![]() She’s intrigued, however, by this gruff stranger who seems to carry his own burden of sorrow, and they build a tentative, not-quite-romantic rapport, beautifully played by Baker and Wanganeen with a mutually watchful reserve that haltingly cracks into vulnerable candor.Ĭar trouble, meanwhile, compels Travis to extend this seemingly hopeless case review, temporarily swapping his executive sedan for a wide, rusty Dodge that sets him to the whole town’s rhythm of slowed decay. A single mother making a modest living at the local diner, she’s also assumed care of Charlie’s two children, and life in the present tense is hard enough without dredging up the past. His world-weary sister Emma (Natasha Wanganeen) is less hostile, but still skeptical that reopening this wound will amount to much. The victim’s brother Charlie (an excellent Rob Collins) regards Travis with particularly cold wariness: Charlotte’s murder, it appears, is one of many familial and cultural losses that has set his life forever off-track. Small wonder that those in Limbo who remember the fiasco are loath to talk when another pale out-of-towner comes sniffing around. ![]() The investigation, we learn, was slack and skimpy, disproportionately and aggressively focused on Indigenous men as suspects. He carries out his cold case review with a quiet sense of duty and a tacit hint of shame, mindful of the fact that white policemen decades before him didn’t exactly exercise all due diligence in probing the disappearance and murder of a young Indigenous girl, Charlotte Hayes. (He does indeed have a private, lingering heroin habit.)īut Travis isn’t a thug, exactly. Played by a craggy, buzz-cut Simon Baker - initially near-unrecognizable and never better - with an air of exhaustion that meets its match in this depleted opal-mining community, he exudes more rogue menace than institutional authority: One child remarks that he looks like a drug dealer, not a cop. ![]() He does have a name, as it happens: Travis Hurley, a hardened police detective blown in from far away to investigate a 20-year-old murder in the bare, desolate and fictitious town of Limbo in South Australia. ![]() Jeremy and Chris Arnsby look back on the last year in movies, exploring the ten best and five worst pictures of 2022, with such topics being covered as toilet strategies, in-cinema naps, yacht rock, the end of Inspector Morse and why Avatar is successful.īest Film: The Banshees of Inisherin, Benediction, Blonde, Everything Everywhere All at Once, Glass Onion, Mad God, The Menu, Tár, Three Thousand Years of Longing, The Whale.īest Director: Terence Davies (Benediction), Andrew Dominik (Blonde), Todd Field (Tár), Daniel Kwan & Daniel Scheinert (Everything Everywhere All at Once), George Miller (Three Thousand Years of Longing).īest Leading Performance: Ana de Armas (Blonde), Cate Blanchett (Tár), Colin Farrell (The Banshees of Inisherin), Ralph Fiennes (The Menu), Brendan Fraser (The Whale), Jack Lowden (Benediction), Daniel Radcliffe (Weird: The Al Yankovic Story), Tilda Swinton (Three Thousand Years of Longing), Emma Thompson (Good Luck to You, Leo Grande), Michelle Yeoh (Everything Everywhere All at Once).īest Supporting Performance: Peter Capaldi (Benediction), Hong Chau (The Whale), Kerry Condon (The Banshees of Inisherin), Paul Dano (The Batman), Colin Farrell (The Batman), Brendan Gleeson (The Banshees of Inisherin), Stephanie Hsu (Everything Everywhere All at Once), Janelle Monáe (Glass Onion), Ke Huy Quan (Everything Everywhere All at Once), Sadie Sink (The Whale).īest Original Screenplay: Martin McDonagh (The Banshees of Inisherin), Terence Davies (Benediction), Daniel Kwan, Daniel Scheinert (Everything Everywhere All at Once), Seth Reiss, Will Tracy (The Menu), Todd Field (Tár).īest Adapted Screenplay: Peter Craig, Matt Reeves (The Batman), Andrew Dominik (Blonde), Rian Johnson (Glass Onion), Augusta Gore, George Miller (Three Thousand Years of Longing), Samuel Hunter (The Whale).Admittedly, with his straight-cut jeans, Western shirt and silvery belt buckle that could take a man’s eye out, “Limbo’s” taciturn hero seems less like a suave gumshoe than he does a cowboy, a surly, crusading Man With No Name.
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