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  • If you've ever doubted Hugo Weaving's acting skill - then this is the movie to set you straight. Weaving's performance is spectacular, it's got a gritty, human tangible feel - I saw this on the big screen, but even on TV he still has that emotional realism you can't fault.

    If you're a Weaving fan and you haven't seen this - then go and get it right now.

    If you're a Matrix fan and you haven't seen this - go and get it now - you'll get to see agent smith on the other side of an interrogation room.

    This movie is a non-stop discovery, you'll spend the entire movie questioning the characters, their motives and the truth of the tale unfolding.

    I cannot recommend this movie strongly enough, it is an unknown classic.
  • 37 years after Hitchcock put Psycho on the silver screen, Craig Monahan directed a thriller that competes frame for frame. The Interview explores the duality of the troubled mind through a simple exchange of thoughts. The possible psychosis of a suspected serial killer is examined through the microscope of Australian law enforcement, which bears universal similarities to America's.

    The movie relies on two primary ingredients: dialog and acting. Weaving and Martin (principally, with a superb sparse supporting cast) make it work. Enhancing camera angles, lighting, and complementary music put you there - in the interview room. Not since 12 Angry Men have I been so riveted to a film that relies on dialog so heavily. It's a 5 star restaurant meal for the the independent film viewer. So little arrives on the plate; but what comes to you is 100% choice.

    If you happen to rent the DVD, invest time watching the alternative ending. It offers a lesson in film making. In the final presentation, Monahan achieves with a facial expression what otherwise might have taken another four minutes to achieve. Self Indulgent, ego-borne film producers take note. It you were satisfied with Hitchcock's ending to The Birds, you'll be content with his ending as I was. But if you watch and leave with doubts about the culpability of the interviewee, those doubts will be dismissed in the alternative ending.

    Find a copy and see it soon. 9.5 / 10
  • Most audiences around the world would by now know who Austrialian actor Hugo Weaving is, after appearing in big budgeted Hollywood trilogies like The Matrix and The Lord of the Rings. The Interview presents one of his earlier works in an Australian film, and my, does he show off his acting chops in this.

    Hugo Weaving plays Eddie Fleming, a simple man whose just been retrenched from his job, separated from his wife and living off state welfare. The film begins with him being literally yanked off his sofa chair at home, when the cops barge in and arrested him with strong arm tactics. Later he's told, that he's in for a car jacking incident.

    However, Fleming pleads innocence to chief interrogator John Steele (played superbly too by Australian actor Tony Martin), who has a reputation of solving crimes, regardless of the methods used. It's one man against the other, as Fleming initially begins as an innocent helpless man, clueless to why he's bring held in a police station, undergoing an interrogation.

    As we go along, we see a power play between the two men, as each try to gain one up against the other. We start to question Fleming's innocence, as he begins to drop various hints that he might be involved in the crime Steele is investigating, and perchance, might be the serial killer Steele is looking for. The tension built between the two is tremendous, and both hold court against each other. Also added to the subplot is the exploration of ethics into Steele's techniques, and the politics of policing, investigations and the conducting of interrogations and interviews.

    It's excellent storytelling if you're willing to put up with little or no action, but laden with plenty of insightful dialogue. Weaving adds a beautiful dimension to the character of Fleming - innocent man, guilty sinner, schizophrenic, or just manipulator? You'll also learn a bit about the Australian police and justice process at the evidence gathering stage, and one in which Fleming takes advantage of quite skillfully.

    So for fans of Hugo Weaving, you might want to pick up this DVD to check out his performance.

    This Code 1 DVD contains the theatrical trailer, cast biographies, cast interviews with Hugo Weaving and Tony Martin, an audio commentary by the director/writer Craig Mohanan, and deleted scenes, one of which features an alternative ending.
  • A claustrophobic, tense Australian psychological thriller that will have you guessing even after the closure. Basically has two characters; the suspect and the cop interviewing him. This is one of those films you just wish would hurry up and finish because it is agonising but riveting to watch. No special effects, stunning sets or killer soundtrack here; an acting tour de force by both the leads.

    What makes this film outstanding is the script which slides and spirals down a path of almost unbelievable emotional snares and plot twists. The nightmarish flashback scenes allow no relaxation for the viewer, only a mesmerised state of fear.

    The film is set for the most part in a room that looks like a cross between the 'Bladerunner' interview room and KGB murky, dust filled rooms of our collective cold war memories. Very atmospheric and full of menace.

