User reviews

'The Dressmaker' is not the type of film that instantly attracts me to the cinema. It's the wrong genre, (although this movie is difficult to place) the wrong story and it creates the wrong type of atmosphere. Leave this to the women and go and see something a little more.......you. How wrong I was and how glad I am to have jumped out of my comfort zone. It was a good excuse to take my good old mum and treat her to a midday-midweek viewing and some company with her first born or that is what I told myself when I entered the theatre only to find it filled with women and retirees excited to be out and about without the frightening hording masses that congregate on weekends.

'The Dressmaker' has been dubbed as the long awaited return of Director Jocelyn Moorhouse to the chair since 1997 and she has delivered a film that will be remembered for some outstanding performances from Judy Davis, Hugo Weaving and Kate Winslet. I agree with the statement that this film doesn't fit into any particular mold but this peculiar inconsistency is what keeps the audience fixated on the screen. Just when you think that the story is heading down a certain path it quickly turns sideways, takes a detour before arriving at its intended destination. Some viewers may find this lack of direction annoying and even film destroying but I think this could be a little over dramatic.

'The Dressmaker' holds a certain charm that never leaves it as it sways back and forth from one type of genre to the next. It can be billed as a 'black comedy' but it does allow the audience to experience an array of emotions. At times you will be laughing at the antics on screen and at other times you will be gripped by the drama unfolding.

Based on the novel of the same name by Rosalie Ham, 'The Dressmaker' centres around Myrtle 'Tilly' Dunnage (Kate Winslet) and her chaotic return to a small Australian country town in rural Victoria in 1951. Tilly's tumultuous departure years before were under controversial circumstances and the small rural community have not forgotten. She is everything the town isn't - sophisticated, stylish, experienced and worldly and she has come back for one reason......to reek havoc on those that callously betrayed her all those years ago.

Kate Winslet rarely puts in a bad showing and her turn as Tilly Dunnage is made even more exceptional with a flawless Australian accent. The audience will forget that she is English as she seamlessly slides into the fabric of her surroundings, not once slipping up when delivering her dialogue. Judy Davis is the star of the show as Tilly's mad mother, Molly Dunnage. Davis effortlessly steals every scene she is in with outstanding engagement with a character that is a little bit off centre. Judy will be recognised for this performance with an AACTA and it will be thoroughly deserved.

Hugo Weaving adds his superb presence as the cross dressing cop, Sergeant Farrat. His character grows on the audience with eccentric colourful manner, bringing the best out in Weaving that gives this wonderful film an extra element of charm. Liam Hemsworth provides the eye candy for the ladies in a solid role as Teddy McSwiney. Both Davis and Winslet are caught hot under the collar on numerous occasions. He is the stereo-typical tall, blue-eyed, rugged country boy who is the proverbial apple in his mother's eye and does exactly what Moorhouse hired him to do......stand there and look pretty. Good onya Liam.

Joining the familiar talent is a who's who of Australian television that many international audiences won't recognise but they do give the film a more authentic Aussie flavour. Could this be the breakout role for Sarah Snook? Her character Gertrude Pratt is totally transformed by Tilly Dunnage only to treat the outsider with disdain when 'theories' are whispered throughout the town.

I cannot see any reason why this film won't be enjoyed by the masses. It is Australian and its dry wit may not appeal to foreign markets which is a shame. The narrative is all over the place but don't let this put you off. Dig a little deeper and you will be rewarded with some brilliant performances.

This movie is like a patchwork, little by little you get the whole picture, a really fine piece of work, Kate Winslet is great, Judy Davis simply brilliant, not to mention Hugo Weaving's performance, outstanding, I enjoyed every minute, never underestimate a woman, revenge is a dish best served cold, well in this particular case, sewed, you don't get it at the beginning, why is she dressed like this and what is she doing in such a forsaken place, not wanted at all, starting by her mother, than the battle begins, with a sewing machine (a Singer), determination and a lot of talent, a few golf club's, and the whole place is headlong, word for word, fasten your seat belt, this is going to be one kind of a ride

It is exactly the film changing perspectives. A great story. A brilliant cast. The revenge , the love, the fake sin. And a place of Australia. Not the last - Kate Winslet and Judi Davies giving something who could be defined as more than splendid performances. Bitter humor and admirable cinematography. And exactly the film who you deserve. Because the characters and the situations are more than familiar . From literature. And, maybe, from near reality. Short, a gem. It is not the most inspired word but it is a small definition of a magnificent work.

