Terrible acting, screenplay and direction.

Good concept, poorly executed.

Best movie of this year hands down!

This movie feels like it was made purely to piss off people who want good shows

As far as the sports genre is concerned, those featuring surfing are about as niche as you go. Only 12 films have ever grossed more than $1 million at the domestic box office let alone found any measure of breakout success. Those that did find some semblance of an audience, like Soul Surfer and Point Break, had the added aid of family appeal and incorporating a heist element respectively, but for the most part they land with a whisper – not anything like the thundering, mammoth waves these daredevils tackle.But in spite of this subgenre's lack of mainstream appeal there is one thing they – and Australian import Drift – prove, and that is surfing looks damn cool, especially when presented so slickly and in such a high energy fashion. So it's a shame in the case of this period drama (which transports us back to the early years of the sport in the land down under) that the wet and wild sequences trump anything transpiring on dry land and that most of the human drama relies on unnecessary plot turns and the usual formula that accompanies almost all sport based fare.Drift follows two brothers Jimmy (Xavier Samuel) and Andy Kelly (Myles Pollard) and their mother who reside in a small seaside town following a late night escape from their abusive father/husband. Already carrying a passion for surfing, the two grow with the hobby and view their actual jobs as mostly inconveniences. It's one day when their mother's seamstress occupation produces a homemade wetsuit that gives Andy the idea of marrying passion with profession and they endeavour to open their own surf shop with customized gear and boards. But of course, nothing is as easy as it seems as money, gangsters, the allures of the hippy age and rivalries all act as roadblocks to a newfound dream.Things are kicked off even further by the arrival of a duo of righteous surfers played by a tubular Sam Worthington and his plutonic companion Lani, played by Spartacus: Blood and Sand's Lesley-Ann Brandt. So with this rag tag gang assembled they seek to revolutionize how surfers view the gear they use: surf attire made by surfers, not made by "the man" and promoted by models who have never hit the waves a day in their life. The premise, retro feel and fine performers make Drift seem like the right idea of how to approach this sport – using it as a backdrop to a family drama and a struggle for the little guy (with some awesome surf sequences tossed in for good measure).While this is the case some of the time, Drift invests in too many unnecessary plot threads, including one about some thugs who for some reason have an issue with the Kellys, which eventually involves into an all out war as one of their own gets mixed up in the drug trade. With the Kellys already struggling with a mortgage, their start-up business and the trials of growing together, this added kink proves to be nothing more than a distraction (and is furthermore concluded in a laughably stunted fashion). There is also a bizarre storyline involving a completely underdeveloped, inexplicably evil banker trying to steal the Kellys farm, er, house which adds nothing but a cartoonish villain that makes Mr. Potter look chipper.Worthington's character JB is also a bit of a perplexing entity, though the Aussie native's performance is certainly among the most natural he's ever given. His tippy motif is fine enough, never becoming to philosophic and grating, but his ideals seem completely jumbled. One moment he's stating (regarding the Kelly's plan to make their own surf line) that you can't beat the man by becoming the man and at another instance saying that you can't always fight and should sometimes just resign to what is. Additionally scenes of him using his passion for photography and filmmaking to help make these brothers distinct in the industry go nowhere until the very end, deviating from the main story for what become perfunctory attempts to add substance.Then we arrive at the climax, which of course involves a local surf competition, the winnings from which could save the family farm, er, house and get those gangsters off their back. Again, while impressively staged (and not concluded in the most ridiculous way possible) it collectively doesn't get much more clichéd than that, and when you lump in the montages and other corny moments it truly softens the experience.Not content on just examining an interesting moment in history, Drift piles on dramatic excess and contrived turns which are muted to some effect only by universally strong work from the cast and, again, those gripping surf sequences. So while certainly not boring and far from offensively bad, Drift isn't compelling enough to warrant anything other than a rental, and definitely not enough to spur any sort of revolution for the surf drama.

this honest look at surfing and living in the 70's is not to be missed and you don't need to be a surfer to enjoy this classic piece of Australian cinema. beautifully shot from the land and in the ocean it draws you into the world of these two brother that are as different as chalk and cheese. but both love to surf.sam worthington plays a drifter hippy who become part of there lives.bring a women with him to add fuel to there little world. but it there love of surfing and doing a job you love not a job you have too do that make the movie so enjoyable. and it not a surf movie that dies the minute it leaves the beach, you follow these guys in and out of the water with as much interest.an all round great film that made me long for the beach and a simpler time.if you want to see a good Australian drama that not just made for TV check it out.

