'In 1930, in the jungles of Papua New Guinea, whilst serving as a guide for a Hollywood producer, a young Errol Flynn discovers a map on a dead prospector that he believes will lead to a fortune in gold. Back on the streets of Depression-era Sydney, Flynn rounds up a ragtag crew including Rex, a Canadian ex-bootlegger, Dook, an English gentleman handy with a pistol and Charlie, a grizzled old salt. After stealing the Sirocco, a yacht belonging to Chinese Opium smugglers,

'Flynn and crew set sail. They quickly learn just how treacherous a voyage up the Australian east coast can be, running afoul of drunken cowboys, corrupt cops and local thugs before being intercepted by Chinese pirates, who are hell bent on retrieving the Sirocco and the several pounds of opium stashed in it hold.

'As the motley crew make a final dash for New Guinea, Flynn is forced to learn what it means to be a real captain, and a master of his own destiny. In Like Flynn is a mythical and satirical coming-of-age story about four men on a journey to find hope, adventure and fortune in an age when the world was spiraling into despair.'

Source: Cinema Australia (https://cinemaaustralia.com.au/2017/05/09/action-called-on-in-like-flynn/). (Sighted: 30/01/2017)

'Sharks in a supermarket! In a sleepy coastal resort community, shoppers at an underground supermarket find themselves terrorised by a crazed killer when the unimaginable occurs - a freak tsunami swallows the town. But the tidal wave has also delivered some unwanted visitors from the depths, and as the waters rise they must overcome not only the threat of drowning and the human menace within their midst - but a pack of hungry sharks.'

Source: Screen Australia

Film adaptation of Anthony Fingleton's autobiography.

A short-lived television series about idealistic young police officers in an inner-city Sydney area, Young Lions did not rate well, and was not renewed for a second season.

'Australia is the last place on earth still unaffected by the nuclear fallout of World War II. As the people of Melbourne await the deadly radiation clouds southerly drift, a few survivors from the northern hemisphere, including the US submarine SSN Charleston commanded by Lt. Commander Dwight Towers, make their way into the last safe port of call.'

Source: Screen Australia. (Sighted: 2/8/2012)

Fifty years after her grandfather’s death while on an excavation in Egypt, Sam Turkel, an archaeologist, returns to the site and discovers the hanging sarcophagus of Talos. When a murder is committed at the museum that houses Talos’s artefacts, Sam is called in to assist the police.

A vicious razorback boar terrorises the Australian outback, beginning with the death of a small child, whose grandfather is tried for his murder but acquitted. An American journalist (who holds strong conservationist views) follows the story and is attacked by two locals, who leave her for the boar to kill. Her husband then comes to Australia, determined to seek the boar who killed his wife (and, incidentally, revenge himself on the two locals).

Written by prolific screen-writer Everett De Roche, the film is based on a novel of the same name by American novelist Peter Brennan (a novel that, apparently, bears little resemblance to the film). The first full-length film directed by Russell Mulcahy, Razorback is a bridge between Mulcahy's early work on video clips and his later, more recognisable genre films, beginning (only two years after Razorback) with Highlander.

According to David Carroll at Tabula Rasa, 'Razorback is perhaps the most recognisable 'horror' film from Australia. It has a rising young director in the form of Russell Mulcahy, some reasonably well-known faces, both Australian and American, and a giant pig. It also has a depiction of the Australian outback as, basically, hell'.

Carroll specifies of the way in which the film approaches Australia (as a concept, rather than simply a country) that 'The brothers, their factory, the nightmare landscape and the pig itself, are all presented as a single, coherent malevolence. I have written previously, in more than one place, that the landscape is the defining feature of Australian horror. Razorback extends the idea into expressionism'. He emphasises that 'Of course, all this unnaturalistic splendour could just be attributed to shoddy film-making, but I don't think so. The change in tone and the way things are shot in different locations, such as Sarah's farm and the factory, is very striking, whilst the town itself shifts between the two. There seem to be two different realities, and a slippery border between them.'

Source: Tabula Rasa (http://www.tabula-rasa.info/AusHorror/Razorback.html). (Sighted: 15/6/2012)