Well, that has to be the most conflicting movie experience I've ever known. I was invited to the premiere of The Dressmaker last night and I'm unsure whether I can say I loved it, hated it, thought it was hilarious, found it terribly sad, was frustrated because it was so weird or enjoyed it because some of the characters were so endearing - this movie caused all of these emotions and more. It's certainly entertaining - just so many roller-coaster sensations within the space of only a few minutes. A viewer will fluctuate continually between laughing raucously one minute only to find themselves experiencing deep sadness, anger, confusion or just plain asking yourself 'Why did they include this?' with the next breath. And they're a mix of the most quirky / weird / unlikeable / endearing / heartwarming characters I've ever seen / met. There was one character I didn't like at all, even though at some stages I still found myself laughing at some of their antics. I'm sure many readers will either disagree with me or think I'm referring to someone else - but that's okay, that's what makes us all different. The Dressmaker is definitely worth a look but not something I'd pay to see again - mainly because of the inclusion of that one character already referred to. This movie is very very dark in places and the ending is definitely not what you expect! The dialogue flurries and stubborn, though endearing, rapport constantly firing between Kate Winslet and Judy Davies are exceptional and certainly to be applauded. A very big hats off to Kate for a wonderful portrayal of an Aussie accent - you would swear she is a true blue Aussie. I have never heard anyone who wasn't born here to pull off an Aussie accent with such authenticity as she showed in this. Proves her calibre as an actress and the exceptional talent of Victoria Mielewska, her dialogue coach. Added to all of this, the budget must have been huge as every single person involved was easily recognisable from another movie or TV series - and most of them big Aussie names. So don't bother asking me whether you should go and see it - you'll just have to go along and see for yourself - but I can almost guarantee it's definitely not at all what you'll be expecting. And interestingly, other ladies in two book clubs I am connected to said they felt exactly the same with both the book and the film.

It's 1951. Fashionable Tilly Dunnage (Kate Winslet) returns to her rural hometown of Dungatar, Australia. Her delusional mother (Judy Davis) lives in their rundown family home. Twenty five years earlier, she was banished for suspicion of murder which she does not remember. She seeks the truth and revenge for the guilty. Teddy McSwiney (Liam Hemsworth) is a friendly neighbor. Sergeant Horatio Farrat (Hugo Weaving) is a cross-dresser.

This is filled with a collection of strange characters. The movie is set to be a weird dark disturbing affair. I don't care that much about the dressmaking except for helping Tilly to solve the 25 year old case. I'm not always a fan of extensive flashbacks but this movie needs it. The most compelling aspect is the mystery of the boy's death. The movie is energized whenever Tilly starts solving the case. The present is less compelling than the past. The pacing does struggle at times. It takes a darker turn after solving the case. In a way, the movie starts anew after the climax which is often problematic. There are many issues. It tries to be quirky light comedy at times which fit uncomfortably with the dark material. This is possibly a better fit for a mini-series where the various twists can be given a cliffhanger and room to breathe. There are some great sections but it's bumpy ride.

This is hands down the best film in the English language I've seen for at least two years. Not only does it do its source absolute justice, it adds a genuine, highly original Oz visual atmosphere to its themes. The cast is nothing short of amazing, with every single character bringing the utmost of their craft to the roles. Judy Davis delivers one of the best performances of her illustrious career, but Kate Winslet, Kerry Fox and Sarah Snook are also fantastic. Liam Hemsworth isn't just hotter than Chris, he's also the far more nuanced thespian. Hugo Weaving, one of the best actors of his generation, sinks his teeth into his beefy part of an exceedingly well-mannered cop in the 1950's Oz outback.

Winslet is the mysterious stranger arriving by night whom he delivers her luggage to in the beginning of the film. He quickly recognizes her as the girl he sent away following the death of a boy her age 25 years earlier. The townsfolk, including her quick-tempered mother played by Davis, alternate between suspicion of the motives of her return and attraction for her stunning dressmaking skills and resolute character.

