Why I'm leaving triple j...

It’s 1:54 am in the middle of an ABC studio. I just mixed what is very likely to be my last triple j review. 


I’ve been That. Movie. Guy for almost my entire adult life.

Sitting here alone tonight in an empty, cavernous public broadcaster feels somehow both anti-climatic and entirely appropriate.  In the last decade I’ve spent way, way too many nights like this at the ABC finishing off a review after a long week making The Feed,  Download This Show or Hungry Beast before them. So, sitting here for this Major Life Turning Point™  all by myself in the silent dead of night seems... about right. If I were producing this scene, it would need some nostalgic, swelling emotionally manipulative play-off music.

I’ve made roughly 734 reviews over 11 years. I’ve outlived 5 breakfast shows and the entire Twilight franchise. I think now is the time for someone new. 

And I'm pretty sure the next person will be 100% better than me. 

Because that person... is probably you. 

Right now, triple j is hunting for someone who will - I personally hope - rip up the sound and format that I created for myself. You should absolutely go apply. Be that person who decides the way we *should* be talking about movies and TV in 2017. Make it your own. Make it awesome. And, above all, make it better than this dickhead:

One thing you should know: triple j is not like other radio stations.

I will always remember my first exposure to triple j. It was a Hottest 100 party in 2001. I was hooked instantly. Adam and Will had a breakfast show that made being a nerd seem cool. Richard Kingsmill introduced me to my new favourite music but also gave me reasons to appreciate the music I hated. On Sunday nights before the school week, I was glued to Fenella Kernebone and Megan Spencer introducing me to new movies, arts and culture. I’d never experienced radio like that. It made me feel connected to a universe far bigger than my microscopically small community christian high school. It made me feel included. Even in the depths of shitty, shitty self-loathing adolescence, I could see a horizon.

triple j gave me that.

Sure, they played a bit more Jack Johnson than any of us would like to admit, but - look - everyone fucks up occasionally.

I still love film. I’ll still be bringing you the best cult movies on SBS VICELAND. I'm still going to be interviewing the most amazing people in film, music and writing on The Feed. I'm still very much part of the ABC with my other radio show Download This Show.  This week I'm also helping launch something really exciting with Junkee. And I've also helped launch a new not-for-profit called Media Diversity Australia.

But most importantly - I still want to talk with you about movies. I’ve always said that my triple j reviews were the beginning of a conversation that you guys get to finish. Right now, I’m thinking about what the next evolution of that might look like. I have some plans for something completely different and new. I'm also keen to hear what you want. So lemme know in the comments or shoot me a message on Facebook.

I walked into triple j when I was 20 and the fact that they haven't fired me in the last decade has been both an absolute shock and probably a testament to how cheap I am to employ.

It may have only been a little 2-minute piece of radio that I made but I still count myself so lucky. So lucky that I found triple j when I did as a teenager. So lucky to broadcast to the best audience in Australia. Ask anyone: there's no group quite like triple j listeners. You are an engaged, passionate, weirdly-Tool obsessed cohort of sexy motherfuckers and I can't wait to hear which one of you takes over from me. 

But right now - It’s 2:05am and I’m driving home from making my last ever triple j review. The good news is that I found the 2001 Hottest 100 on Spotify and thanks to the number 1 song I finally have...

Thank you triple j.

Thank you for the horizon. 

Why Is the Australian Accent so Hard?


The Australian accent is, evidently, one of the easiest to conceal. That’s why the Hemsworth brothers are anchoring every major blockbuster film from now to 2032. Virtually every Australian actor seems to lose theirs the minute they hit the international circuit. Well, except Sam Worthington. But for an accent that is so easy to lose it seems to be an impossible one to acquire. Most Americans seem to think we are basically British but drunk. ‘Cobber’ is not a thing that we say. At least not since Queen Victoria was on the throne.

Every time the accent is attempted on the big screen we all cower into a ball, rock back and forth and ask the gods of the cinema to just make them stop. There have been marvellous performances of faux Australians over the years. Jane Campion’s outback drama Holy Smoke!, a criminally overlooked movie driven by an amazing performance from Kate Winslet playing a cult member being deprogrammed. She worked under the tutelage of vocal coach Victoria Mielewska whose CV is a who’s-who of who didn’t fuck it up: Mental, The Dressmaker. But every once in a while you will encounter an Australian accent that makes you want to bash an actor in the face with an angry rabies-infested lobster. Case in point: Pacific Rim. The global robots vs sea monsters apocalypse tornado of bullshit masquerading as a film is loved by many. But despite the enormously fun action and the presence of Idris Elba, the film was basically dead to me the moment they introduced the two Australian characters with those noted Australian names ‘Hercules’ and ‘Chuck’ Hansen. One of the actors was American, the other was English — both sounded like they had suffered a stroke. So, in descending order: here are the screen’s Australian accents from Good to Bad to ‘Why are my ears bleeding now?’. 

