Jack's Reviews

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Hope no one minds me having a review thread. Not that I'll likely be able to compete with the very good other threads that are here, but I enjoy watching and writing about films so thought I might as well have a thread.

Basic layout for reviews will be title (always comes in handy, I find), usual director and cast info, a write-up by me, a rating (given out of ten), and any miscellaneous stuff I feel it's necessary to insert.


Listing of films reviewed:
10 Rillington Place (1971) -

12 Angry Men (1957) -

2001: A Space Odyssey (1968) -

A Clockwork Orange (1971) -

A Fistful of Dollars (1964) -

After Hours (1985) -

Airplane! (1980) -

Alien (1979) -

An American Werewolf in London (1981) -

Annie Hall (1977) -

Apocalypse Now (1979) -

Arlington Road (1999) -

Assault on Precinct 13 (1976) -

A View to a Kill (1985) -

Bad Influence (1990) -

Badlands (1973) -

Blood Simple (1984) -

Blow Out (1981) -

Blue Ruin (2013) -

Blue Velvet (1986) -

Body Double (1984) -

Boyhood (2014) -

Bring Me the Head of Alfredo Garcia (1974) -

Captain Phillips (2013) -

Carrie (1976) -

Chinatown (1974) -

Deliverance (1972) -

Dirty Harry (1971) -

Django Unchained (2012) -

Dog Day Afternoon (1975) -

Don't Look Now (1973) -

Drive (2011) -

Duel (1971) -

Eraserhead (1977) -

Escape from Alcatraz (1979) -

Falling Down (1993) -

Fargo (1996) -

Five Easy Pieces (1970) -

Gone Girl (2014) -

Goodfellas (1990) -

Gravity (2013) -

Halloween (1978) -

Harakiri (1962) -

Her (2013) -

Identity (2003) -

Inglourious Basterds (2009) -

Jaws (1975) -

Manhattan (1976) -

Mean Streets (1973) -

Miller's Crossing (1990) -

Misery (1990) -

Monty Python and the Holy Grail (1975) -

Mystic River (2003) -

Night Moves (1975) -

No Country for Old Men (2007) -

One Flew Over the Cuckoo's Nest (1975) -

Pacific Heights (1990) -

Planes, Trains and Automobiles (1987) -

Play Misty for Me (1971) -

Pulp Fiction (1994) -

Raising Arizona (1987) -

Rocky (1976) -

Seven Samurai (1954) -

Shallow Grave (1994) -

Shutter Island (2010) -

Sisters (1973) -

Sorcerer (1977) -

Star Wars: Episode IV - A New Hope (1977) -

Star Wars: Episode V - The Empire Strikes Back (1980) -

Talk Radio (1988) -

Taxi Driver (1976) -

The Avengers (2012) -

The Changeling (1980) -

The Comfort of Strangers (1990) -

The Conversation (1974) -

The Dark Knight Rises (2012) -

The Edge (1997) -

The Exorcist (1973) -

The French Connection (1971) -

The Fugitive (1993) -

The Godfather (1972) -

The Godfather: Part II (1974) -

The Good, the Bad and the Ugly (1966) -

The Grand Budapest Hotel (2014) -

The Passion of Joan of Arc (1928) -

The Shining (1980) -

The Sting (1973) -

The Taking of Pelham 123 (2009) -

The Taking of Pelham One Two Three (1974) -

The Towering Inferno (1974) -

The Two Faces of January (2014) -

The Warriors (1979) -

The Wolf of Wall Street (2013) -

Thief (1981) -

Vanishing Point (1971) -

Wolf Creek (2005) -

Review count: 93

"Hey Look it's Masterman"
Always good to see more review threads.
--I Find Your Lack Of Faith Disturbing.

Dirty Harry (1971)

Director: Don Siegel
Cast overview: Clint Eastwood, Andy Robinson
Running time: 102 minutes

The crime film to influence all crime films. Perhaps that pithy opening remark is a bit over-the-top, but you can't doubt that Dirty Harry has been tremendously influential in setting the benchmark and the direction for future films in the genre. The premise itself is incredibly simple - and nowadays cliche: a serial killer that our police detective hero must catch. The stories themselves are ten-a-penny, although perhaps they weren't in 1971. Still, there a few vital details that raise this above the masses of average crime films.

