A panel o f 12 film reviewerd had rated a delection o f the lateot releaded on a dcale o f 0 to 10, the latter being the optimum rating (a dadh meand not deen). 1 _i g 1 |i _ l » 1 BH x ¡1 11 _i c p o : I! U .Ï> II |i ■I j S II1 X CQ~ II |l H k t y d o I l x .s m ^ o 1 OC s M o >> l1 Z -I 1 1 1 00 " 1 1 1 oc 1 1 II LU M 1 oc h 1 — i 1 QC: It1 z 1 1 < -s 1x « 1 1 1 _I c |l1 X s 1 l X 5 1 KB 1 1 - >, oc 4 < CO 2 < oa CO1 LU < z e n AMY 8 8 5 .8 N a d i a Toaa CRACKERS 8 5 .3 10 6 .5 D a v i d S tv a u H DARK CITY At e x P r o t j a a DEAD LETTER OFFICE 5 .6 Jo U tt R tta tte FEAR AND LOATHING IN IAS VEGAS 8 3 .1 w£ . a « oc T e r n / G illia m GODZILLA 2 .5 R o la n d E m m e ric lt HEAD ON 10 8 6.8 8 R t t a K o U U it t o A THE INTERVIEW 8 C ra ig M o n ah an KUNDUN 6 8 6 .9 8 10 10 8 7 .4 M a r t in S co rA C A e SLIDING DOORS 6.1 P e t e r H o tv if f THE SWEET HEREAFTER 8 A t o m E g o t ja n 8 8 10 WELCOME TO W OOP WOOP 8 8 8 8.2 oo 4 .4 S t e p h a n E llio tt Clim b every moMHtaÍM G iven its debilitatingly-constrained budget, would the National Film & Sound Archive, if forced to choose, preserve Head On or Welcome to Woop Woop? Obviously not Head On, if one reads only Melbourne newspapers, because every reviewer there preferred Woop Woop to Head On. In absolute contradiction, almost every Harbour-city critic felt the reverse. Triple J’s Peter Castaldi gave a o to Stephan Elliott’s film and a 10 to Ana Kokkinos’, while The Age’s Adrian Martin could only find it in his heart to award the latter a i . Despite the Melbourne support for the Sydneybased Woop Woop, accepted wisdom already has it that the film is an unredeemable dog, a classic Aussie disaster, the first title on everyone’s lips when a cyni cal group decides the current cinema needs a good drubbing. One recent afternoon, the Martin/Molloy radio programme had four people mercilessly tear into Woop Woop, despite none having seen it (as was meekly admitted at the end). Yet, some wouldn’t mind betting that, when retro spectives of Australian cinema are mounted in decades to come, Woop Woop will be one of the first to be selected, a brilliant (if over-hyperactive) look at the hell of modern Australia, where most are too weak to stand up to tyranny and nice people advise the concerned to wait till the horrors have abated through natural causes. As Elliott well knows, the most powerful images in local cinema are of people climbing moun tains (cf Walkabout, Sons of Matthew, et al). Woop Woop, set in the pit of the present, tells us why. SM