    The acting is intense and convincing throughout with Tony Martin (Wildside) and Hugo Weaving (The Matrix) really earning their acting dollars in this one. Yes, this does sound like a promo rather than a review but, honestly, I can't fault this film for what it is. Everything is utterly meshed and designed to create maximum emotional impact.

    Brilliant !
  • While the supporting cast is excellent, make no mistake: this is Hugo Weaving's film. He constantly keeps the audience guessing and easily changes his role from the victim to the villain by the tweaking of his facial features.

    Hugo is starting to make waves in the international scene, and hopefully, if there's any justice he will a win similar success that Russell Crowe and Guy Pearce are enjoying. Roles in the Matrix (and now Lord Of The Rings) trilogy are winning him notice.

    This film is recommended for those don't think any movie made in Australia (by Australians) can be worth watching. A very intelligent film that demands your attention and holds your intrigue until the very last shot.
  • BroadswordCallinDannyBoy13 November 2005
    Agent Smith (actually named Eddie Fleming in this film) is taking a nap when the police barge in, trash his apartment, intimidate him, arrest him, and throw him into an "interview room" accusing him of car theft. Soon a charge of murder is added and Fleming is really at a loss of what to do. At a loss, that is, until the story takes a few twists and we see that "the interview" is really a fierce battle of wits with strings being pulled from every direction...

    The title may be a bit misleading for American audiences as it means "interrogation" not the type of interview you have for a prospective job position. That aside, this is a fantastic film that deserves notice. Hugo Weaving with the rest of the cast gives a terrific performance and the script could hardly offer more when coupled with Craig Monahan's direction. Taking place in only a few rooms of a police station for pretty much the whole length of the film, yet there is a genuine suspense and the film space feels as open as the expanse of the mystery at hand rather than cramped like the setting.

    All in all, this is one terrific little film that should be worth any movie watcher's time. 10/10

    Not Rated, but contains occasional profanity
  • hfk27 June 2002
    What an excellent movie. Do not pass this one by: although it's virtually static (most of it takes place in a police station interview room, and most of what's left occurs in other portions of the same station) it is absolutely riveting. I wonder how many viewers of this movie shared my thoughts immediately afterwards: why in the world don't we see more movies of this calibre?
  • Warning: Spoilers
    If somebody told me that there is an Australian movie called The Interview, which runs for almost two hours and spends about 90% of that time in the same interview room, I would have thought "Wow, sounds really boring." Well, it is not boring by a long shot. The Interview is one of the best, possibly even _the_ best, Australian movies of the 1990s.

    A man, unknown to us to begin with, is arrested under very unpleasant circumstances, in the early hours just before dawn. He is abused and roughly treated, finally being humiliated like a disobedient child. He is then taken to the police station and left for over an hour in an interview room. He is denied food, and is told that he has been brought in for a very minor crime. However, it soon becomes apparent that there is much more to this case than meets the eye. Soon after, we see there is even more to it, and the significance continues to grow.

    Do not let anybody tell you the storyline. The surprises are extremely entertaining on first viewing, but, interestingly, it remains a solidly entertaining and intriguing film even when you know all of its secrets.

    I highly recommend this film to everybody. Literally. All of my friends eventually succumbed to my nagging...
  • "The Interview" dedicates most of it's run time to a police interview (Aussie for interrogation) of a suspect in a stolen car case. The interview is supposed to be a process where questions are asked and answered in an attempt to discern the truth of a matter. In this film, however, one question leads to another and another and so on until the truth seems inextricably buried and the usually clear line between good and evil becomes blurred beyond recognition. An dark, claustrophobic, artfully presented all-business psychodrama out of Australia, "The Interview" will prove an enjoyable watch for those into mind game flicks. With good acting by all, special kudos to Weaving for an excellent performance.
  • THE INTERVIEW ( rating, * * * * out of 5 )

    Edward Flemming, (Hugo Weaving) is a seemingly everyday guy a little bit down on his luck. In the early hours of the morning, his door is broken down and he is arrested for a crime he apparently knows nothing about.

    Detective Sergeant John Steele, (Tony Martin) a cop with a dubious reputation, conducts a series of interviews searching for the truth. As time ticks by, it becomes obvious all is not as it seems. Does Edward have a confession to make? Is he innocent? Or is Steele stepping way over the line?