Firstly, the soundtrack. Lalo Schifrin's score is one of the best I've heard for a film - and almost certainly my favourite. It sounded well ahead of its time and, in my opinion, stands up today as well as any other similar soundtrack from the era. You may know Schifrin for scores such as the Mission: Impossible theme and Bullitt. Dirty Harry's music is funky, energetic, and perfectly fitting for a seventies crime film, infused with the grit and realism that abounds the film.

The acting is also great. Obviously Eastwood is known for roles such as this, and it's not hard to see why as he plays them so well. Harry Callahan is flawed, but also has the determination and passion that endears him to the audience. As a film character, I don't think there are many more iconic. Andy Robinson as Scorpio is magnificent. This remains his most famous role, and he played the maniac to a tee, delivering spittle-filled outbursts of nuttiness with aplomb. The supporting cast also play their roles well, with Harry Guardino as frustrated police boss Bressler and John Vernon as The Mayor both providing effective balance to Eastwood's maverick role.

Overall, this is a defining film, not just in the crime genre, but as a time-capsule movie that still holds up today as a film with plenty of rewatch value - and, most importantly, it's all entertainment. From the first minute to the last, you'll be hooked.

Harry Callahan: I know what you're thinking, punk. You're thinking "did he fire six shots or only five?" Now to tell you the truth I forgot myself in all this excitement. But being this is a .44 Magnum, the most powerful handgun in the world and will blow you head clean off, you've gotta ask yourself a question: "Do I feel lucky?" Well, do ya, punk?

Gonzales: There is one question, Inspector Callahan: Why do they call you "Dirty Harry"?
De Georgio: Ah that's one thing about our Harry, doesn't play any favorites! Harry hates everybody: Limeys, Micks, Hebes, Fat Dagos, Niggers, Honkies, Chinks, you name it.
Gonzales: How does he feel about Mexicans?
De Georgio: Ask him.
Harry Callahan: Especially Spics.

The Mayor: Callahan... I don't want any more trouble like you had last year in the Fillmore district. You understand? That's my policy.
Harry Callahan: Yeah, well, when an adult male is chasing a female with intent to commit rape, I shoot the bastard that's my policy.
The Mayor: Intent? How'd you establish that?
Harry Callahan: When a naked man is chasing a woman through a dark alley with a butcher knife and a hard on, I figure he isn't out collecting for the Red Cross.
[Callahan leaves]
The Mayor: I think he's got a point.

The role of Harry Callahan was originally cast for Frank Sinatra, who dropped out.

After the film's release, Andy Robinson - who plays Scorpio - received several death threats and had to get an unlisted phone number.

The opening sniper scenes were shot atop San Francisco's Bank of America building.


Fargo (1996)

Director: Joel Coen, Ethan Coen
Cast overview: William H. Macy, Frances McDormand
Running time: 98 minutes

This is the first Coen brothers film I've watched. I hear your cries of anguish: "charlatan", "know-nothing idiot!". They're just one of those directors - or pair of directors, or is it just one of them that directs - that I've never got around to watching in-depth. However, if Fargo is anything to go by, I'll be watching a great deal more of their stuff. It's a fun little film, even though it has some pretty gruesome moments.

The script is first-rate, and you can completely imagine the world in which this film is set as vibrant and credible. The dialogue is gripping and particularly witty in some instances - the "big feet" quip from McDormand's character had me laughing probably more than it ought to, and the pancake conversation at the beginning between Buscemi and Stormare is fantastic also; completely mundane but still entertaining. William H. Macy is terrific as the incompetent Jerry Lundegaard, whose life seems to become more complicated and more prone to complete breakdown with every passing minute. Frances McDormand is also very good as Marge Gunderson. Steve Buscemi and Peter Stormare also play their respective parts well, particularly the former.

Fargo is, on the face of it, a crime film, but it's also a drama with elements of black comedy intertwined that make it all the better. The snowy Midwest setting adds to the atmosphere of the film further, and - as mentioned - the area itself feels like a character. The accents may have been exaggerated but they add a memorable quality that further implants the film on your subconscious.

Overall, I'd really recommend this, though you've probably seen it already. It's entertaining, yet at the same time repulsive, gripping and witty, and the writing and direction bring these elements together to make for one of the best films I've seen.

Marge Gunderson: I'm not sure I agree with you a hundred percent on your police work, there, Lou.