Some people will find the meandering story, which constantly shifts between mystery, comedy, tragedy and romance hard to follow. It's their own fault. Everyone else will highly appreciate the original story, the excellent camera work and set design, the abundance of love shown in every frame for a project that took 15 years to realize. Its domestic success as the 2nd most successful film of 2015 after you-know-which-one could not be more deserved.

One can therefore only wonder why the Adacemy snubbed this for the Oscars, especially if you look at the usual suspects which represent the contenders this year. And as justified as the #OscarsSoWhite debate is, this omission also reminds us of another group of movie artists which are all too often absent from the list of nominees: Women. For what makes "The Dressmaker" so highly enjoyable on top of its original story, local feel and excellent cast, is that it offers a feminine angle of storytelling which we do not get to see enough.

This film will divide audiences and critics (as it already has; especially American and British ones), so it will be interesting to see whether it finds a market here in Australia. 'The Dressmaker' is the long awaited directorial return of Jocelyn Moorhouse. After 'Proof' was a major critical success in 1991, American features followed, but this is the first for Ms Moorhouse in nearly 2 decades. There is an audacious feel to this movie from start to finish and for me, an unexpected one. From the movie poster, this would seem like a period costume drama; well it is certainly set in a bygone era, and there is a panoply of amazing costumes, but this film is impossible to squeeze into a genre; making it a challenge to describe nor summarize.

As I write this review, the film has not yet opened nationwide in Australia; but if the preview audience I attended was any indication, this film will be enjoyed by local filmgoers, but will it find a mainstream audience? I somehow doubt it. It is anarchic; indulgent, broad, implausible and loads of fun!! I enjoyed most of its 2 hour running time; but the final quarter did feel clumsy with a little too much plot shoehorned in; giving it a chaotic and lurching quality. Early on I sat wondering how this movie will fit into the already idiosyncratic reputation that Aussie films have; both at home and on the world screens. 'The Dressmaker' is ultimately going to be its own genre. As an adaptation from the novel of the same name; there are so many characters to depict and follow; and part of the chaos was the litany of quirkily filmed sequences with a who's who of local talent. This is easily the best cast ever assembled for an Australian feature; from stand up comedians to TV icons, to stage and screen legends; and new talent.

Perhaps it will be the star lineup that will lure filmgoers into the cinema for this movie. Judy Davis, one of our most celebrated actors, virtually steals the movie from the British import, the amazing Kate Winslet. Davis is in top form here, showing a screwball comedic side; rarely seen in her stellar career thus far; perhaps only glimpsed in the Woody Allen films she has appeared in. With the blackened teeth; the haggard make up and hobo costuming, Judy is a riot as the mother to the story's protagonist. If Ms Davis doesn't get the AACTA for Supporting Actress, I'll be very surprised. And if the movie gets the right marketing, perhaps that elusive Oscar for one of the great unrewarded screen stars. The teaming of Judy with Kate Winslet works well; there are some riotous moments and tender ones too; which give the film not only respite from the breakneck speed but some gravitas. Liam Hemsworth is suitably the movie matinée idol; with his piercing blue eyes, his tall, muscular frame and that true blue Aussie drawl. Sarah Snook shows once again why she is the lady in waiting for the big time, and is racking up an impressive list of screen credits. There are so many great actors here: Sacha Horler, Barry Otto, Julia Blake, Genevieve Lemon, Rebecca Gibney, literally just naming a few, and perhaps best of all, a cross dressing Hugo Weaving, showing that there is nothing this great actor cannot play, and play admirably.

The film is beautifully filmed and designed, and the strange world of this quaint little town in the middle of nowhere is perfectly captured and lovingly presented. So what are the criticisms? I was fine with the morphing of black comedy, western, revenge, love story motifs and styles; but I struggled a little with the matching of Kate Winslet, who at nearly 40 is way too old to have been a contemporary of the characters played here by Snook, Hemsworth et al. Winslet is nearer the age of the actors playing the parents of her and her contemporaries - Alison Whyte and Rebecca Gibney. As gorgeous and brilliant in the role as she is, it does seem as if the film, which was possibly funded and built around Winslet, has forgotten about this age difference. At 25, Liam Hemsworth, and Sarah Snook at 27 simply don't look right in the context of the main characters return after 20 years. That said, i mostly ignored this, and just enjoyed this caper movie for what it is.