    Writer/director Craig Monahan, with help in the script department by Gordon Davie, construct a tense and absorbing movie which is punctuated by a menacing soundtrack composed and performed by David Hirschfelder.

    This is stylish film-making at its best. Lush production values, elegant lighting, the skilful manipulation of slow motion, all combine to take the discerning viewer on a strange and mysterious ride.

    Everything about this movie works - fine acting, expert writing and imaginative directing. Craig Monahan moves the story slowly but surely - deft handling of mood and atmosphere.

    This film has to be really watched as the usual over-the-top bells and whistles are traded for innuendo and simmering tension. The longer this film went, the more it felt like a return to classic film noir where true movie-making was about absorbing an audience with story and character.

    'The Interview' has many surreal qualities due to its intelligent subtleties. However, if these elements are missed, it will undoubtedly fall a little flat.

    My only real criticism is that the ending was a little unsatisfying. The movie built up such viewer unease that the finale just fell away almost making the whole exercise pointless. This aside, 'The Interview' is a rare film and should not be missed.

    The reality is that this film is not for everyone due to its strict attention demand on the audience. If you're looking for a film where you can slip your brain into neutral then give this one a miss. However, if a sharp thriller where the narrative is driven by deception is your bag, then 'The Interview' will not displease.
  • A superbly crafted, completely compelling character-driven thriller, I I was on the edge of my seat throughout the whole film. The film is extremely clever, and without giving anything away, I am truly amazed at how skilfully the director, Craig Monahan, is able to manipulate the audience. What a ride! And the fact that all this tension, all this manipulating takes place among four walls, is nothing short of remarkable. Also, the acting - Hugo Weaving in particular - is excellent. No wonder this film won 3 Aussie Oscars. I highly recommend it if you haven't already seen it. Can't wait to see Craig Monahan's next pic.
  • Why have I not seen this movie before today. Made back 1998, but still as fresh, as relevant and truly enjoyable today. The storyline is terrific, it really is a game of cat and mouse, the acting is terrific, Hugo Weaving gives a powerhouse performance. You question as you watch, you keep saying, could he, did he, and how.can they get away with that. Every detail, no matter how small has a relevance. Every character has a significance, nobody is there to make up the numbers.

    Truly exceptional movie, don't miss it. 9/10
  • Mick-2131 May 1999
    If you are a little sick of the average formula based Hollywood film, this little gem might be for you. It's tense, well acted, and has more than a few twists. This is one of those films you are better off seeing blind, without much knowledge of the script. It's not for everyone, but if you are looking for a thriller well outside the mainstream, The Interview is a good choice.
  • mc-1317 September 1998
    An absolute ripper, and a fantastic example of how a great script and direction can compensate for the lack of any exotic locations. A real drama, from start to finish.
  • It's always a good feeling to be combing through the DVDs at such a barren wasteland of product like Blockbuster and suddenly come across something that looks like of interesting: Hugo Weaving, of the Matrix and V for Vendetta, in a film with a title that immediately rings of Kafka (duh) and the premise sounding like a riff on something one might find in the Usual Suspects, only without the huge cast of characters. Watching it, it's something like finding a little hidden treasure in the mystery movie genre. It's not perfect, but it's got dynamite acting and a sense of suspense that makes one guess and second guess and guess again on the status of this guy Edward Fleming, and by proxy the stone-cold cop interrogating him.

    It starts off like classic Kafka, updated for modern times, but the opening scenes are where the Trial comparison ends... mostly. Fleming is told he's being accused of car theft, which he flat-out denies. After being badgered for a spell to confess he finally asks for a lawyer, who tells him that he really doesn't have that much to worry about. From then on it becomes a kind of weird guessing game on the end of the detectives - did he really commit these *other* crimes he's suddenly admitting to, or is it all just an act? What kind of hell will freeze over if he's just putting on the brash results-oriented detective John Steele?

    Part of the joy of the piece, very much like a chamber drama or something Sidney Lumet might have made back in the 1970's, is seeing the actors at work. Primarily it's the Hugo Weaving show, as he shows that he's much more than the stone-faced-ham of The Matrix, as he's sympathetic, confused, devious, almost charming, and finally really perplexing. But another part of what makes the Interview so fascinating is that the director, first-timer Craig Monahan, lets us as the audience decide for ourselves really.

