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Norman (Jordan Waller) and Annabelle (Kathryn Wilder) don't want to be
in the post-Brexit UK anymore, what with being branded immigrants just
because their parents were from Poland ... or so they thought, as on their
mum's death bed they learn they've been adopted and their mum, Mary (Kerry
Armstrong), lives in Australia, in a small village called Two Heads Creek.
So they travel to Australia to find their parents - and are quite
surprised that the bus to Two Heads Creek is full of newly arrived Asian
immigrants.
In Two Heads Creek, Norman and Annabelle are in for a disappointment
though, as they're told by the village elder Hans (Gary Sweet) and the
local matriarch Apple (Helen Dallimore) that Mary has died. However, too
many things don't add up about Mary's death, and Norman and Annabelle
start to investigate, and soon learn the dark secret of Two Heads Creek:
The village houses a makeshift meat plant, and the meat ... are the
immigrants shipped here. And that's even gouvernment-supported as a way to
take care of the "immigrant problem". Problem is, now that
Norman and Annabelle have found out, it's only a matter of time for the
locals to find out that they've found out, and with no regular public
transport to escape the place, they're soon at their mercy, and obviously
are grossly outgunned ...
Now first and foremost, Two Heads Creek works very well
as a party movie, as it's carried by humour that ever so often leans
towards the dark without ever going full-on macabre, and it's got its fair
share of blood and guts without ever going as explicit as Herschell Gordon
Lewis' [Herschell
Gordon Lewis bio - click here] thematically similar 2,000
Maniacs. Plus the film moves at a steady enough pace, with all the
action well-executed and the story told in a straightforward way, so the
film lends itself to being watched with a few beers and a few mates. But
that's not to say that the movie's shallow, as it takes its jabs (some
blunt, many less so) at both the British and the Australian immigration
policy, comments on politics through genre-immanent metaphors (again, some
blunt, some less so), and actually takes a very likeable stand on things -
but never in a preachy, always in a genre-typical way, as the film never
forgets to entertain first, and doing well at it, with everything else
taking backseat.
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