‘Birdeater’ Review | Aussie Thriller Tackles Toxic Masculinity

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In recent times, the theme of toxic masculinity has been frequently addressed in popular culture, leaving some viewers feeling it’s becoming a bit repetitive. However, Australia, known for its dark cinematic offerings, manages to provide a fresh and unsettling take on this familiar subject with the film “Birdeater“. Directed by Jack Clark and Jim Weir in their debut, this Australian production immerses us in an eerie atmosphere, blending horror elements to narrate a chilling story about emotional abuse, manipulation, and harmful masculine behavior that is as nerve-wracking as it is crucial.

Although Clark and Weir possess abundant directorial skills, it’s the script, penned solely by Clark, that appears to be on the brink of unraveling. Instead of presenting a straightforward tale about the hidden truths and deceptions that transform a bachelor party into an Outback horror, the movie consistently withholds essential details, leaving us intrigued yet unbalanced. However, it provides hints – sometimes in casual dialogue – that only partially quench our thirst for explanations.

Through excessive scatterings of crumbs and frequent yanking of rugs, the narrative of Birdeater unwittingly stretches too far and may leave readers feeling exasperated. However, it skillfully manages to create an enchanting atmosphere by secluding a dislikable band of Australian young men in a distant cabin, transforming this location into a fertile ground for the emergence of a particular type of monstrous characters.

‘Birdeater’ Is an Aussie Thriller with Throwbacks to the Australian New Wave

If the storyline of Birdeater, set in a remote part of Australia, seems similar to the 1971 thriller Wake in Fright, as suggested by Clark and Weir, then that’s accurate. Moreover, there’s even a reference to Ted Kotcheff’s Australian New Wave classic, Wake in Fright, in Birdeater through a brief appearance of its poster. However, the film also draws inspiration from Thomas Vinterberg’s 1998 film, The Celebration, but instead of focusing on a family gathering that spirals into despair and disorder, Birdeater revolves around a bachelor party meant to celebrate the love between Louie (Mackenzie Fearnley) and his fiancé Irene (Shabana Azeez).

Before the party has even begun, it’s evident that there’s an unusual dynamic in their relationship: Irene seems to struggle significantly with separation anxiety, which she manages with a tranquilizer typically used for calming animals. Later, after she drifts off into a sedated state, Louie departs their home to play golf or socialize with friends.

In the role of Fearnley, who appears friendly with his soft, elastic-like face, we might momentarily consider this trip to Louie’s bachelor party in the Outback as innocent. However, Clark and Weir’s work subtly warns us against trusting anyone too quickly. Ben Anderson’s swift edits and unusual pacing create a sense of unease, while Roger Stonehouse’s gritty visuals hint at trouble brewing over the weekend. All these elements are skillfully tied together by Andreas Dominguez’s intense and diverse score, adding more fuel to an already burning fire of apprehension.

Secrets and Lies at an Outback Bachelor Party

At Louie’s bachelor party, I found myself surrounded by our closest companions, with Dylan being an exceptionally noticeable one. Portrayed vividly by Ben Hunter, Dylan exudes a captivating energy, unpredictable as a wild card. Among the group, he stands out as the most unpredictable, not only due to his arrival armed with ketamine and a blow-up doll, but also because of his cutting dinner toast that served as a catalyst for revelations. These revelations, drip by drip, gradually exposed — among other secrets — the intricate truth about Louie and Irene’s relationship.

Birdeater isn’t a movie that merely seeks modern societal issues to criticize. It tackles themes such as toxic masculinity, co-dependency, and emotional abuse, but also delves into manipulation techniques like gaslighting. Interestingly, Charlie, Louie’s Christian friend portrayed by Jack Bannister, isn’t above using gaslighting. He might even be deceiving his equally devout fiancé Grace (Clementine Anderson) about something significant, such as his virginity.

In Birdeater, the filmmakers display their craftsmanship by intricately intertwining numerous enigmas such as Louie’s scar, Irene’s ex-boyfriend, bisexual character Sam (Harley Wilson), and Irene’s absence of a cell phone. However, the script may be overly verbose, creating an excessive number of puzzling questions without offering substantial commentary on these issues, despite them being noteworthy. Thus, Birdeater can be seen as a showcase of cinematic prowess rather than a profound exploration of harmful masculine behavior.

The Women of ‘Birdeater’ Are Given Short Shrift

By concentrating so much on the male characters, there’s not much attention left for examining Irene’s situation. Despite the argument that downplaying Irene in favor of the males might be part of the narrative, she still has limited autonomy and her only agency appears to be her decision to stay with Louie due to needing a green card.

The movie’s enigmatic ending opens up the possibility that Irene might not be as powerless as she appears. This could mean that Clark and Weir, a dynamic pair whose future project should generate significant interest, saved their most intriguing plot twist for the finale. Considering the high-octane style of this well-executed, although thematically unstable, production, they pulled off this twist for the same reason people often do many things: because it added an element of coolness.

On January 10th, the movie “Birdeater,” which was made by Breathless Films, Fax Machine, and Four Leg Films, will be released in theaters and online platforms. This is being done by Dark Sky Films.

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2025-01-08 16:35