Birdeater

The directors go for an experiential, if more narratively ambiguous artistic ethos that results in an excitingly cinematic trip alongside unlikable people.

It’s a strong addition to a recent wave of independent Australian horror-thrillers, following the critical and commercial success of Talk to Me, written and directed by Adelaide-based twins Danny and Michael Philippou.

This production pushed me away much more than it pulled me in, ultimately leaving me aggrieved, withered and wondering what the point was.

An audacious reckoning with identity told through a familiar scenario gone wrong. Borrowing a page from Wake in Fright, Clark and Weir’s feature debut examines heady concepts through confident filmmaking and subversion of tropes through horror techniques.

This Australian psychological thriller has all the elements of a great movie, but in terms of emotional impact, it ultimately misses the mark.

Birdeater shines when it centers on the sordid dealings of its cast. That said, it isn’t as thrilling as it could be.

There are some interesting interpersonal dynamics here. But most go underdeveloped, and the material isn’t strong enough to sustain nearly two hours -- or withstand the directors’ gratuitously flashy treatment.

If Birdeater was advertised as a dramedy about 20-somethings trying to reconcile their desires and shame with their romantic relationships, moviegoers could go with the flow instead of constantly waiting for a shoe to drop when there isn’t one.

Birdeater is a gripping exploration of obsession and the fragile dynamics within friendships, all set against the volatile backdrop of a wild Bucks Party.

The key difference between this film and Carnal Knowledge is nothing is withering about its approach. It plays in the muck with its characters more than it critiques them, so any attempt at contrition or condemnation ultimately strikes a false note.