You Be The Critic

Voting for this year has now closed. But how do members and juries come to their decisions about which films are going to be nominated for awards each year?

AFI Editor Rochelle Siemienowicz talks to professional film critics about how they compare, contrast, praise and damn the films that pass across our screens. Loved and loathed, perhaps in equal measure, the film critic performs the function of stimulating debate and offering informed judgement. So here we asked some experienced film reviewers to offer hints and tips; some things to keep in mind when you the voter, are playing your role as the ultimate critic in the Australian film industry.   

“So You Think You Can Judge Australian Films (apologies to the Pete Smith specialties of the 1940s).”
 
As an avid film fan and loyal AFI member it is your solemn duty to sit through as many as possible of the 25 feature films, 4 documentaries, 4 short films, 4 animations and then register your vote on best film in each category this year. Easy, huh? Veterans, like me, who have been involved in voting for over 10 years know the ropes, but it never gets easier. Why? Because of the range and quality of the films submitted, and the underlying problem that there is something about Australian films that causes audiences to run screaming from the cinema.
 
Australians do make good films, and, like any other country, we make some dubious ones. The difference is that we ruminate about the Australian film industry every minute of the day, mainly due to Government financing of many of the films, and the un-winnable media debates about what should be made, what audiences want, what critics prefer, and whether the films that are made reflect the Australian ethos, culture and values (whatever they are).
 
Do we want an Australian film industry?...If you say no, then why are you here?
 
So, how do you judge the films? Here’s a checklist of dos and don’ts, and things to look out for and consider:
 
·          Be objective and keep an open mind.
·          Don’t reject a film after two minutes (it may get better).
·          Stop comparing each film with a zillion dollar US blockbuster.
·          What is the filmmaker trying to say?
·          Are the characters interesting enough?
·          Is the animation/short fiction/documentary coherent, compelling, inventive?
·          Is the story well developed?
·          Consider the time and effort that many people have put into making this film.
·          How is the film faring technically?
·          Is the screenplay OK? Is the direction smooth and professional?
·          Would you recommend this film to a friend? Relative? Worst enemy?
·          What is the film’s audience? Be nice.
·          Would you pay to see this film again? Now there’s a litmus test.
·          How does this film compare with others of a similar story/genre/style?
·          Above all, have an opinion you can defend.
·          Finally, you have an important vote: make it count.

“Be true to yourself and your emotional response.”
 
There is no right or wrong way to review or assess a film; after all film appreciation is such a personal thing. When I watch a film, first and foremost, I want to become engaged with the characters and/or the topic, and ultimately hope to embark on an emotional journey. Irrespective of whether the film is my personal favourite genre, I ask myself, do I believe the characters? The story? The way it is being told? Am I engaged with the action? Do I care about the characters? And do I care what happens?
 
Of course the way the story is told (script and direction) influences me, as do the performances. But it’s important not to be intimidated into thinking a film is better than it actually is, if high profile actors or directors happen to be involved. Naturally, participation of great talents helps but does not necessarily mean the film works. Most of all, be true to yourself and your emotional response to the film; you may even like to imagine what you might tell a stranger in the street, if they wanted to know what the film was like.
 
A documentary should tell you something that you did not know before, or offer a new perspective on the topic. It should be stimulating and informative as it raises questions and canvasses its topic. In a short film, I look for one single idea that is fleshed out and executed concisely with finesse.

“The story is the backbone of the film.”
 
Some reviewers judge films primarily on the basis of the performances, others the visual imagery.  Personally, I pay attention to the storytelling. A well-crafted story is exciting and engaging, whether the subject of that story is grape-pickers falling in love or a bank heist gone wrong. You can’t judge a film solely on the basis of its car chases (because sadly, not all films have car chases!). But the occasional tone poem aside, all films have a story, and if you’re not sure whether the story is working that yawning sensation building inside you is often a pretty good indication that something’s wrong.
 
To me, the story is the backbone of a film.  If you can appreciate a good story (and spot a dud one), then you have a pretty good handle on what makes for a good viewing experience.  For me it’s the only really honest standard to judge a film by.

“Does the script stink?”
 
When you’re thinking about this year’s feature film contenders, consider the film’s script. Does it make sense? Is it credible, or at least have a credible context? Is there enough plot development, character development? Is the script itself developed, or does it feel like it needs another draft or two? It doesn’t matter how big or small a film’s budget is, a bad script will always stink, regardless of how good the production values, the acting, the soundtrack or the cinematography. Some other things to consider are:
 
·          Does the film move you, evoke an emotional response in some way? It may be tears, laughter, anger, sympathy, wonder… as long as it’s not boredom!
 
·          Does the film tell an Australian story? We’re better at telling our own stories, as diverse and unique as they are, but does it have that truth, that … ‘something’?
 
·          And finally, does it present or offer something new? A new story, or character, or vision, or idea, or perspective? Because that’s what all films should be: entertaining, of    course, but also enlightening, broadening, educating and surprising.

 “Does it remind you of why you love cinema?”
 
Questions to ask yourself when you’re judging a film:
 
·           Does it say anything? Is it entertaining? Is it unique?
·           Is it trying to please a crowd or does it operate on its own terms?
·           Do you forget you are watching a movie?
·           Trust your gut feeling. If it doesn't make you feel, think or provoke some kind of reaction in you...

            then chances are it is not a great film.
·           Does it remind you of why you love cinema?

“A sense of humanity.”
 
Cinema is for me the most fantastic experience, the most important and complete art form, the opportunity to enter into another world and experience emotions that otherwise I wouldn't.  To rate one film against another is easy, even if it's a case of comparing apples and oranges. Ultimately, the main criterion is "how did this film move me?”  If I've nodded off during the last two hours, that's not a good sign.  If I sat enthralled, that's a good start.
 
So, how to differentiate one film from another, in the context of the AFI Awards, such as best film?  My rough criteria – and it is rough, because there are so many variables – are: to what degree does the film engage me, to what degree does it move me?  I don't mind who the actors are, but could I believe in the characters and their performances? 
 
Does the film take risks?  I'd prefer a film that aims high and doesn't completely succeed than one that aims low and hits its mark. Sub-consciously, the risk-taker always wins bonus points. Similarly, I'll give bonus points to film that challenges an audience.  Perhaps it opens us up to a different perspective, or in some way allows us to view the world differently.  It's rare, but I’m looking for something transformational, something that leaves the viewer with a slightly broader or changed view.
 
When I look at the types of films I am most consistently drawn to, I see that what a director invests of him or herself is absolutely critical. The ability to construct a story that not only engages, but conveys a sense of humanity, of sharing some aspect of the human condition – in all of its glory AND wretchedness – with compassion, subtlety, intelligence, humour, complexity and without being preachy; this is perhaps of most importance to me.
 
The technical aspects then assume secondary layers of appreciation.  The lighting, settings, camera movements and cinematography, music and sound production, editing and so on all enhance the cinema experience.  But they're all for naught if there is not a good underlying story.  I don't have an aversion to big budget films, but I find these most often disappoint.  There is nothing so frustrating as a film that looks good but the story sucks.  Unfortunately, very many big budget films make populist compromises that alienate me.
 
In any field of major endeavour, it is important to acknowledge and celebrate the achievements of those who have given their blood, sweat and tears to getting projects off the ground and into the cinema. Each year we get the opportunity to reflect on the past 12 months of Australian films and have a say in who gets the gongs.  This is democracy in action and every film-goer should take the opportunity.
Celebrate!