    While the last shot of the film may reveal a little too much and lessen the ambiguity that's built up (but oh, what a great final shot it is), we get to really participate in this mystery - or is it even a mystery at all and are the detectives being duped by a guy who has it in for them? How you feel about harsh interrogation techniques (though not outright torture in this case save for lack of food), or about the nature of this guy Fleming, depends on how you really view it.

    And yet if you'd rather not take part in the intellectual mind-game of the proceeding, it's still got crackerjack dialog and a very good supporting performance by Tony Martin as John Steele. It's also got the good graces of not treating its audience like a bunch of cliché-hungry morons: neither of the two protagonists is entirely good or bad in the traditional sense, and right or wrong is blurred throughout. I was hooked from start to finish.
  • dog_lover-411 November 2007
    The only reason the film doesn't get a 10/10 is that there is no such thing as a perfect film. The Interview is an amazing film. When I first saw it I thought I would get bored. I was wrong. The script is brilliant. Anyone who can write a feature film that takes place in one room and keep the audience captivated by the dialogue is a true writer. The twists and turns in the script are great, and keep the audience interested. The characters seem so real, and anyone can feel for Flemming. The ending is also great, the writer leaves the audience wondering what really happened. Such a wonderful jewel of a screenplay. As an aspiring screenwriter I truly admire the skill.

    The acting in the film was also amazing. Hugo Weaving gives a great performance, perhaps one of the best I've ever seen (and I've seen a lot of movies) Tony Matrin also gives a superb performance throughout the film.

    The cinematography was beautiful. The use of shadow was nice, and seeing dutch angles was nice.

    All in all the film was well made all around. It's movies like this that made me want to come to film school. It's films like this that give me hope for the future of film-making.
  • What would you rather see? 25 CGI car chases taking up an hour and a half of a 2 hour pile of dung from Hollywood with 2-second blip shots from an unsteady steady cam that spins around to make you puke ... or something that can have you riveted to your couch with a serious, industrial-strength puzzle? The best part is that it doesn't really matter if Fleming did it or not. That isn't the point. The point of this fantastically entertaining roller coaster of a film is that it's what film used to be - with some of the greatest writing I've ever had the pleasure to listen to from any film - EVER. SEE THIS FILM and you'll throw rocks at Hollywood and you'll see a master actor - Hugo Weaving - give a tour de force on how a real actor performs his craft. Bravo Craig Monahan.
  • This is a must-watch Aussie thriller! Hugo Weaving and Tony Martin both have delivered an extraordinary screen performances... The story revolves around an official police interview, Tony Martin (Det St John Steele) is inquiring Hugo Weaving (Fleming) who is an out-of-job-and-broke individual and has lost everything in life including his wife and home! What is the interview about, why is Fleming picked from his home disgracefully by police and put into interview, all has to be seen and known. "The interview" will keep you stick to the chair and unveil the unsaid truths and nature of human beings. A MUST SEE!
  • Warning: Spoilers
    ***SPOILER WARNING*** Fleming: Unfortunate Innocent or Serial Killer? or...? collusion with Internal Affairs...? This is a FABULOUS movie!!; so much so, that even at the end, the possibilities are left so wide open that there was no longer even an "Either/Or" for me but a third possibility struck like lightning: when Fleming (Hugo Weaving) puts on that jacket and tie and struts into freedom with that Beaming-Wide-Open-Smile on his face, maybe... (hmmm... just maybe...) And the IA Constable threw off all suggestions that would have 'saved' Steele and equally, dismissed any real distress that a "serial killer' would be walking free... hmmm... This truly is a FABULOUS film in all aspects; acting (Hugo Weaving is SUPERB and that is understating his performance), directing, producing, editing, screenplay... ah, just take note of all of the varied camera angles employed inside the 'Interview Room' (read: Cell)... and don't miss the utterly masterful use of the "food": that dank, oppressive 'Room' is transformed just by the colors suddenly added to the 'greyness', not to mention the quantity and variety...

    and Weaving (Fleming)? Wow! Wow!... stunning! The camera just loves him here!: HIS transformation this time via the 'food'... Do not miss this film if you have the opportunity to see it! Disconcerting! With all excellence, right through the end.
  • Despite Hollywood being awash with good Aussie actors and directors, generally our industry produces worthless dross.

    This film, however, is one of the rare exceptions to that rule.

    An "interview" is what police in Australia call an interrogation. This is a movie an excellent psycho drama about the relationship between a policemen and a suspect in one such interview.

