessarily overwhelm the film’s overall message or take center-stage. Gallipoli is a coming-of-age story of both the characters in the film and Australia itself.

As mentioned previously, the young men in the film hold a wide range of opinions on the war effort. They don’t really know why they’re fighting, only that they must, and the film shines much light on why the Gallipoli campaign failed. Still, in the midst of terrible losses and wartime atrocities, the character of the ANZACs shined through.

The campaign, therefore, served as a major catalyst for Australia to assert itself as its own country, as opposed to just a major chess piece for the Brits to use in their own wartime efforts. The camaraderie of the ANZAC troops was on full display, as they showed many of the qualities that, to this day, Aussies value.

In modern times, both Australia and New Zealand celebrate ANZAC Day on April 25th; it’s their equivalent of Memorial Day. In addition to being a federal/bank holiday, nearly every city and town in both countries holds a sunrise ceremony and a moment of silence.


Gallipoli is historically relevant as one of the primary films in Australian new wave cinema, marking director Peter Weir as a prominent leader in the movement (he went on to direct such international blockbusters as Witness, The Truman ShowDead Poets Society, and Master and Commander: The Far Side of the World).

Not surprisingly, Gallipoli only made a major financial impact in Australia. Filmed on only a $2.8 million budget, it went on to gross nearly $12 million at the Australian box office. Gallipoli was a major critical success in America, despite only grossing $5.7 million there.

It was also a major starring vehicle for then-relative newcomer Mel Gibson. Only 24 years old at the time, Gibson used Gallipoli as a springboard to establish himself as a serious dramatic actor as well as a budding action hero. Gibson and Weir also later collaborated on The Year of Living Dangerously in 1982 and are still considered pivotal figures in modern Australian cinema.

I really enjoyed Gallipoli, and it’s not just because I’m familiar with Australian culture. Like any good war movie, it’s simultaneously entertaining, inspiring, and bittersweet.

It’s worth mentioning that there are several historical liberties that are taken, specifically considering the British role in calling the shots in trench warfare. There are certainly some inaccuracies, and the filmmakers have admitted as much. Still, Gallipoli succeeds largely in what it attempts to do, and is considered one of the best Australian films of its time.

Rating: 8.5/10

  • Directed by Peter Weir
  • Screenplay by David Williamson
  • Story by Peter Weir
  • Produced by Robert Stigwood and Patricia Lovell
  • Director of Photography – Russell Boyd
  • Editor – William Anderson
  • Starring Mel Gibson, Mark Lee, Bill Kerr, Harold Hopkins, Robert Grubb, Heath Harris, Tim McKenzie, Ron Graham, Charles Yunipingu
  • Rated PG

Benny & Joon (1993)


Orphaned as children, Benjamin “Benny” Pearl (Aidan Quinn) and Juniper “Joon” Pearl (Mary Stuart Masterson) live in a modest house in Spokane, Washington. Benny owns a local auto shop, while the timid and mentally ill Joon lives vicariously through various hobbies such as painting. Her challenges sometimes cause headaches for Benny, but he remains very protective of her.

Joon plays a poker game one night with Benny’s friend Mike, who is hosting his shy, quirky cousin Sam while he’s in town. Without Benny’s knowledge, Joon loses her bet in the game and Sam has to stay with her and Benny. Benny is upset with his sister’s actions at first, but Sam’s quiet charm eventually wins him over, while a budding romance ensues between Sam and Joon. Maybe both Benny and Joon can find happiness on their own terms….


Despite its quirky premise and odd mix of drama and comedy, Benny & Joon received positive reviews and did well at the box office in 1993. It remains notable for its numerous references to silent films (the character of Sam has an obsession with Buster Keaton and Charlie Chaplin) and for its soundtrack, which features worldwide folk-rock hit “I’m Gonna Be (500 Miles)” by the Scottish band The Proclaimers.

However, beneath the on-the-surface quirkiness and Johnny Depp being Johnny Depp in the best possible ways, this film is a genuinely heartwarming domestic drama. It’s about mental illness, which is frequently a topic in film that’s treated with kid gloves, so to speak. But Benny & Joon does accurately show how mentally ill people struggle, succeed, and everything in between.

Benny loves his sister and wants the best for her, even though she drives him crazy, but he’s convinced himself that letting her stay at the house all the time is the only way to keep her out of an institution. Eventually, Benny wants a personal life that doesn’t always revolve around taking care of Joon, and the film captures their struggles well. It’s only when Sam comes along that Benny begins to see a world where Joon can be happy and fulfilled. Sam has plenty of challenges himself, as he lacks social skills and frequently struggles to read, but he likes what he sees in Joon and wins her over with his whimsical charm and light-hearted attitude.