In reading reviews of the movie from overseas, and seeing the vitriol targeting the movie's 'mish mash' and 'mess', I reflected on which other films or filmmakers 'The Dressmaker' was reminiscent of. Wes Anderson's 'Grand Budapest Hotel' sprung to mind as well as the work of Joel and Ethan Coen and Quentin Tarantino. All of these storytellers dabble in an array of genres, rendering them difficult to categorize, whilst still engendering praise and an audience. Anderson's recent multi Oscar win, had a glorious cast, a beautiful design, and a similarly caper like quality: at times just silly, but handsome to watch and enjoyable in the moment, and arty for sure, but hardly earth shattering or deep and meaningful. I hope that Australian critics and audiences alike get behind 'The Dressmaker' as it is a caper movie; I don't think it believes it is making a weighty, earnest Oscar bait movie, but a roller-coaster of a cinematic kind; funny, biting, gauche, heightened,tense and raucuous; and at the end of the day, very very entertaining.

Based on the best-selling novel by Rosalie Ham, this comedy-drama is set in early 1950's Australia. It's a vibrant tale of revenge, mother- daughter bonds, small-town secrets and the great power of clothes, in a movie that is both bittersweet and funny and is dominated by a stunning, multi-layered performance from Kate Winslet. Jocelyn Moorhouse's latest feature is enjoyable enough and so unexpected, and let's be honest she also has a great team to help her achieve that. In few words, "The Dressmaker" is a dark comedy in Australian style, that will catch many by surprise, especially if you love clothes and fashion in general. nikisreviews.com

Brilliant movie. Kate Winslet as the star lives the role so perfectly you forget she is not a native born Australian - her accent is flawless, her acting is raw and beautiful. The movie is heart wrenching, darkly funny, shocking and confronting all in a delightful way. Judy Davis is brilliant - irascible as Mad Molly, you gradually discover her depth and beauty. Again flawlessly played. Hugo Weaving is fantastic as always - several laugh out loud moments with him. He is the consummate actor and where someone else playing this role would have just been a plain unlikeable weirdo, Hugo makes you love him and his quirky nature. Liam Hemsworth is sweet and very watchable. The townsfolk played by many notable Australian actors are well played also. All in all a wonderful movie that will touch your heart in many ways. Liked it so much, I will definitely go and see it again. It's THAT good.

The Aussie Outback is one of those lonesome frontiers, like the Arctic and the Southern American swampland, that we don't really see much in American cinema. We've had a few "Max Max" adventures and that 2008 film from Baz Luhrmann, but for the most part, its exploration is limited to indie films and foreign productions. And it's usually earnest and expansive, like "The Rover" taking on the wild Western genre, or it's scary and mined for horror, like in "Kangaroo Jack" -- wait, what was I talking about?

"The Dressmaker" drives Kate Winslet's titular seamstress Tilly out to the middle of nowhere, her way-out-back hometown where some unspeakable horror has occurred years ago. And supposedly, she's the perpetrator, though she doesn't remember. Neither does her senile, lunatic mother Molly (Judy Davis), who rambles about possums and presumably hasn't had a bath in years.

There's weirdness afoot in town as well, where every character, from Hugo Weaving's delightful cross-dressing police sergeant to the hunchbacked chemist (mind you, it's the '20s), feels like a "Twin Peaks" small-town oddity on steroids.

This is all helped along by the screwball execution of a rather dark story. Reminiscent of a Tim Burton film, there's slapstick antics and clever visual gags that shove a rocket up the ass of a considerably more somber tale of clearing one's innocence and seeking vengeance on some silly town gossips. Who says we can't have fun while we're exploring one woman's dark past?

Well, the script, for one. Sometimes the story gets a little too deathly for its own good, and while writer/director Jocelyn Moorhouse knows when to slow down and let these moments breathe, much of the third act decides the film has been twiddling its thumbs for too long (it hasn't) and rushes forward with many shocking developments and hurried character beats.

But what a strong first two acts! Moorhouse has a knack for zany scene construction, and the montages, arguments and introductions all bear the beautiful feeling of brevity. Tilly takes up the local trailer hunk (Liam Hemsworth) on his offer for a date. Fifteen seconds, tops. Tilly momentarily decides to give up dressmaking for good. Two minutes, in and out. Bam. Done. And while sometimes, this hampers the overall flow of the film, it sets up an exuberant tone out of the gate.