    The acting is good. And the directing is good. And most importantly, the story is good.

    What a pity we haven't seen more from the writer/director team of Craig Monaghan and Gordon Davie.
  • A battle of wits and innocence as one suspect comes under the microscopic lens of a hard detective who wants answers. Weaving and Martin excel in the game of cat and mouse but let down by a weak supporting cast that play on stereotypical roles. This would have made a great stage production with its dialogue driven script! The photography uses the mystery thriller genre with its harsh bright light pouring through windows and thin layers of smoke, sometimes reminding me of a stylized TV commercial. But lets not take anything away from Weaving and Martin who make it worth the while.
  • Most thrillers employ plot twists to maintain interest, but the problem is that most Hollywood screenwriters confuse "surprise" with being blind-sided. In The Interview suspense is expertly sustained because each discovery is fully integrated into the story. The way that the audience is kept off balance is along the lines of the adage in Dune - "a feint within a feint within a feint". This makes the film far more interesting than better known films in the serial killer genre like Silence of the Lambs.

    The direction is dark and moody, utilizing a variety of perspectives that echo the multi-leveled story. The two main characters are very well handled but the supporting cast is mediocre. But that is a quibble in what is overall a fine night's entertainment - I gave it a 9.

    By the way, The Interview is an excellent example of a movie that is well rated in this database, but has under 100 ratings (surprising given that my local Blockbuster has four copies). It wipes the floor with many of the movies listed in the top 250.
  • Hollywood look out, the Australian movie industry is hot on your tail. In recent years, movies such as Babe, Strictly Ballroom, Priscilla and Shine have put Australia on the film making map and have established it as a hotbed of rising talent. The latest Aussie flick 'The Interview' has done nothing to dispel this theory, in fact any one who has seen this movie would agree that this movie would have to be the best Australian film of the year. Right from the very beginning the movie gets you involved in what is a highly unpredictable and clever storyline, just when you think you know what's going on and start rooting for one character you suddenly find yourself re-evaluating your assumptions. The thing that fascinated me the most about this film though was the atmosphere created in the interview scenes. By using certain techniques such as directing light from different areas, such as illuminating light through the windows to cast shadows inside the room and a smokie, hazy air all gave these particular scenes a dingy, claustrophobic feel. If there are any student directors out who want to learn about story and plot techniques then this is the movie to see.
  • tedg21 October 2001
    Warning: Spoilers
    Spoilers herein.

    This is worth seeing for the stylish direction and very fine acting. But I found the story unsatisfying, and that's problematic because the `heavy' story is the whole motivation for making it. Needed more ambiguity to suit my taste. Also didn't like the slow revealing of information because there were no red herrings, nothing you learn that you have to unlearn. The director called it a peeling of the onion, a metaphor that disallows false leads, misdirection. This makes it completely, utterly different than `Usual Suspects' or `Fight Club,' or even `Sixth Sense,' where every scene has to be retrospectively reinvented.

    What happens is not ambiguous at all, there's just a switch of presumptions from innocent to guilty. There IS a good sense of dueling, but it is only a sense: there is no real deep chess. The captive wins by luck, not cleverness.

    The thing that really bothered me was the lost opportunity to play with the truth as said, as remembered, as constructed by different minds. This is what film is all about, this slipperiness. The script could have exploited the fact that this is a story about a story; and independently a film about a film; and yet more -- a (police) report about a (news) report. But all these opportunities are wasted, so instead of a real mindbender, we get to view a master acting class, nothing else. Nothing in the class of, say `Memento.'

    But it is worth seeing, comparatively, and gets this director on my watch list.

    Did I recognize in the solicitor the widow Malcolm who was so memorable in `Oscar and Lucinda?' (She raped a semi-comatose R. Fiennes?) Looks like a young Joely Richardson.
  • You wouldn't think that a film could be shot almost entirely in a single bare room and still be interesting.

    But Hugo Weaving and Tony Martin deliver an intense performance in this claustrophobic, paranoid thriller which draws you in the entire film with the unbelievable twists and changes and leaves you stunned afterwards.

    Hugo Weaving gives a relentlessly chilling performance as a suspected murderer, his character showing us brief glimpses of both pure evil and naive innocence at once. Tony Martin, from the chilling television series "Wildside", reprises his frustrated detective role and leaves us begging for the truth as we become more and more frustrated with the inconsistencies in Hugo Weaving's story.

    The film must be seen.
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