Marge Gunderson: Say, Lou, didya hear the one about the guy who couldn't afford personalized plates, so he went and changed his name to J3L2404?
Lou: Yah, that's a good one.

Airport Lot Attendant: There's a minimum charge of four dollars. Long-term parking charges by the day.
Carl Showalter: I guess you think you're... you know, like an authority figure, with that stupid ****in' uniform, huh buddy? King clip-on-tie there, big ****in' man, huh? You know these are the limits of your life, man! The rule of your little ****in' gate here!
[gives the attendant the money]
Carl Showalter: Here's your four dollars, you pathetic piece of ****!

William H. Macy begged the directors for the role of Jerry Lundegaard. He did two readings for the part, and became convinced he was the best man for the role. When the Coens didn't get back to him, he flew to New York (where they were starting production) and said, "I'm very, very worried that you are going to screw up this movie by giving this role to somebody else. It's my role, and I'll shoot your dogs if you don't give it to me." He was joking, of course.

The role of Carl Showalter was written specifically for Steve Buscemi.

The wood chipper used in the movie is now on display at the Fargo-Moorhead Visitors Center.


One of my favorites, glad you enjoyed it. Go for No Country or Lebowski next.
Yeah, thinking of going for No Country. Got quite a few on my watchlist, though, so might be a while before I get round to it. Still, nice situation to be in, I suppose.

Pacific Heights (1990)

Director: John Schlesinger
Cast overview: Melanie Griffith, Matthew Modine
Running time: 102 minutes

I was drawn to this film for two reasons mainly: firstly, the plot synopsis seemed interesting and I loved San Francisco when I visited last year. I'm certainly pleased I watched it - it's an intriguing film that centres around a young couple that buy their dream house in the Pacific Heights area of San Francisco, only for their dream home to become a living nightmare residence when the tenant from hell - wonderfully played by Michael Keaton, I must say - moves in. Keaton's portrayal really was excellent, both chilling and sly. His character is a conniving genius who misappropriates others' money in order for personal advancement and self-gain. I can't fault Keaton's acting at all. Matthew Modine was pretty decent as well as Drake Goodman - well-named as his character is just that, a good man (albeit one driven to violence by the cunning Hayes).

The acting is a little hammy at times, and I think Griffith grows into the film rather than being good from the start. Some of the notable supporting cast I noticed were Tippi Hedren in a very small, non-speaking part - I've just realised as well that she's Griffith's mother, and the lawyer from Dirty Harry also features. Those are just personal diversions - neither play big roles.

I did feel the film dragged at times, and it does feel a bit like a TV movie at times, which is why my score for it isn't as high as it perhaps would have been, but the nail-biting finale was terrific. Complete with nail guns and spikes and all manner of improvised weaponry, the climax to the film is indeed satisfying.

Overall, this is a good film with some decent acting, particularly from Keaton, but the slightly bloated script and occasional vagueness brings it down a tad from what it could have been. It's also psychological and the mysterious and intriguing tone it takes makes it a worthwhile watch for most movie fans.

Carter Hayes: [to Drake] You're a brave and stupid man.

Drake Goodman: [as they are house painting] You have to remember this is an investment, Patty. You can't afford to do everything at once.
Patty Palmer: It's not just an investment - it's our home.

Drake Goodman: [Referring to the house] Whatta yuh think?
Dennis Reed: 750 grand, hunh? It's not a song - it's an opera.

The home of Melanie Griffith and Matthew Modine is not in Pacific Heights at all, but right across town in San Francisco's Potrero Hill district at the corner of Texas & 19th Street.

This is ranked at the No. #93 rank on Bravo's "The 100 Scariest Movie Moments" list.

Film critic Janet Maslin in 'The New York Times' wrote that this film was "perhaps the first eviction thriller".


Misery (1990)

Director: Rob Reiner
Cast overview: James Caan, Kathy Bates
Running time: 107 minutes

This was the role that launched Kathy Bates into public prominence and, boy, did she deserve it. Her performance here is terrific, scintillating, gripping, crazy - give it any description you want and you likely won't be far off. She plays Annie Wilkes, a crazed fan of fictional writer Paul Sheldon (played by James Caan), and she does it with gusto. Her appearance instantly gives off the crazy lady imagery but her demeanour and personality only reinforces the belief. She's so disturbing in the film that you wonder if she's like that in real-life. Of course, I'm joking, but her performance truly is something special and utterly deserving of the Oscar for Best Actress she received.

