Review: Acolytes

Acolytes
Starring Joel Edgerton, Sebastian Gregory and Michael Dorman
Directed by Jon Hewitt

*** Stars

Six months ago I lamented the failings of Dying Breed, a rote Aussie horror flick that failed to capitalise on its unique and interesting storyline: the fate of travellers who stumble upon the descendants of Tasmanian cannibal Alexander ‘The Pieman’ Pierce.

Funnily enough, Acolytes is the opposite – a slick homegrown chiller that makes lemonade from one lemon of a premise.

Teenagers and best friends Mark (Gregory) and James (Joshua Payne) share a terrifying undisclosed connection to Gary Parker (Dorman), a recently paroled thug with a muscle car who taunts and threatens them at every opportunity.

Mark and James spend their days with Chasely (Hanna Mangan Lawrence), an uninhibited siren who dates James but is never far from Mark’s mind.

One afternoon, Mark witnesses a man hastily burying something in the forest that borders their hometown. The next day, James and Chasely accompany Mark to the same spot, convinced they are about to dig up a fortune in stolen cash.

That turns out to be extremely wishful thinking when they instead uncover a dead Canadian backpacker. Mark has a description of the killer’s vehicle, and his first instinct is to call the police. James, however, has another idea – track the killer down and blackmail him into burying Parker, and the secret that binds him to them.

It sounds formulaic, but director Jon Hewitt (Bloodlust, Redball) doesn’t put a foot wrong in the taut first hour, developing these intriguing characters and slowly but surely drawing them into violent confrontation.

Unlike horror films populated by patronising teens who seem born to die, Mark, James and Chasely are authentic, relatable characters with strong motivations. More importantly, they remain sympathetic even while engaging in some despicable dealings.

This strength in characterisation is matched by the acting, which is excellent across the board. Michael Dorman is effective as the outwardly aggressive Parker, while Hanna Mangan Lawrence is a standout as Chasely, who acts as a kind of emotional spirit level between the impulsive James and withdrawn Mark.

Joel Edgerton shows up halfway through the film as creepy suburbanite Ian Wright. Edgerton channels a 70s adult film star with his ‘stache and aviators, but his unsettling performance soon puts this temporary amusement aside.

Stylistically, Acolytes is proof of Australia’s ability to match it with the best. Cinematographer Mark Pugh makes HD digital look as warm and expressive as film, fooling me completely.

Shot on location in Queensland, Hewitt and Pugh inject a barely needed sense of malice into the Australian bush, making excellent use of the Sunshine State’s topography.

Acolytes is not without flaws. Hewitt makes the mistake of piercing the restrained pacing with wearisome ‘jump’ moments. The final act also lets the audience of the hook, throwing character development and logic to the wayside and becoming a routine slasher.

After showing such subtlety in the lead-up (soundtrack spikes not withstanding), Hewitt spoils his good work with an overcooked, unnecessary plot twist ending. As a ‘gotcha!’ it bites off more than it can chew, throwing up a number of implausible caveats. If anything it’s over-plotted, smacking of a lack of faith in the characters to engage their audience without resorting to shock tactics.

It’s a damn shame, but there’s still enough to recommend Acolytes as a better example of Oz horror. At the very least, it proves once again that our industry can consistently punch above its weight when it comes to genre.

With so many success stories already emerging in 2009, it’s looking like a great year for Australian cinema.

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