Drift is a breezy Australian surfing film that doesn't break any new ground or take too many chances but the surfing scenes are spectacularly photographed and the performances are as colourful as the scenery. Like many local films, it is extremely well made and acted with professionalism, even when the story isn't revolutionary. The opening scenes in the Sixties are filmed in black and white. This is a fine visual touch, recalling Oz the Great and Powerful, because when the film forwards past the childhood of its central characters Andy and Jimmy and enters the 1970s, the film explodes with vivid colours being cast over a giant wave.Riding this enormous wave is Jimmy (Xavier Samuel). Jimmy and his brother Andy (Myles Pollard) moved from Sydney to Margaret River in Western Australia with their mother Kat (Robyn Malcolm) to start a new life together. Andy works long hours in a timber mill, while his brother rides hard in professional surfing competitions. Seeing the lousy treatment of the older folks of the mill, Andy decides to quit his job and help start a surf shop with his brother, selling surfing gear like boards and wetsuits. This is at a time just prior to when surfing competitions started awarding serious prize money.Andy is angered to discover that Jimmy has done a small time job for some local bikie crims and urges him to return any stolen material. Yet these bikie thugs refuse to leave their friends alone and one of them becomes involved in drugs. Sam Worthington (Avatar, Clash of the Titans) plays a hippie surfer named JB, who befriends both the boys. JB's Hawaiian hippie friend Lani (Lesley-Ann Brandt) also takes a romantic shine to Andy. Beneath its sunny exterior, the film is about the relationship of these two brothers and poses the question of whether a hobby makes for a satisfying and financially sustainable living. The film has more than sand between its ears, realising that a compromise has to be made when it comes to approaching sport as an occupation. This is reflected by JB, who has the film's funniest and smartest line: "Its Darwinian man. We adapt, we survive." It would be impolite to say that the story by Morgan O'Neill exists merely to showcase the surfing because there is more narrative than just sun. It's more of a question of the familiarity of many individual story elements.This is very much a rerun of the underdog story: the little business that could, faced against impossible odds like evil bikies and a stuffy bank manager. The bikies are a blessing and a curse for the film. They're total caricatures but also helpful in providing some danger to the script through some flat spots, where it feels as though there could be more risk involved. The bikies handout a few thuggish beatings and there is a drug subplot, which gives the film a grittier shade in contrast to lightweight, jovial tone and relaxed, pleasant performances. The film even retreats to that plot line where a contest is handily giving out a large monetary prize so that the little people can save the farm. Are these contests deliberately organised around places of low socioeconomics and general lucklessness? The organisers must have prior knowledge of people's banking woes, such is their convenience. I also couldn't see the necessity of the romance between the Lani and Andy. Lani serves to ties the global relations between Australian and the US neatly (in a perfectly square ending) but any potential conflict between the brothers never eventuates over her.What many people will see the film for are the stunning, exciting and beautiful surfing sequences, which are filmed by Rick Rifici and Rick Jakovich: two highly experienced and talented water cinematographers. Filmed with great width, there are some gorgeous and hair-raising waves showcased here. The actors in the film performed some of the surfing, while real surfers were employed as stunt doubles too. An interesting fact is that despite how vivid and colourful the film is, it was actually filmed in winter so that the waves would be bigger and therefore more dramatic. They're a huge part of a great looking movie so that even when the pacing slumps or the story seems corny, it's never been so easy to dive into the surf.

Wow! Volunteered for CinefestOz and ended up being able to stay and watch the movie premiere! The opening scene creates an unexpected tension with the mother and the young brothers heading off in darkness. They drive and drive and end up at overlooking what appears to be the Margaret River beach and its seems like their fate lies in the region. It not easy fitting into a tight knit community and the boys find it difficult though they find do find a friend who's pretty good at fixing up boards. Cut to years later, with surfing still a big part in the life of the Kelly brothers, though Andy now works at the mill while younger brother Jimmy gets in with the wrong crowd. Poor Mum spends lots of time drinking tea or coffee at the sewing machine! JB is a surf photographer who drifts into the area and sets up camp overlooking the spectacular coastline. He is accompanied by Lani who both the boys begin to fall for. The movie coasts along at a slow pace mixing awesome surf photography interspersed with the drama unfolding to the final surf competition and showdown with the baddies, bank and promoter, and coming back to the beginning of the story when Jimmy saves Andy from drowning but the roles are reversed. The scenery in the film is breath taking and showcases the Margaret River region, including Augusta, Bunker Bay and Yallingup as places with pristine ocean and natural beauty. Like Red Dog, this will be an iconic Australian movie, honoring mates sharing waves, and the sentimental Aussie battler. From the speeches at the premiere, it is like a dream to the directors who have created something they are obviously stoked and proud of.