James Caan is also good, but he doesn't need to be. They could have had a scarecrow in the bed and the film would still have been a classic, for it's Bates' performance that elevates it from a solid seven to a ten-out-of-ten classic film.

Rob Reiner's directorship is fine, and the snowy scenery increases the atmosphere tenfold, and serves to increase the feelings of isolation of Sheldon - Kubrick did something similar in The Shining (incidentally, both are adaptations of Stephen King novels). It also serves to remind the viewer of the uphill struggle - literally, in a sense - that Sheldon is facing.

The plot is obviously adapted from King's novel, but the screenplay is also well-written and moves things along at a nice pace. You really have to feel for the helplessness of Sheldon's situation. Another great aspect is that, despite Wilkes' undoubted nuttiness, the plot doesn't at all feel unbelievable.

This is a perfect film, in my view; not only have you got first-rate acting, particularly from Kathy Bates, but there's also a great plot, a good screenplay, and the setting and atmosphere all come together with taut writing to give a film that is as gripping as it is entertaining. Very highly recommended.

Annie Wilkes: I thought you were good Paul... but you're not good. You're just another lying ol' dirty birdy.

Annie Wilkes: I am your number one fan. There is nothing to worry about. You are going to be just fine. I am your number one fan.

Annie Wilkes: It's the swearing, Paul. It has no nobility.
Paul Sheldon: These are slum kids, I was a slum kid. Everybody talks like that.
Annie Wilkes: THEY DO NOT! At the feedstore do I say, "Oh, now Wally, give me a bag of that F-in' pig feed, and a pound of that bitchly cow corn"? At the bank do I say, "Oh, Mrs. Malenger, here is one big bastard of a check, now give me some of your Christ-ing money!" THERE, LOOK THERE, NOW SEE WHAT YOU MADE ME DO!

Jack Nicholson was offered the role of Paul Sheldon but passed because he wasn't sure he wanted to do another movie based on one of Stephen King's novels after what he had experienced with Stanley Kubrick on The Shining (1980).

One of Stephen King's first typewriters had a malfunctioning "N" key, just like the one used by James Caan in the movie.

As of 2013 this is the only Stephen King adaptation to receive an Academy Award.


Eraserhead (1977)

Director: David Lynch
Cast overview: Jack Nance, Charlotte Stewart
Running time: 85 minutes

I knew this had a reputation as a bizarre film before watching it but never did I imagine that it's that bizarre. After the first five minutes, I felt like I was on some heavy hallucinogenic drug and by the end I felt completely addled. In all honesty, I don't know what kept me watching. A burning desire to finish it and sheer intrigue, it must have been, because there was little in the way of storyline to keep me occupied.

It may sound like I'm being overly critical, but I'm not. The film is certainly intriguing and original, I don't think that can be doubted, but I think as a film in the conventional sense it's just too off-the-wall to prolong interest over its running length through interest about the plot. Well, that's come out all garbled, but basically I think it's interesting as a concept but I'm not overly fond of it as a film. That's not a criticism as it would normally be, as I did sort of enjoy it - I just found it jarring.

That said, Jack Nance is terrific as Henry Spencer, and that hair is fantastic. His performance is spaced out, confused and distant, yet it fits so well with the film as a whole. The imagery is striking, and the music serves as a great accompaniment.

Overall, a very odd film that still manages to be interesting. Despite this, it's not something I can see myself watching on a regular basis, or as a light Sunday afternoon watch. It's certainly not a film for everyone, and I don't think Lynch intended it to be.

Mary X: You wouldn't mind marrying me, would you Henry?
Henry Spencer: Well... No.

Henry Spencer: So I just, uh... I just cut them up like regular chickens?
Mr. X: Sure, just cut them up like regular chickens.

[first lines]
Beautiful Girl Across the Hall: Are you Henry?
Henry Spencer: Yes?
Beautiful Girl Across the Hall: A girl named "Mary" called on the payphone in the hallway about an hour ago. She said that she's at her parents and that you're invited to dinner.
Henry Spencer: Oh, yeah?
[after a long pause]
Henry Spencer: Well... thank you very much.
[Henry enters his apartment, while the girl slowly closes the door to hers]

Stanley Kubrick made the cast of The Shining (1980) watch this film (among others) to get in the mood for filming a horror picture.