The problems come with tone, and with how that energy can be kept up throughout the entire film. Moorhouse commits, thank goodness, to the wackiness, and she dials the Burtonosity of it all up to 11 for some inspired scenes on top of a silo at night, in a ostensibly innocent kitchen, or in a bride-to-be's frantic rush to Tilly's doorstep.

The central relationships of Tilly with the hunky Hemsworth brother (sorry, was there more to his character that I was missing?) and with her mother are given ample attention, and we feel the weight they have in Tilly's life. Winslet's soulful performance cuts through her anxiety and fear with her smiles and her tenacity, which brighten up the first act and keep the fantastical, folksy machinations of the story as grounded as possible.

But unlike Burton, Moorhouse knows when to pull in the reins. Her story is by no means "Edward Scissorhands," though she tells it as if it were. "The Dressmaker" is as enamored with its endearing strangeness as it is with its characters and their history. Gorgeous shots of sunset over the Outback are given as much care and focus as the dresses Tilly crafts for the townspeople.

The story itself, though, tends to divert its focus from where we want it most to be. The more fun townsfolk drop out of the story around the sagging middle of the film, and there's a sizable portion thereabouts where "The Dressmaker" suddenly doesn't have anything to do with Winslet's making dresses.

But it's nothing Moorhouse doesn't try to overcome by indulging in her bizarre characters and screenplay. This isn't a bad thing at all, especially if, like me, you feel as if Hugo Weaving gets far too many serious roles and needs a good scene or two where he orgasmically heaves over fine fabric.

This could have been a nice film about a woman's talent transforming a village, that is what I thought it would be. Instead, it became a Tarantino-esq series of dramatic events which left me annoyed. Maybe some would like that, I did not.

First of all, I love Kate Winslet. She's a talented actress and I'm open to watching any movie in which she stars. That being said, this movie was a mistake. It has its moments of light heartedness and humor, but never enough to overcome the dreary atmosphere, unlikable characters and go-nowhere story line. Do I recommend seeing this film? In a word; Don't!

...but in the case of Tilly Dunnage (Kate Winslet) a few things need to be straightened out.

Thus, the stunning Tilly returns to her home in Dungatar, Australia, back to her alcoholic mother (Judy Davis) who acts like she doesn't remember her and is thought of as the town slut, and back to a town that considers Tilly herself a murderer.

Tilly cleans her mother's house and throws the woman in a tub, and then tries to find out what happened fifteen years ago that caused her to be sent away. It is believed by the town that she killed Stewart Pettyman when they were both children. Why can't she remember it?

Now a designer in Paris, Tilly soon attracts a clientele of local women who love her chic designs. She also attracts Teddy McSwiney (Liam Hemsworth), the town hunk.

Slowly, Tilly finds out the town's secrets, which include a cross- dressing sheriff (Hugo Weaving). He's the least of it.

This is a story of redemption and revenge, deliciously told by director Jocelyn Moorhouse and her dynamite cast. Everyone, including the town's old biddies, are wonderful. Sarah Snook, as the impossibly homely Trudy, gets one of the all-time makeovers and is a sight to behold.

A few cultural references that weren't quite right: The film appears to take place in 1950 - Tilly, Teddy, and her mother Molly go to see Sunset Boulevard. However, they listen to the soundtrack of South Pacific from 1958 and OKlahoma from 1955. So when the film takes place is anybody's guess - I didn't read the book.

All in all, a mixture of dark comedy and drama that is ultimately satisfying. Tilly proves that revenge is a dish best served cold, even in Australia's hot climate.

Greetings again from the darkness. Sometimes we just have to give thanks (and credit) to a filmmaker for boldly stepping out of the Hollywood box and delivering a cinematic experience that is creative, interesting and downright unusual. Such is the case with director Jocelyn Moorhouse and her first film since A Thousand Acres (1997).