Mental (Australia) (2012) Director: P.J. Hogan

When trying to perfect the Australian accent, it probably helps to be partnered with an Australian. Liev Schreiber is married to Naomi Watts and in this P.J. Hogan film he’s the exceptional non-local. The Moochmoore family live in the sleepy coastal town of Dolphin Heads. There’s mum Shirley (Rebecca Gibney), dad Barry (Anthony Lapaglia), who is also a local politician, and their five daughters who are all convinced they have various mental illnesses. Shirley is also suffering an extended period of mental ill-health and often retreats into the fantasy world of her favourite musical, The Sound of Music. When she’s not doing that she’s busy ordering huge amounts of furniture. She tells neighbours her husband won on a game show. Barry can cope with the fictional Sound of Music world, but the furniture is a step too far and Shirley is packed off to a mental institution. Barry convinces the kids that everything is fine and mum is just on holidays in Wollongong. At the same time he makes a particularly dubious decision to hire a hitchhiker called Shaz (Toni Collette) to look after the family and from there everything really kicks off. Because the film does not yet feature a sufficient number of Australian stereotypes, there’s also an eccentric shark hunter named Trevor Blundell (Liev Schreiber). His accent is perfect. Terrifyingly perfect. Honestly, it took me fifteen minutes to work out that it was Liev Schreiber in the role. Most critics hated the film, but it actually captures the madcap insanity it seeks to showcase. While the script may seem utterly fanciful, director P.J. Hogan has said he based it on his mother’s mental breakdown when he was twelve. His father was also a politician who refused to tell anyone about his wife’s illness in case it hurt his electoral chances. And yes, as in the film, Hogan’s father really did recruit a hitchhiker to babysit the family.

The Fifth Estate (USA) (2013) Director: Bill Condon

Actor Benedict Cumberbatch specialises in playing nerds. Not your average nerd but nerds who are charismatic and, judging by the number of Cumbersnatch fans the world over, nerds who are a little bit hot. He perfected the type in Sherlock Holmes, received an Oscar nomination for it in 2014’s The Imitation Game and gave it an Australian twist as Julian Assange in The Fifth Estate. The film begins in 2010 with Wikileaks’ release of the Afghan war logs and then flashes back to 2007, when Assange is just a young hacker with big ideas. But the focus is on the relationship between Assange and journalist Daniel Domscheit-Berg (Daniel Brühl), who met the Wikileaks founder in Berlin in 2007 and began working with him. Like all biopics, this film is ‘based on a true story’ with a whole lot of emphasis on that ‘based on’ qualification. It’s been adapted from a book by Domscheit-Berg who later fell out with Assange, allegedly because Julian refused to redact the personal details of sources in the document thus placing them at huge personal risk. Assange has disputed key events in the film and argued that the biggest mistake he made was hiring DomscheitBerg in the first place. The facts may be in dispute but the quality of the Australian accent from Cumberbatch is not. He nails it. And it’s not just the Australian accent: Assange himself has his own wonky accent to begin with. It’s nasal but also has a strong baritone element. He has a tendency to mumble in truncated sentences and Cumberbatch pulls it off admirably. Not that Assange agrees. I spoke to him in the Ecuadorian embassy during the 2013 Australian Federal Election campaign and he described Cumberbatch’s accent as ‘grating’. It’s worth pointing out that ‘grating’ and ‘entirely accurate to Assange’s accent’ are not mutually exclusive terms. Unfortunately though, the film is a mess. It should be a great story of intrigue and espionage, but it all falls flat. And the key obstacle, I suppose, is that it takes real skill to make hacking and computer-related activity look exciting on film. Films have made it work in the past: The Social Network based on the origin of Facebook is a good example. But that film had a great script where this one leans on ham-fisted visual metaphors and a godawful over the top musical score where the director seemed to be reaching for the sounds of a bush-doof rave without ever having been to one. And while Benedict Cumberbatch may have nailed the accent, the same can’t be said for the filmmaker’s knowledge of South America. When Assange appears at the Ecuadorian embassy at the end of the film, the flag in the background is actually Colombian.