At the same time, however, Benny & Joon doesn’t take the easy way out. It’s not a dark, depressing, melodramatic take on the domestic issues that arise from mental illness. Nor is it an overly-cheesy empowerment anthem for people who’ve experienced tragedy and loss. Instead, Benny & Joon takes a lot of different themes and repackages them in a fun, quirky way with a good dose of drama, romance, and comedy sprinkled throughout. The film identifies a weighty issue and treats it in a way that few movies do, and that alone deserves brownie points.

Rating: 8.5/10

  • Directed by Jeremiah S. Checik
  • Written by Barry Berman and Lesley McNeil
  • Produced by Susan Arnold and Donna Roth
  • Starring Aidan Quinn, Mary Stuart Masterson, Johnny Depp, Julianne Moore, Oliver Platt, William H. Macy, Joe Grifasi
  • Rated PG for thematic elements, a scene of mild sensuality and brief harsh language.

The Nice Guys (2016)


Private investigator Holland March (Ryan Gosling) is a depressed single dad to precocious pre-teen Holly (Angourie Rice). When a famous LA pornstar, Misty Mountains, dies in a mysterious car crash, March is approached by her aunt, who repeatedly insists that her niece is still alive. While investigating the crime, March also learns of the kidnapping of Amelia Kuttner (Margaret Qualley), daughter of a high-ranking Justice Department official.

Enter Jackson Healy (Russell Crowe), a rogue enforcer whose behavior can walk the line between ethical and unethical. Originally hired by an outside party to dissuade March from looking into Amelia’s disappearance, Healy actually ends up saving March’s life when March gets jumped at his home. The two reluctantly team up and try to piece together the two seemingly unrelated crimes involving the girls.

March and Healy discover that both Misty and Amelia were involved with a filmmaker named Dean, who recently died in a house fire that burned the original copy of said film with it. Plenty of twists and turns lie ahead as Healy and March stumble into an alternately hilarious and mysterious world, featuring porn producers, hitmen, conspiracy theories, and plenty of gaudy 70s outfits.


This movie is awesome. We haven’t had a legit buddy-cop movie since the Lethal Weapon and Rush Hour days, although many have been attempted. The thing is, The Nice Guys is self-aware enough to play upon the buddy-cop genre tropes without being too tongue-in-cheek or wink-wink about it. It feels like a period piece in the best possible ways, and the film is lifted by Shane Black’s direction and the chemistry of its leads.

Speaking of which, both Russell Crowe and Ryan Gosling are excellent in this film, with both easily drawing laughs and sharing the screen well. They both get plenty of laughs, and I liked Crowe’s ability to do a Bronx accent. The film also features solid performances from Matt Bomer (TV’s White Collar), Keith David (CrashPlatoon) and Margaret Qualley (TV’s The Leftovers).

I was extremely impressed with child actress Angourie Rice, who really hit a home run with her performance as Holly March. I’m sure she’ll get plenty of other roles as she gets older. Gosling, in particular, was blown away by his young co-star’s dedication and maturity. “It’s her second film, and she acts like it’s her 50th,” Gosling raved.

Black, who most recently directed Iron Man 3 in 2013, had previously made a crime-caper/comedy film with Kiss Kiss Bang Bang back in 2005. Black co-wrote the screenplay with Anthony Bagarozzi and originally conceived The Nice Guys as a modern-day TV pilot – as opposed to a period piece movie – before eventually bringing it to his friend, veteran producer Joel Silver.

Silver was originally skeptical of a 70s-style film connecting with modern audiences, but he began to warm to the idea after another period piece he worked on, Sherlock Holmes, was a big box office success.


Both Crowe and Gosling admitted that they said yes to the project simply based on the idea of working with each other.

“When I read the script, I knew that Shane was on a plane trying to convince Russell to do it, so I read it with Russell in mind,” Gosling remarked. “I just could completely picture him in the role and I had never seen him do anything like that, so the movie just immediately became so funny.”

“It was just so free,” Crowe said about the on-set environment. “Ryan and I were having a ball and at that point, we were not really aware of how other people are enjoying it, because we just focused on our own enjoyment.”

Crowe and Gosling accepted the roles within three days of each other; Black later recalled that those two casting decisions were the catalyst for getting the ball rolling on the film earlier than expected. The Nice Guys was primarily filmed in Atlanta, with some exterior shots also filmed in Los Angeles.

The Nice Guys is entertaining, fun, hilarious, and well-directed. I liked this film a lot, and I would highly recommend you see it, particularly if you like period pieces, crime comedies, or if you’re a fan of Gosling and Crowe’s previous work.

Rating: 8/10

  • Released 2016
  • Directed by Shane Black
  • Written by Shane Black and Anthony Bagarozzi
  • Produced by Joel Silver
  • Director of Photography – Philippe Rousselot
  • Edited by Joel Negron
  • Starring Russell Crowe, Ryan Gosling, Angourie Rice, Matt Bomer, Keith David, Kim Basinger, Margaret Qualley, Murielle Telio, Lois Smith
  • Rated R for violence, sexuality, nudity, language and brief drug use