When production on the film took longer then expected, David Lynch had to sleep in the same room used as Henry's bedroom for over a year.

The film's star, Jack Nance never knew, nor cared, exactly what Eraserhead meant. In an interview with the Twin Peaks (1990) fanzine Wrapped in Plastic, Nance said: "You guys get way too deep over this business. I don't take it all that seriously. It's only a movie."


Your review of Fargo was pretty much on the money. I agree with your views on the screenplay and the performance of Steve Buscemi...I don't think he's ever been better. It was also nice to see some love for Pacific Heights...I think Keaton is bone-chilling and outside of Working Girl, I don't think Melanie Griffith has ever been better. I liked your review of Misery, but I do disagree about one thing...I don't think a scarecrow could have played Paul Sheldon. I think Caan gives a solid performance as Annie's victim, a performance that Bates is required to play off of and she would not be able to do that with a scarecrow. Watch Caan in the quiter moments where Paul is trying to bait Annie into doing something...it's interesting work.

Your review of Fargo was pretty much on the money. I agree with your views on the screenplay and the performance of Steve Buscemi...I don't think he's ever been better. It was also nice to see some love for Pacific Heights...I think Keaton is bone-chilling and outside of Working Girl, I don't think Melanie Griffith has ever been better. I liked your review of Misery, but I do disagree about one thing...I don't think a scarecrow could have played Paul Sheldon. I think Caan gives a solid performance as Annie's victim, a performance that Bates is required to play off of and she would not be able to do that with a scarecrow. Watch Caan in the quiter moments where Paul is trying to bait Annie into doing something...it's interesting work.
You're right about Misery actually. Caan and Bates have a wonderful onscreen chemistry and they do complement each other well. Although by scarecrow, I was mainly emphasising how good her performance was.

Identity (2003)

Director: James Mangold
Cast overview: John Cusack, Ray Liotta
Running time: 90 minutes

I was drawn to this film by the intriguing premise and the fact that it had received good reviews. I've never heard of James Mangold as a director - until now, obviously - although the presence of Cusack and Liotta persuaded me to watch it. Now, about the film itself. Well, it's a mystery-thriller film in the serial killer model - eleven people stranded at an isolated Nevada motel are being killed off one by one. It's certainly not an original story, however not many are when you think about it.

The film has an average start, a decent middle portion, and then I found the ending was just terrible - a cop-out essentially. I won't spoil too much for those who may want to watch it but it was just so hackneyed for the final half-hour that my attention dropped and the rest of the film passed by in a haze. It's a plot device that's probably been used in many films - here it makes the rest of the movie seem a waste of time, given that you've spent the past hour trying to guess whodunnit, so to speak.

The acting is decent enough while not being anything particularly special, and I particularly liked the isolated motel setting - it increased feelings of claustrophobia while heightening the excitement. However, there's not a great deal more to write home about, and I'm disappointed that the earlier part couldn't be capitalised on with a good ending.

Overall, it's certainly not a bad film, and it's worth a watch if you've little else to do, but there's not a great deal "new" being offered, in my opinion, and I doubt you'll come away feeling particularly surprised or shocked.

[first Lines]
Malcolm Rivers: As I was going up the stairs, I met a man who wasn't there. He wasn't there again today. I wish, I wish he'd go away.

Malcolm Rivers: [Malcolm/Timothy] Whores don't get a second chance!

Paris: I give up. HEY. I GIVE UP. WHAT THE HELL DO YOU WANT? WHAT DO YOU WANT, YOU SICK BASTARD? What the **** do you want from us? I am turning thirty next week, and I just want to go home, and grow oranges.

The poem "As I was going up the stair / I met a man who wasn't there. / He wasn't there again today / I wish, I wish he'd go away" which one of the characters claims to have written when young, is really a poem by William Hughes Mearns.

There was some location shooting in Lancaster and other places in Los Angeles County, but the majority of the movie was shot on an enormous sound stage at Sony Studios in Culver City (the same studio that once housed the set for the Emerald City in The Wizard of Oz (1939)).

The book seen in Ed's car as he picks up Paris is "Being and Nothingness" by Jean-Paul Sartre.