Evil Angels (Australia/USA) (1988) Director: Fred Schepisi

Oh yes, we’re getting to the bottom of the barrel now. The film, which went by the name A Cry in the Dark outside of Australia, tells the story of Lindy Chamberlain (Meryl Streep). Based on a hugely controversial true story, here are the facts. The Chamberlains, Michael and Lindy, were camping at Uluru and woke up to find their newborn daughter, Azaria, was missing. A huge hunt ensued with the couple insisting that a dingo took their baby. While there was initial sympathy for the pair, suspicion soon fell on them, with a key part of the evidence being that Lindy didn’t act like a ‘normal’ mum who has just lost a child. She didn’t look sufficiently distraught for one thing. Public opinion swung against her, a trial found her guilty and jail time soon followed. It took three-and-a-half years for the murder case to be quashed and this film was released shortly after. Streep’s performance has been much debated over the years, but while her accent seems strained and never quite believable, it works as a Lindy Chamberlain accent as opposed to an Australian accent. The real Lindy has a New Zealand twang and perhaps where Meryl’s performance falls apart is that it’s more of an impression than an interpretation. Which is odd for an actor who made a career out of nailing accents. The film itself is a courtroom drama, setting up the case against Lindy Chamberlain and then tearing it apart. It is a compelling story and accent aside, Streep’s performance makes it all work. It was a hard role — she had to appear as the cold and aloof Lindy that the public judged yet likeable so we sympathise. Fred Schepisi, who co-wrote and directed the film, intercut the courtroom drama with scenes where broad cross-sections of people discuss the case at dinner parties and on tennis courts. It’s a technique that works really well, showing you just how much the case was run by public opinion, wild rumours and gossip. 

Natural Born Killers (USA) (1994) Director: Oliver Stone

Natural Born Killers was a film designed to shock and titillate — it was set up as a critique of the emerging 24/7 media and of celebrity criminals. The story concerns lovers and serial killers Mickey and Mallory (Woody Harrelson and Juliette Lewis) and the tabloid news storm they create (led by Robert Downey Jr as a mulleted Australian TV host). Oliver Stone has long been intent on documenting every incremental stumble in the downfall of the American empire and this was his ‘1990s TV violence, media, tabloid TV, won’t someone please think of the children industrial military complex film’ designed to appeal to those who felt that exposure to violent games and junk had the potential to turn a child into a gleeful murderer. In this period of the 90s you had Marilyn Manson singing ballads to Beelzebub, Doom was allegedly teaching kids how to kill, and then came Natural Born Killers. Stone knew it had the power to offend. Indeed, that was his intent. In the DVD liner notes he wrote with typical subtlety, ‘Didn’t Kubrick and A Clockwork Orange offend the perceived borders of violence? Did not, years before, Buñuel and Dali, with an eyeball and a razor, shock and offend?’ He’s right, they did. And yes, Natural Born Killers was a film that co-opted media violence to tell a story about media violence, but the only thing that remains shocking about this film today is Robert Downey Jr’s attempt at an Australian accent. Apparently Downey Jr. had been hanging out with controversial TV host Steve Dunleavy, an Australian columnist and journalist of the Rupert Murdoch stable that helped launch Tabloid TV in the US with the American version of A Current Affair. RDJ decided he wanted to channel Dunleavy’s accent into the role. More likely he channelled the cocktail of drugs he was said to be on at the time. The result is a fucking awful accent. But while Downey Jr’s Australian accent was a bit off it was in fact a good impression of Dunleavy. Where Downey Jr overdoes the vowels he absolutely nails Dunleavy’s on-camera faux self-righteousness. The film perhaps lacks some of the potency it once had. In the wake of Columbine and 9/11, this kind of violence pales into insignificance. There are now entire TV channels dedicated to crime, courts and celebrities. Even the scatter-gun MTV aesthetic of jerky handheld camerawork feels painfully dated. But that accent. It remains the single most shocking element of this film. So broad. So weird. So cockney, so nothing like what we sound like. In RDJ’s defence he did make up for his accent decades later with Tropic Thunder wherein he played a deadly serious Australian actor concerned with awards — let’s call him Crussel Rowe — who adopts blackface to play an African American. 

Excerpt from The Planet According to the Movies - a Travel Guide around the world based on movies. 

proving ground: sphero

Why re-invent the wheel when you can re-invent the ball. That seems to be the thinking behind Sphero. 

At $170 Sphero is halfway between Wall-E and your favourite pet. You control Sphero with your phone and can let it roll in water, change colour, and even impersonate Evel Knievel.

It may seem stupid, it may indeed even be stupid, but credit where credit is due there is a lot of innovation that’s driving this ball of stupidity.

Inside the sealed white shell is a tiny robot that uses a gyroscope to balance on two wheels. The robot drives up the side of its own shell creating forward and upward movements. Think of it like a Segway stuck inside of a ball. The trick is that it runs on gravity. 

wires, or battery compartments. Instead Sphero has its own built-in batteries that are charged by passing energy through the shell itself.

The charging station is basically a copper coil, which generates an alternating electromagnetic field and Spehro converts that invisible field into electricity.

Where it really gets fun, apart from torturing your cats and toddlers, are the augmented reality games. Sphero uses your phones camera to overlay a game environment, with say zombies, to give you a unique game play experience. It's fun but gameplay can be challenging. After all you are trying to control a ball that has a tendancy to run into objects.

making virtual a reality

 Virtual reality devices have been promised for many years, but until recently those VR devices were expensive and cumbersome. Now there's a flood of portable head mounted devices on the market that aim to bring virtual reality to the masses. The Feed's Marc Fennell looks at the portable devices that are changing virtual reality.