User reviews

Call me a gay philistine, but this movie has one of the most gorgeous group of young guys in any movie I've seen, and they spend most of the time bare-chested and often nude. But the film, in an effort, I guess, to get a PG rating, plays a ridiculous game of peek-a-boo with full frontal shots. If the film maker had just been casual about it, as films of the 21st century have been for a while, he might have added a bit of integrity and realism that the film could use. And probably made it even more commercially successful. Marketing people have obviously decided to downplay this aspect of the movie: the near constant focus on the guys' physical beauty, their faces, their bodies (especially their asses) and their surfing ability. And nowhere on the website or trailer is there any mention of the one really original aspect of the film: the integration of a gay teen in a group of straight guys: the way he's taunted, but accepted, and the way he finds his way to his first experience of reciprocated sexual affection.

Maybe the filmmaker will release a gay director's cut and test my thesis.

This is one of the few movies that really leave me full of doubts whether I like it or not.

It's about an angry teen boy, Jesse, who is a surf promise, and his difficult relationship with his two brothers. The older one, Victor, used to be a surf champion, but he had to quit and now he is a frustrated young man, who bullies his younger half-brothers. The other one is Fergus, he's Jesse's tween and he is gay. Around them there are a lot of other characters. All of them got some potential, but they are definitely too many. The parents are two good people who try to be there for their kids, but sometimes they just can't reach them. The grandfather is just adorable, wise, funny and comprehensive. And then there are Jesse's friends: Nathan, Andy and Scotty.

Let's put it in his way, it is definitely enjoyable and pleasant, the cast is good-looking and the landscape awesome (dispite industrialization hang over the waves in each scene).

Moreover, the characters and the story are quite catching and interesting, yet everything seems to be just skimmed. There are a too many characters, so none of them can get the depth he deserves. The same material used in a different way (maybe with a different format, like a TV series), may have lead to something much better.

So, my suggestion is to watch the film if you are into this kind of staff, but do not expect too much, otherwise you'll be disappointed!

NEWCASTLE (in Australia) is an interesting take on the very male beauty pageant that is Australian surf culture among teen/20 somethings... and viewers should be aware that the writer/director Dan Castle is a gay film maker. As a result his awareness of the visual aspects of the young male form in surf sand and sex scenes is to the fore of this 'pretty' film. Reminiscent of PUBERTY BLUES (1982) and BIG Wednesday (1978) and a male version of BLUE CRUSH without the surf contest, NEWCASTLE shows the Australian mid coast steel city's glorious beaches and aqua waters with frolicking male beauty and testosterone challenges. It has a reasonably interesting storyline and some surprises and one very startling moment in the dunes, but somehow lacks gravity. The Parents and Grandfather are 'just there' as characters, the girls no more than a distraction from the boy antics, the older brother issues..all just get enough screen time to make them vaguely followable. Visually it is a triumph with incredible photography of almost being in the surf with the guys, and an affection for the male form that only a committed gay film maker could possibly dare to present. The young actors were very game to agree to participate and in the future would be proud of their achievement. Xavier Samuels, the least pretty of the boys ironically has gone onto bigger and better things in the TWILIGHT series. NEWCASTLE is a state of mind, an erogenous zone and a great place to surf. Some terrific scenes at the very surreal Newcaslte ocean pool are almost scenes from A BIGGER SPLASH. It is exceptionally well cast. The star of the film no doubt is the unforgettable photography during the surfing scenes. Overall, there is a lot of near nudity and some completely nude sequences. It must have played to screaming audiences in a packed cinema.

This is going to have to become a gay cult favourite given the array of pretty boys on display here romping around with each other and the only remotely heterosexual action being a guy failing to satisfy his prospective girlfriend while his pal gets a blow job from her pal under the covers. I mean, at a couple points near the end one is left wondering whether or not the twin brothers are going to end up making out.

This movie could have probably done with a bit of tighter editing with some scenes such as the campfire scene and the trip out to the pivotal surf site dragging on a bit long, but the in-water scenes are particularly good though essentially limited to two fairly brief but crucial points in the film.

Shane Jacobson has a touching turn as the father, but unfortunately it is very difficult to picture him as anyone other than his legendary alter-ego Kenny and sadly for me this somewhat overshadowed his performance.

I'd give this a 6 out of 10 and several people at the screening I saw left part way through, but for the reasons stated above there may be those for whom this film is a lot more appealing.

I really wanted to like this movie. I generally like coming-of-age movies, and surf movies, and growing-up-gay movies. But I found the characters in this movie (with a couple of exceptions) a bunch of unlikable louts who spend much of the movie in testosterone-driven chest-butting, and I just couldn't care about them. The loutishness leads to a certain predictable amount of melodrama, and some psychologically simplistic soul-searching on the way to tying up ends. The only likable characters were the protagonist's younger brother (the gay one, who takes a lot of psychological abuse for his gayness), and the sympathetic grandfather (the only guy in the family who seems to show any affection for the younger brother). These are secondary characters. The young brother's coming to terms with his sexuality and tentative romantic exploration with one of the surfers is a minor subplot of the film. On the up side, the young guys (and gals) in the film look great, and the surfing footage is really nice, especially some of the underwater footage. But by the end of the movie, I was not sorry to leave the company of a group of characters that I mostly found unpleasant and unsympathetic.

