FuzzyTagz If the ambition is to provide two hours of instantly forgettable, popcorn-munching escapism, it succeeds.

CrawlerChunky In truth, there is barely enough story here to make a film.

BelSports This is a coming of age storyline that you've seen in one form or another for decades. It takes a truly unique voice to make yet another one worth watching.

Loui Blair It's a feast for the eyes. But what really makes this dramedy work is the acting.

hylinski This film combines an interesting and meaningful plot with cinematography which is a tribute to the many textures of Australia and some restrained but insightful acting and direction. Most of the funding for the movie was from two state governments. The producers have had to be sparing with their special effects. Despite this the film has more atmosphere than most Hollywood films with budgets in the tens of millions. This film does not shout any particular message at its audience, so how much you see is really up to you. Many films about such a sensitive topic can be too heavy handed. It is a great credit to Clara Law that she says so much so quietly.

cogs "The Goddess of 1967" is a maddeningly pretentious film that tries too hard to capture the flair and dynamism of new-wave film-making without the artistry to back it up. The film's first half is almost unbearable, but there are some more conventional moments in the latter stages that lend the work some much needed credibility. Clara Law's directing technique is first-year film school stuff with a lot of unnecessary appendages that do little other than distract; and the story is a fairly stale reworking of tired old themes about betrayal, revenge and redemption built upon on a narrative of incest and sexual transgression. The Japanese sub-plot and characters seem tacked on to lend an air of otherness that seems redundant. The failure of the approach is emphasised by the weak script that often times reads likes poor poetry (I was reminded of David Brent's "Excalibur"). Even Rose Byrne's gorgeous face can do little to make this film watchable.

daydreamblvr1210 Rose Byrne's performance alone makes this film worth a look (it still airs occasionally on sundance). Actors who take on the challenging role of blind characters are nothing new- but to see a talented actress take to it with total commitment and still be very believable and not over the top is something special. Rose Byrne is brilliant here as B.G. and really shines in the more subtle moments, which are the primary driving force for this Clara Law film.The theme of incest abuse and it's lingering affects through generations make for very heavy subject matter that would otherwise threaten to undermine the film's subtle tone - but it's told in flashback here and works surprisingly well. The comparisons of style to Wenders and Jarmusch are apt since it is precisely the more subtle scenes in this film that resonate more as the viewer gets drawn into the lives and past histories of this unlikely couple. Not a perfect film by any means - the loving yet determinist, religious mother, Marie could have been fleshed out more, as well as the male lead - but the real gem here is Rose Byrne. Disregard the fluff roles from wicker park and troy, this is arguably her best performance to date.

ETCmodel02 This film does several things that are hard to read and harder to fully appreciate without being hammered over the head with the story's themes. The film is set up as a series of overlapping contrasts, and that is the part I'm most stricken by. Contrasts of culture, morality, experience, gender, needs and conclusions. The film sets up expectations for the characters, then proceeds to change said expectations as the characters evolve and reveal like layers peeling away. I'm awed by much of the delicate caress of the pacing, and the contrast of the beautiful way many of the scenes are shot against the contents of the scenes themselves. I adore this film.