We know immediately that we are in for something a bit different. A1950's era bus rolls down the dusty road and stops in a desolate little Aussie town with only a handful of store fronts. Western-style music accompanies Kate Winslet as she steps off the bus brandishing a Singer sewing machine rather than a Winchester or Colt. She lights up a cigarette, squints out from under her hat, and utters one of the more memorable first lines of any movie. We are hooked. (You had me at "bastards") What follows is based on Rosalie Ham's best-selling novel with a screenplay from the director and PJ Hogan (Muriel's Wedding, 1997), and features a most remarkable blend of slapstick comedy, dark humor, tragedy, romance, mystery, and revenge. At times the film has a Coen Brothers or Wes Anderson feel, while at various other moments it recalls the Keystone Cops, Chocolat, a spaghetti western and a spoof of … well it's difficult to say whether it's a spoof or homage to numerous genres.

Ms. Winslet is in full lead mode as Tilly … the local girl who was accused of murder at age ten and banished from her mother and hometown. After 25 years, Tilly returns to Dungatar in an attempt to reconnect with her mom, gain a bit of revenge on the petty townfolks, and remember that fateful day that has been blocked from her memory. The tool of her trade is a sewing machine (and at times a golf club) and Tilly has the magic touch to transform the local ladies into more attractive and confident versions of themselves. She wields her Singer with every bit of danger as Blondie (Clint Eastwood) did with his revolver in The Good, The Bad and The Ugly.

Judy Davis (A Passage to India) is fantastic as Tilly's mother "Mad" Molly. In a role that would have been pure caricature in different hands (Maggie Smith), Ms. Davis provides a depth and humanity to a role that is truly the heart of the film. Also excellent is Hugo Weaving as the local Police Sergeant who has his own secret quirks and guilty conscience, and is one of the first to appreciate the talents Tilly brings to the small town. Liam Hemsworth spends the movie grinning and gazing in the role of arm candy Teddy – one easily recognizable as the female role in most movies (those not directed by a woman). The deep cast always features Sarah Snook as Gertrude and Kerry Fox as the villainous school marm Beulah (replete with devilish hairdo).

While the story itself is relatively predictable, it's the manner in which scenes are staged that makes this such a pleasure. The offbeat combination of desolate Aussie town and near cartoon characters are set against the colorful and textured world of highly fashionable clothes, wicked twists, twisted humor, reconciliation and tragedy – many scenes combining more than a couple of these.

Marion Boyce and Margot Wilson deserve special attention for costume design, as the costumes themselves play as characters to contrast the local atmosphere. It's startling to realize that such a coherent story utilizes such topics as domestic violence, spousal rape, misogyny, cross-dressing, murder, perjury, blackmail, Billie Holliday, South Pacific, cannabis brownies, and Sunset Boulevard in such creative ways. Though many critics will not agree, Ms. Moorhouse has delivered an entertaining and accessible movie despite its complexity with multiple subplots and various undertones. Let's hope she doesn't wait 20 years for her next film project.

Banished from a remote and sparsely populated Australian town when she was ten, Tilly (Kate Winslet) returns many years later. Fresh from conquering the fashion world in Paris, Tilly's form fitting red dress turns heads immediately. Some say Tilly committed a horrible crime and was cursed for it. Tilly has come in order to better learn the truth about what really happened and to set things right. There are many things on her mind including determining her own guilt in the matter, her mother Molly who appears to be mad, lifting the curse, finding love and revenge, among other things.

Battle lines form. Many want Tilly to be guilty and cursed. They work to get her seen in the worst light. The haters may even include Tilly's mother Molly. Yet there are many who believe in Tilly. As she sets up a dress making shop and helps create new and better characters for people, her allies grow. The dresses she makes change how people see themselves and how others view them. It may not be Tilly who is cursed, rather it might be the town for the judgments that they heaped upon a girl.

At the heart of this wonderful film is the theme of how a few awful people make life so bad for others by their terrible and swift judgments. The film is set in the 1950s and is both serious and funny. P.J. Hogan is one of the best screenwriters. His stories are complex and full of amazing twists & turns. His insight into human nature, especially female characters, is spot-on. Added to the spell-binding writing is superb acting by Kate Winslet, Hugo Weaving and the others, the always intriguing back-drop of Australia, compelling themes and characters, and superb directing and organization. Of the 32 films I saw at the Toronto International Film Festival this year, this was the best.

The Dressmaker (2015/I) was co-written and directed by Jocelyn Moorhouse. It stars Kate Winslet as Tilly Dunnage, who has returned to rural Australia from Paris to care for her ailing mother, Molly (Judy Davis). We know from the first scene that Tilly is out for revenge. What it is that she needs to revenge, and how she goes about achieving revenge, is at the heart of the plot.

