Hellen I like the storyline of this show,it attract me so much

Lidia Draper Great example of an old-fashioned, pure-at-heart escapist event movie that doesn't pretend to be anything that it's not and has boat loads of fun being its own ludicrous self.

Maleeha Vincent It's funny, it's tense, it features two great performances from two actors and the director expertly creates a web of odd tension where you actually don't know what is happening for the majority of the run time.

Fleur Actress is magnificent and exudes a hypnotic screen presence in this affecting drama.

sajpratt-82-265277 Suffice it to say, Australian actors are almost always, in the least, competent.But after seeing this, the only thing I can say about it is--it's competently made, is Australia-centric, allowed some decent, professional actors to make a living, and is as predictable as tomorrow's sunrise."Writer-Director" Cowell appears to prove, once again, that good writer-directors are extremely rare. In Crowell's case, I'd say that it's the writing part that fails here. The script is competently (yet predictably) paced, but the premise itself is about as original as a corporate ad--plenty of time to 'hit the loo', knowing that you'd miss nothing of importance no matter how long you took (sorry but it's not very much about missing any actor's glowing moment-- moments usually only recognized if the film itself is a worthy vehicle for such).As for Cowell's direction, the danger here for any Australian film- maker, I think, is over saturation a la the 'Luhrmann Effect', in that, the wreckage Luhrmann made of Gatsby (offensive to virtually all those above the age of 'twenny sumpthin') is invisible against his previous success to any wannabe writer-director--while Cowell avoids the gaudy baubles and annoying soundtrack irrelevancies, the source of his inspiration is obvious. There are two likely outcomes for W/D's suffering from this: you either manage to pull off a unique, quirky, original film, or, in failure (as is most always the case), you mill out another ad-carrying vehicle for late-night TV.To me, one thing I've always liked about Australian actors is their ability to provide an absorbing level of depth to their characters, juxtaposed to what I've recognized as a profound, inexplicably acute dearth of originality coming from the Great Down-Under. Give me an Australian Actor and/or DOP any day--leave the writer/directors at home.Ultimately, perhaps it is best to view this film as a bit of worthy self-reflection for a country that still has an enormous problem with alcoholics, and that this such relevancy may be lost on outsiders, but other than that, I would never willingly pay to see this film, (I saw it for free through my streaming account) nor have wasted my time seeing it had I known what I was in for.But in the end, what drives me to critique this and other similar films so energetically is the exasperation I feel when witnessing the waste--so many good scripts out there by competent writers will be consummately ignored by so many wannabe do-it-alls with-- unfortunately for all of us--nice-sized production budgets.Thanks for providing a living wage for yet another film crew and decent local actors though. If this was merely something done to fill up the contract calendar while working on The Big Thing, then I can better understand.4 Stars--for the acting and production work. .

Damian Amamoo This film is great for so many reasons. First and foremost, it shows a successful young person who is having the time of his life. What makes this movie a different type of party movie is that it braves some of the tough questions that the majority of modern cinema is too scared to ask.We can look at other party movies that have gone before it, with immense box office success like The Hangover (2009), now a franchise, which by itself, must have almost single-handedly re-ignited global tourism to Las Vegas! Why has the Hangover movie franchise been so successful? What is it about letting go and having a sense of exaggerated release from whatever we feel binding us in our daily lives? Maybe this is getting a little deep for a movie review? But if we look at the box office receipts for The Hangover, people are paying to escape, paying to release, paying to watch a movie about some dudes who get so wasted that they can't remember what happened the next morning and spend the rest of the movie piecing back together what happened the night before. Enter Ruben Guthrie and you have a movie, with moments that are equally in the party extreme. So if you are looking for that type of release and superficial fun where you don't have to think too much, then you are definitely going to like parts of Ruben Guthrie all the way through. Equally, if you want to be entertained, but also engaged in terms of your feeling your brain is actually switched on, then Ruben Guthrie is going to give you plenty to think about, potentially for a long time after the movie has finished. The cinematography is of a high standard and shows some of the beautiful parts of Sydney that we take for granted like Tamarama, Bondi and our wonderful beach culture, so if you're into Sydney then definitely add Ruben Guthrie to your watchlist. The acting is a testament to the depth of talent that we have here in Australia, no wonder we keep supplying Hollywood with a steady stream of our best. Patrick Brammall as Ruben Guthrie is tour de force and sometimes during the movie I felt like I was watching a theatre play, so pure was the acting and so powerful the message. Writer director Brendan Cowell, should congratulate himself on a very sharp screenplay with very few weaknesses. With Ruben Guthrie, he has created a piece of cinema that will endure because it's a postcard of beautiful Sydney, because it's a movie about fun and release, because it's about love and sacrifice and, ultimately, because its about the men and women inside us all.

Tim Meade Brendan Cowell's previous screen writing credit was for the woeful comedy Save Your Legs, a film so poor in concept that how it ever came to production simply beggars belief.Ruben Guthrie, fortunately, proves to be a few notches above his Indian-based cricket caper. Adapted by Cowell from his own stage play, he also directs with some confidence.The film centres, as the title eponymously suggests, on the character Ruben Guthrie (Patrick Brammall), a high-flying advertising guru enjoying the hedonistic excesses that are perceived as integral to that profession; his persona neatly fits the acronym Lombard – a lot of money but a right dick. Enjoying the trappings of his lifestyle, he drunkenly jumps from a ledge as a stunt narrowly avoiding fatal injuries. This proves too much for his beautiful and long-suffering Czech fiancée who walks out on him but advises she could return if he can stay off the drink for a year and turn his life around. The film then chronicles Ruben's life as he attempts to do just that.It is at this juncture that the film is at its strongest. Ruben's journey takes something of a random trajectory as he finds a lack of support from close family, colleagues and friends all of whom seem to have their own selfish motives in their dealings with him. Patrick Brammall brings great nuance to his role, injecting depth into his character and carrying the film squarely on his shoulders. The supporting cast – Jack Thompson and Robyn Nevin as the estranged, alcohol-soaked parents; Alex Dimitriades as the caustic gay best friend; Jeremy Sims as the troubled boss and Harriet Dyer as the superficial flake from the AA group who ends up in his bed are all assured in their roles. The less said about Brenton Thwaites' poorly acted, poorly written role as the new social-media face of advertising, the better.Direction from Cowell was well-paced and cinematography was good, only occasionally let down by some sloppy editing. Locations were well chosen and Guthrie's exclusive waterfront property in which many scenes were shot, always gave the impression of being a trophy house rather than a home. His over the top bar, which amusingly stayed in situ during his abstinence, would not have disgraced the swankiest New York private club.But at just over 90 minutes the film needed more. It lacked enough wit to be considered a full comedy and required more bite. Guthrie's story alone was not enough for a cinematic release. Although it rarely betrayed its theatrical origins, the story needed to expand to explore more themes, to perhaps satirise the advertising industry and those who inhabit its self-absorbed world. Nonetheless, the film still delivers some punches and Patrick Brammall's performance alone merits great praise.

m-z-de Boring, not funny, one dimensional characters. Robyn Nevin and Aaron Bertram must be given some credit for doing the best they could with such a poor script. Jack Thomson plays Jack Thomson. Abbey Lee is a model not an actress, too obvious in this film. Not sure if viewer was suppose to feel this way: But I wanted to throw 'Chet' (Brenton Thwaites) from the office balcony, character should have been hanging at a skate park, not working in a large Advertising Company. Alex Dimitriades played Alex Dimitriades. Not much more I could say but 'disappointed' in portrayal of a topic that many have had to deal with i.e.: alcoholics.