Any or all of these may have been factors in the kids’ ongoing disappearance. And there is a dust storm: a meteorological act of mythical proportions that covers everything and everyone in a thick, orange haze, physically and psychologically. But there’s also Burtie (Meyne Wyatt), a slow-minded but good-hearted Aboriginal man who’s been helping out around the Parkers’ house. The police detective assigned to the case, Rae ( Hugo Weaving), turns to Steve as an early suspect. One night, out of nowhere, Tommy and Lily get out of their beds, leave the house and wander into the vast unknown. It’s a bleak place dotted with worn-out furniture, trashed shipping containers and disenfranchised youth, including a vaguely hunky dude named Steve ( Sean Keenan) with an ominous serpent tattoo. It’s hot, and they’re bored, so they do what kids do all over the world when they’re hot and bored: spend their days at the town’s makeshift skate park. There are allusions to a scandal involving this young woman, which forced the family to relocate, but her barely-there clothing and provocative demeanor provide early clues. That leaves Kidman’s Catherine to care for their two children: angsty, adolescent Tommy (Nicholas Hamilton) and his 15-year-old sister, the sultry Lily ( Maddison Brown). Father Matthew ( Joseph Fiennes) is a pharmacist who’s away at work most of the day. This is fictional Nathgari, where the Parker family reluctantly moved recently.
#Strangeland 2 movie movie
You actually might think you’ve walked into a zombie movie by mistake its opening sequence features a pre-teen boy wandering by himself through the silent streets and desolate remnants of civilization in a small, dusty town. Working from a script by Fiona Seres and Michael Kinirons, Farrant creates a vivid sense of loneliness and isolation. There’s tension at the start, though, with the help of some effectively minimalist sound design: the thrum of a ceiling fan, the scratch of a pencil on a crossword puzzle, a fly buzzing overhead in the kitchen.
It’s a missing-kid mystery with some red herrings and misplaced mysticism, all of which leads to an ending that’s coy in its intentional ambiguity and ultimately unsatisfying. Despite some striking, widescreen imagery from Irish cinematographer PJ Dillon-including shimmering sunsets, craggy canyons and a doozy of a dust storm-“Strangerland” is, more often than not, lifeless and languid.
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