Réalisation:
Greg McLeanPhotographie:
Toby OliverMusique:
Johnny KlimekActeurs·trices:
John Jarratt, Ryan Corr, Shane Connor, Aaron Sterns, Maria Volk, Mandahla Rose, Shannon Ashlyn, Chloé Boreham, Philippe Klaus, Jordan Cowan (plus)VOD (1)
Résumés(1)
Seeking to experience the real Australia, backpackers Rutger and Katarina venture from the main tourist trail to visit the awe-inspiring Wolf Creek Crater. Unfortunately for them, it's also the hunting ground of psychopathic pig-shooter Mick Taylor: the last man any outback traveller wants to meet. After a chilling attack in the dead of night, the crazed bushman pursues his prey in an epic, white-knuckled rampage across hostile wasteland. (eOne Films International)
(plus)Critiques (5)
Cela commence comme un film de tueur insipide et peu original, mais il gagne progressivement sa propre qualité et maintient l'intérêt du spectateur qui a vu des centaines de films similaires. Le meurtrier brutal a quelque chose de spécial, précisément parce qu'il n'est ni un mutant ni entouré d'une famille de complices, mais qu'il ressemble au voisin décontracté d'un garage automobile. Jusqu'à ce qu'il soit énervé par quelqu'un. Et il tient parole. Les examens finaux de l'histoire australienne place le film à un place de choix sur la carte du genre. Et les prises de vue dans les déserts australiens lui confèrent une beauté visuelle que nous n'avons pas vue dans Massacre à la tronçonneuse ou La colline a des yeux.
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Surprisingly, pretty good. I hardly remember the first Wolf Creek, I only have the rather hazy impression of it as a dull and average exploitation movie, but I will refrain from an explicit comparison because, as I say, it’s just a feeling. But Wolf Creek 2 sticks fiercely within the limits of the genre without going any further, but what it does, it does very well. Basically, it’s a cross-section of Australian hixploitation (or ozploitation) where, instead of a proper story, we get several different sequences separated by locations and even characters, and the only thing linking them is the villain, a murderous and cantankerous redneck. So, we see a night attack on a tent, a night chase in the bush, road chases, an attack on a house, etc., etc. Something like ozploitation in a nutshell, even the kangaroos have something to do (though Wake in Fright leads in this regard). Considering its moderate run, it surprisingly checks all the boxes and has a solid tempo. Satisfaction.
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The first part is a very average and bland hixploitation, but the second part is enriched with more elements and I can finally shout my favourite phrase this year: Fucking awesome!! From start to finish a whirlwind of proper gore (headshots, shotguns, severed heads, human body dismemberment... Wonderful!), a decent build-up of tension, a nice exotic landscape, a nice throwback to a lot of older similar films from previous years, an excellent villain – a really horrible redneck asshole who doesn't fuck with anything or anyone, animals get their asses kicked here in full flow! The kangaroo scene is the most over the top I've ever seen. A truly outstanding affair, to perfection and beauty it only lacks naked women and more intense torture. Australia is rocking this year and competing decently with the French when it comes to gore. 80%.
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An uncompromising and nimble genre film that fears nothing and spares no one – in a relatively short space of time, we get a clean head shot, a detailed dismemberment of a man's limb, a bloody Australian rally with the subtitle "Take down the kangaroo", and a visit to a horrifying torture den full of pain and depravity. And starring a likeable good guy and a delectable villain who is a horror freak of the first order. It doesn't bring anything new to the table, and it's striking how blithely and without consequence Taylor runs his perverted tastes across such a large territory, but at least it's a hell of a lot of fun and formally more than decent, so I'm satisfied. 70%
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Despite the shortcomings, whether in the plot or in how it's overall fairly disjointedly filmed, it's evident that the Australians are constantly evolving and improving. In their films, they preserve themselves, their culture, and their environment, but they can also conceive horror in such an intriguing way that it's not just aimed at their relatively limited market, and it becomes an export commodity. I liked the second installment even more than the first, perhaps because of the greater professionalism and evident effort to experiment.
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Annonces