Although, naturally, the acting of the two leads was excellent, the movie just didn't work for me. For one thing, it's too long. We get a climactic scene, and then some flashbacks, then another climactic scene, and more flashbacks. After 90 minutes I was ready for the movie to end. No luck--it was a big-budget film, and they were going to show it to us for two hours. (Kate Winslet doesn't give her talent away, and if she's starring in your movie, you may as well make sure that she has plenty of screen time.)

The supporting cast was strong. Maybe, in the 1950's, people in rural Australia were as stereotypically horrible as the people in this town were portrayed. Maybe someone could return from France and wreak revenge on everyone. Or, then again, maybe not.

We saw this film at the excellent Little Theatre in Rochester, NY. It will work almost as well on the small screen, although you won't appreciate the vast, empty countryside as well as you would in a theater. IMDb reviewers have given this film a rating of 7.1, and I agree with that level as appropriate. The Dressmaker isn't bad, but it's not great either.

Over the years there have been many quirky, eccentric characters featured in Australian films such as Muriel's Wedding, The Castle and Priscilla Queen of the Desert. The stories have been uniquely Australian to be appreciated by Australian audiences but occasionally they become worldwide hits like Crocodile Dundee. It's the laid-back Aussie humour that international audiences sometimes just don't understand which prevents the majority of Australian films from crossing the cultural barrier. The Dressmaker has been successful at the Australian box office for it features a story where the underdog or misunderstood succeeds along with a story that promotes the Aussie dry wit with dialogue that appeals to the everyday Australian.

Myrtle 'Tilly' Dunnage (Kate Winslet) returns home to rural Australia after spending time abroad developing her fashion designing skills. As a child she was sent to a boarding school in Melbourne by Sergeant Farrat (Hugo Weaving) for she was accused of murdering a boy who bullied her. Her mother, Molly (Judy Davis) initially doesn't recognise her and isn't convinced she's her daughter. She eventually accepts her in her house and Tilly transforms it into a fashion factory where she makes clothes for the women of the town. In the meantime, she becomes romantically involved with Teddy McSwiney (Liam Hemsworth) whom she has known since they were children. The town still hasn't forgiven her for apparently killing the boy and believe she is cursed. Tilly will virtually stop at nothing to exact revenge on those who did her wrong.

The Dressmaker is a long way from being perfect but what it does offer is an entertaining two hours that is well-paced and beguiling. There might be a few too many flashbacks and slow motion sequences but the compelling storyline featuring a wide range of interesting characters allows the majority of the film to shine. Some of the depictions of the characters might be broad but that's just the perfect fit for quintessential Australians.

A lot of the dialogue is witty and adds much to the Aussie humour on show. Davis garners most of the laughs in a performance which demonstrates her sensational acting ability. Winslet perfects the Aussie accent with this being her second time playing an Australian after 1999's Holy Smoke! Many of the scenes she shares with her screen mother are hilarious. Weaving also has his turn in the spotlight with a wonderful performance as the cross-dressing police officer. Hemsworth plays it straight in comparison to his co-stars and reliably fulfills his role as the love interest. Support actors such as Shane Bourne, Sarah Snook, Kerry Fox and Barry Otto also succeed in projecting the individual traits of their characters.

Credit must go to the costume designs with the haute couture style befitting of the movie title. With the story being reminiscent of a Clint Eastwood western where the main character comes to town, mingles with the locals then affects their lives one way or another, the music score by David Hirschfelder has some resemblance to a western. It's an exciting score that perfectly sets up the moods of the characters and the theme of the plot. The cinematography by Donald McAlpine also enhances the look of the film, ensuring that the rural town maintains its 'western' appearance.

