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AbstractHistoryArchive Description
Tourists taking a crocodile-watching river cruise in Kakadu National Park find themselves trapped in the territory of a large, aggressive salt-water crocodile.
Notes
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The trailer for this film is available to view via YouTube: http://www.youtube.com/watch?v=iInDq8bn81g (Sighted: 1/8/2012)
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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Dark Waters : The Making of Rogue
2017
single work
column
— Appears in: FilmInk , 10 November 2017; -
Aussie Monster Movies : Six Terrifyingly Beastly Fright Fests
Erin Free
(editor),
2016
single work
column
— Appears in: FilmInk , 27 August 2016; -
An Apocalyptic Landscape : The Mad Max Films
2011
single work
criticism
— Appears in: Apocalypse in Australian Fiction and Film : A Critical Study 2011; (p. 83-107) In this chapter Roslyn Weaver explores 'the three Mad Max films to consider their contribution to the apocalyptic tradition. In these texts, the outback is 'the nothing,' a threatening place that is hostile to humans. The trilogy reveals future disaster and appears to envisage a better new world, but then subverts apocalyptic hope by suggesting the new world is a false ideal because it only exists far from the Australian landscape and even then only exists far from the Australian landscape and even then only in ruined, decayed form. The repeated dismissals of hope and the negative image of the Australian landscape undercut any security of feeling at home, presenting instead a picture of exile and punishment in the desert.' (83) -
Australian Eco-Horror and Gaia's Revenge : Animals, Eco-Nationalism and the 'New Nature'
2010
single work
criticism
— Appears in: Studies in Australasian Cinema , vol. 4 no. 1 2010; (p. 43-54)'We hear so much about extinction in debates around climate change. But what about those animals that go feral and then return – bigger, hungrier and angrier – to wreak revenge on humans who may have done them injustice? Using an eco-postcolonial framework, this article examines how a number of exploitation horror films have dealt with environmental topics and issues of trespass. In particular, I examine the agency of animals – crocs, pigs, thylacines and marsupial werewolves – in some key Australian eco-horror films from the last 30 years: Long Weekend (Eggleston, 1978), Razorback (Mulcahy, 1984), Dark Age (Nicholson, 1987), Howling III: the Marsupials (Mora, 1987), Rogue (Greg McLean, 2007), Black Water (Nerlich & Traucki, 2007) and Dying Breed (Dwyer 2008). On the one hand, these films extend postcolonial anxieties over settler Australian notions of belonging, while on the other, they signify a cultural shift. The animals portrayed have an uncanny knack of adapting and hybridizing in order to survive, and thus they (the films and the animals) force us to acknowledge more culturally plural forms of being. In particular, these films unwittingly emphasize what Tim Low has termed the ‘new Nature’: an emerging ethic that foregrounds the complex and dynamic interrelationships of animals with humans.'
Source: Publisher's blurb.
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Croc Shock is Toothless
2007
single work
review
— Appears in: The Sunday Mail , 11 November 2007; (p. 9)
— Review of Rogue 2007 single work film/TV
-
Croc Horror Strictly for Fans
2007
single work
review
— Appears in: The Sun-Herald , 26 August 2007; (p. 16-17)
— Review of Rogue 2007 single work film/TV -
Snap Decisions Fail to Impress in Croc Flick
2007
single work
review
— Appears in: The Canberra Times , 10 November 2007; (p. 26)
— Review of Rogue 2007 single work film/TV -
New Release
2007
single work
review
— Appears in: The Sunday Age , 11 November 2007; (p. 36)
— Review of Rogue 2007 single work film/TV -
Operation Croc and Awe
2007
single work
review
— Appears in: The Weekend Australian , 10-11 November 2007; (p. 26)
— Review of Rogue 2007 single work film/TV -
Taste of Horror - Just Add Water
2007
single work
review
— Appears in: The Sydney Morning Herald , 10-11 November 2007; (p. 15)
— Review of Rogue 2007 single work film/TV -
From Wolf Creek to a Snappier Version of Jaws
2007
single work
column
— Appears in: The Weekend Australian , 7-8 July 2007; (p. 9) -
Tales from the Dead Heart
2007
single work
column
— Appears in: The Sydney Morning Herald , 27-28 October 2007; (p. 19) -
Outback Horror a Pet for Rogue Director
2007
single work
column
— Appears in: The Advertiser , 10 November 2007; (p. 48-49) -
An Apocalyptic Landscape : The Mad Max Films
2011
single work
criticism
— Appears in: Apocalypse in Australian Fiction and Film : A Critical Study 2011; (p. 83-107) In this chapter Roslyn Weaver explores 'the three Mad Max films to consider their contribution to the apocalyptic tradition. In these texts, the outback is 'the nothing,' a threatening place that is hostile to humans. The trilogy reveals future disaster and appears to envisage a better new world, but then subverts apocalyptic hope by suggesting the new world is a false ideal because it only exists far from the Australian landscape and even then only exists far from the Australian landscape and even then only in ruined, decayed form. The repeated dismissals of hope and the negative image of the Australian landscape undercut any security of feeling at home, presenting instead a picture of exile and punishment in the desert.' (83) -
Aussie Monster Movies : Six Terrifyingly Beastly Fright Fests
Erin Free
(editor),
2016
single work
column
— Appears in: FilmInk , 27 August 2016;
Awards
- 2007 nominated AWGIE Awards — Film Award — Original
- Kakadu National Park, Arnhem Land, Top End, Northern Territory,