Airplane! (1980)

Director: Jim Abrahams, David Zucker, Jerry Zucker
Cast overview: Robert Hays, Julie Hagerty
Running time: 88 minutes

Comedies have always been a film genre I enjoy but haven't seemed to watch enough of. Airplane! is one I often turn to, not least because I consider it to be among the greatest films of all time, but also because it packs so many laughs into a fairly short running time. Robert Hays and Julie Hagerty are the stars, but Leslie Nielsen's performance as Dr Rumack steals the show. He was great in the Naked Gun films - some more of my favourites - and he's equally as good here.

A spoof the of the Airport movies that cropped up in the seventies, the film pokes fun at everything, and humour has arguably never been more literal than it is here. What I particularly like is the deadpan acting, yet the film doesn't take itself seriously and comedies could learn a lot from some of the techniques employed here.

The plot itself is actually decent for a comedy - it works as a relatively serious disaster movie, except with jokes and Leslie Nielsen. The jokes are almost constant, and barely a minute goes by where you're not laughing. There are so many quotable lines and memorable scenes that it has cemented its place in the upper echelons of film history. Possibly the greatest comedy ever.

[as the plane prepares to take off]
Hanging Lady: Nervous?
Ted Striker: Yes.
Hanging Lady: First time?
Ted Striker: No, I've been nervous lots of times.

Young Boy with Coffee: Excuse me, I happened to be passing, and I thought you might like some coffee.
Little Girl: Oh, that's very nice of you, thank you.
[takes coffee]
Little Girl: Oh, won't you sit down?
Young Boy with Coffee: Cream?
Little Girl: No, thank you, I take it black, like my men.

Steve McCroskey: Looks like I picked the wrong week to quit sniffing glue.

For the argument between announcers concerning the white and red zones at the airport, the producers hired the same voice artists who had made the real-world announcements at Los Angeles International Airport. At the real airport, the white zone is for loading and unloading of passengers only, and there's no stopping in the red zone (except for transit buses). They were also married to each other in real life.

Aero Mexico was the only airline to buy the film for their inflight entertainment.

Stephen Stucker ad-libbed all of his lines as Johnny.


Wolf Creek (2005)

Director: Greg McLean
Cast overview: Nathan Phillips, Cassandra Magrath
Running time: 99 minutes

I always enjoy a good horror film. I think this is good, in a way. It's enjoyable enough - well, if you can call mutilation and gore enjoyable. It's been done a thousand times before, I suppose, though this feels more authentic in that it was based on true events and it's filmed in a documentary style.

John Jarratt is great as the murderous madman with a dilapidated-looking camp and collection of skulls and miscellaneous body parts. Seriously, though, he is good - reminds me of someone, too. Not sure who. Hope it's no one I know. He's perhaps more intriguing because we don't know his motives - then again, there can't be a reasonable motive for being a serial killer apart from psychopathy.

Greg McLean also deserves credit for his great cinematography and direction, in my opinion. He perfectly captures the barren Australian outback setting and the sporadic shots of the area serve to increase feelings of isolation. The slow opening and build-up also creates tension, a notion that appears to have been forgotten in many recent horror films. I could actually feel my heart pounding at some points later in the film.

So, a decent film, certainly, but it feels a bit flat at times and I just didn't feel it warranted a higher score, it felt a bit hare-brained at times. Still very much a good film that's worth a watch or two. I know a second's been released and I'm intrigued about what they've done with that.

Mick Taylor: I'm going to do something now they used to do in Vietnam. It's called making a head on a stick.

Mick Taylor: [pointing at corpse] She was good for months... until she lost her head!

Ben Mitchell: I think it'd be cool, you get to go from place to place saying things like 'that's not a knife - this is a knife'.

John Jarratt remained in character between takes.

A very eerie coincidence occurred for the second unit crew sent out to get footage of the Wolf Creek Crater. Since the location was many hours from any town the small crew decided to camp out in their car at the site after shooting. During the night a mysterious stranger showed up in a truck to investigate. The stranger indeed looked very much like the character of Mick Taylor, right down to the rustic truck. The stranger left, but the crew was so spooked that they drove an hour down the road before finally stopping to camp for the night.

There had been no rainfall for ten years in the area where the backpackers park their car before setting off for the crater, but it started raining as soon as the crew arrived. In the end, director Greg Mclean was happy it rained, as it added to the ominous atmosphere of the scene.