Although clichés do affect the characters and story, the overall quality of the film ensures that most viewers will be entertained. Jocelyn Moorhouse (the director and co-writer) should be chuffed with her film's box office success even though not all critics have praised her work. Sometimes it's the majority you have to please, not the minority. http://mlaimlai2.wix.com/magical-movie-review

This trailer is a PERFECT example, of how misleading these things can be. What you see, is a romantic love story with comedic elements. A rom-com if you will. The Dressmaker is SO MUCH MORE than just that. As a matter of fact, it's nothing of the sort! This movie is more a dark comedy with romance and heavy drama thrown in. The acting by everyone involved is really spot on, with Liam Hemsworth surprising me the most. His portrayal of Teddy, made him seem much more mature/older than he usually is in movies, which in this case is very good thing. Kate Winslet hits all the right emotional notes as Tilly, a woman searching for answers about her past, but also fearful of her future, believing she isn't deserving of happiness. My only complaint would be the tone of this movie VASTLY shifts, from Act 2 to 3. Something major happens and without spoiling anything, it's so jarring that it made it hard for me to enjoy the rest of the story. It's not that it's bad story telling, it just caught me off guard and made me wish thing could've turned out different. I won't go into to much detail (all the non-readers out there will get bored), other than to praise the Directing, Writing and Visual beauty of The Dressmaker. A movie very much worth watching

Jocelyn Moorhouse has made just five films in four decades of filmmaking. Her second feature PROOF is a modern masterpiece and this 2015 adaptation of a Rosalie Ham novel isn't far off that.

This is probably Kate Winslet's finest hour thus far, playing the 'maybe' murderess Myrtle Dunnage, who returns to her vipers nest of a home town having reinvented herself as a purveyor of fine haute couture. Her return to the outback town of Dungatar is built upon the idea of exacting revenge upon a small population that wronged her and her mother (played with gleeful mania by an almost unrecognisable Judy Davis). The film opens like a Spaghetti western, and for good reason, for this is a jet black comedy modelled on HIGH PLAINS DRIFTER.

Moorhouse has always had a blackly comic sensibility and fundamental affinity for the outsider. She is also that rarest of directors who is able to take risky tonal shifts in her stride. In THE DRESSMAKER things jump from the comic to the grotesque to the romantic to the tragic with all of the alacrity, poise and wit of a Preston Sturges or Rouben Mamoulian. The comedy is hilarious and the drama gut-wrenchingly harsh. Perhaps my only complaint with this slab of Australian weird cinema is that it has to end.

This film based on a novel by Rosalie Ham is set in a tiny and extremely remote village in Australia in the 1950s. The central element of the story is the return of a young woman to this village which she left as a child. The main character is admirably played by Kate Winslet, with her usual shadings of emotion and her admirable skill. She has come for two reasons, to try to re-examine her origins and childhood, and also to wreak vengeance upon those who have wronged her. The main motif of this film thus resembles that of Friedrich Duerenmatt's famous play THE VISIT, which was so brilliantly filmed in 1964 by Bernhard Wicki, with Ingrid Bergman as the woman who returns, and Anthony Quinn as the male lead. That film has undeservedly disappeared from notice, but it was one of the most powerful films made anywhere in the world in the mid-sixties, and contains one of Ingrid Bergman's finest performances of her career. (The next time I watch it, I shall review it.) It used to be impossible to find, but it is now available on DVD, although so few people are aware of its existence that it remains little known. This new film entirely fails to exploit the powerful theme of a woman returning to her village or small town for vengeance. Instead, the director Joselyn Moorhouse (an Ossie by birth) makes excessive excursions into wildly over-the-top satire on small Australian communities (which are also portrayed as intrinsically evil) and attempts at broad humour which are also overdone. Perhaps the humour is some kind of local Australian gnomic humour which those of us who are not Ossies simply cannot grasp. But many of these attempts are just silly. Moorhouse was not cut out for making comedies, and should not try, because she clearly has no reliable comic judgement. The story is thus diluted, like a whiskey and soda with far too much soda and barely any whiskey. One knows the film could have been very powerful, but the focus was lost and it just does not make the grade at all. This is a great pity, and an opportunity wasted. The director clearly never made up her mind whether she was making a tragedy or a comedy, and since she is not Shakespeare (she also collaborated on the script), she could not successfully mix the two. So few people can that it is usually a mistake to try. Despite the best efforts of Winslet and of Judy Davis as her mother, with good support from others as well, the sprawling and blurred uncertainty of the director's intentions left one wondering just what her purpose in making the film really was. The film is entertaining because everyone tries so hard. But it does not actually 'work', and is like one of those inferior Chinese takeaways that leaves you hungry again five minutes later.