Very interesting film. Was caught on the premise when seeing the trailer but unsure as to what the outcome would be for the showing. As it turns out, it was a very good film.

The film creates a perfect balance between action and depth of basic needs, in the midst of an infertile atmosphere.

Great example of an old-fashioned, pure-at-heart escapist event movie that doesn't pretend to be anything that it's not and has boat loads of fun being its own ludicrous self.

All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

A rather routine risqué thriller that is not quite thrilling and never really risqué. Although, not for lack of trying. We have a "girls gone missing" story with satanic, sadistic, serial killer overtones that are a found in this type of eerie wannabe, but nothing is really resolved (it makes you want to think). But don't think too much because then it will all be for naught. There are dangling and unanswered major questions that we are to fill in and the ending is too clever for its own good, revealing that it is not that clever after all.It is gripping enough but ultimately loses it and we are left with unsolved mysteries and dream like disconnects and the result is a good looking film with some artistic touches, but overall it remains something like an urban legend. There is something there, but just out of reality's reach.

Very nicely assembled by the director, Dean O'Flaherty. Misses being gripping because of the script by writer, Dean O'Flaherty.In its sluggishness, it's slightly weird suburbanites, its focus on a taciturn young boy with his ever-ready camera, and its terrifying secrets -- all leading to violence that erupts in blood -- it reminds me a little of "American Beauty," but without the sometimes sly wit. It also is reminiscent of the superior "Lantana," another Australian film about a missing person but filled with the self confidence that the crew and cast have when they know they're making a thoughtful movie.A girl disappears. She may have run away but Suzy, with her long blond tresses and unlimbered limbs, convinces the puppy-eyed fourteen-year-old Danny that she's been abducted by a serial murder who lives down the block in house number 46. Suzy uses her plentiful wiles to coax Danny into poking around number 46.What Danny finds is a woman who is afraid to leave the house. Her husband would do "something dangerous" if she left or if she were seen talking to Danny on the doorstep.The neighborhood is pustular with mysteries. Nobody is really happy. But nobody seems willing to talk about the source of that unhappiness.The bloodshed comes just before the secrets are revealed. What I mean is -- it's all secrecy and innuendo until the last ten minutes, then, as in an Agatha Christie story, all is suddenly revealed. It's all over in a twinkling. And while some of what is revealed is improbable, some other stuff is outrageous, unless it's all being made up by the narrator who takes over to give us the conclusion. There are moments when I wonder if I'm unbalanced but I'm a paragon of stability compared to these ordinary looking folk.O'Flaherty as director is fine. The tension builds slowly throughout. And he takes moments to show us some of the local Adelaide color -- mauve blossoms on a bush, a spider web, a centipede. Somehow he turns them all ominous.But I wish he'd spared us that nonsensical climax. The pieces of the plot all fall together but the pieces are too fantastic to be believed. Next time, give the guy a good script.

SPOILER ALERT! The trouble with the earlier reviews of this film is that the film requires you to think a bit harder about what's going on than the previous reviewers. True enough, the film is almost cartoonish towards the end, utterly lacking in credibility. But you have to ask yourself whether that's a mistake, or part of the film-maker's overall plan. Well, let's see. The movie begins and ends with a narration by Suzy's mother, talking about the dark and sinister things that are going on in the neighbourhood, things that she understands all too well, even though others don't. Moreover, during the film it becomes clear that she projects what she imagines onto what she sees. Think of the scene where she comes into the room when Suzy is dancing and accuses her of revealing herself to the world. So here is my conjecture. The entire film is the mother's fantasy. I think that this explains well why the cartoonish scenes towards the end, which come quick and fast, are the way they are. You're meant to be thinking, 'Oh, come on! This is ridiculous!', but then, when you see that final scene, you're supposed to think 'Oh! Now I get it. The mother is a nutjob and we've been seeing the whole world through her eyes.'

Just want to write a quick note to combat the other comments on here a bit. First, this movie isn't TRYING to be "American Beauty" or "Donnie Darko" -- and it certainly isn't trying to be David Lynch. To compare this to any David Lynch film shows you don't understand Lynch at all.This is an atmospheric thriller. No, the plot isn't ridiculously tangled and doesn't have countless twists, like many Hollywood thrillers that seem to feel obligated to throw dozens of red herrings at the audience so that they feel sufficiently fishy when they leave the theater.But neither is this movie trying to be an over-the-top freakfest like a Lynch film. I love David Lynch's style and the effect his films have on me, but this is quite different.This movie was slow and calculated, with plenty of scenes to build atmosphere -- and thereby deepen the sense of character and environment. No, every scene does not advance the plot. Yes, you can tell most of what's going to happen in advance.But for a strange story about a demented youth for whom everything goes terribly wrong, I thought this was wonderful. All the actors are top-notch, and the cinematography is delightful.A more accurate frame of reference than the above-mentioned movies would be "Heavenly Creatures," Peter Jackson's tale of the disturbed fantasy life of two girls that explodes into violence. I felt shades of that story throughout "Beautiful." If you want a fast-moving, keep-you-guessing thriller, don't look here. You'll be disappointed. But if you want to see a nicely shot, atmospheric tale that slowly spins out of control, this is well worth your time.