Urged by a film director I admire, I decided to attend a 9:30 screening of "Newcastle" by a director new to me, at the Los Angeles DGA theater. I left the screening in a daze. I dreamed about the film and it was the first thing I thought of this morning. I've never met any surfers in my life - although I've seen "Big Wednesday" - but I have the feeling now that I know them and I was compelled and surprised by how much we have in common. The human drama attached to the waves is what sets this film in a category all its own. Unique. Coming of age in another planet, primitive and futuristic at the same time. A stunning cast of unknowns helps the feeling that we're peeping into something really private. The photography and the score contribute immensely to make this a phenomenal experience. Highly recommended.

While I've seen some over-the-top homophobic comments of two 'reviewers'. This is not a "gay-themed" film. There's a small, but bright facet that is gay-themed.

Family, sibling rivalry among brothers, loss, teenage high-jinx, and a lot of surfing overshadows the fact that one brother is gay. The few PG moments of sex are between two older teen boys and their girlfriends. If seeing a male butt, (in a non-sexual context), makes you squirm, you better stay away from a ton of "regular" movies and museums too.

Anyway, "Newcastle" is the story of how a tragedy enables a family to overcome nagging internal tensions. There are no villains, just victims of their own fear and disappointment. The performances are all topnotch. A minus for US viewer: occasionally the Aussie accents are a little hard to understand.

Apart from some pretty looking guys and nice surfing shots this movie hasn't ANY body or new content, neither a touching moment nor a reason to watch it until the end. It's the n'th example of Aussie-American prudishness: a naked butt or any other part of a body seems to be less offensive than what's positioned between our legs (I won't call those things by name because even that is not allowed in that hypocritical thinking). Finally I can not find any reason why the description "gay interest" is mentioned under Plot Keywords on this website: apart from some adolescent worn-out phrases and a remark about a possible mutual jerk-off (straight guys don't do that?), there is not even a faint assignment towards homosexuality. But if you like using the F-word in every sentence, if you fancy foolish shouting, stupid macho behaviour, empty-headed chicks and guys who suffer from their adrenaline outbursts, than this floor-cloth movie is a must....

I just saw this film in LA at Outfest and I loved it. This film is well directed, acted, and shot. The subject matter may be challenging for some but the relationships were very real and contemporary. Young people are more open-minded about sexual identity and its many challenges and the director presents the issue of homosexuality in a way that makes it seem so natural to the situation. Mr. Castle elicits some strong performances from his neophyte cast which reminded me of Coppola's work with his young actors in The Outsiders. I also thought the adults were integrated into the story in a very real way--these aren't absent parents but people in their kids' lives. The surfing camera work is stupendous. Don't miss!

Once in a while a film comes along which tries to be bold, daring, and provocative while still retaining enough "warm and fuzzy' to appeal to American audiences. The result is usually a self-indulgent train wreck that smacks of too many engineers in the locomotive. First time writer/director Dan Castle attempts it in "Newcastle," and the result will leave audiences wide-eyed with amazement.

The setting is a section of Australia flanked by the sound of heavy industry on one side and the crash of some of the best waves in the world on the other. It is here that a complex family drama is played out, with three brothers caught in a struggle for individual freedom and respect from each other. Older brother Victor has seen his championship surfing days come and go, so it's no wonder he harbors some resentment towards his 17-year-old brother Jesse, on the rise to becoming a champion himself. Jesse's twin brother Fergus throws everyone for a loop with his ever-changing hair color and enigmatic personality. Dad tries to hold it all together but, like any working class parent, struggles to find the time to even be present enough to make a difference. An assortment of surfer guys and gals adds even more peer pressure, and what starts out as a beach outing becomes a defining moment for everyone.

That said, "Newcastle" is anything but a film about surfing. Yes, it was a requirement that the actors be able to surf, but most young Australians do anyway. So casting was not a problem. And it's this brilliant ensemble cast that makes the multi-layered narrative work so well. Themes of parental responsibility, sibling rivalry, and unspoken sexuality revolve around a gritty coming-of-age story which, ultimately, is really more about brotherly love than anything else.

The story's true focus is on the relationships among the young men, specifically the two younger brothers and their feelings towards each other, their parents, their mates, and their girls, or guys, as the case may be. It's always hard to single anyone out in an ensemble cast but this film touches the heart more than anything by the performances of Lachlan Buchanan and Xavier Samuel as Jesse and Fergus. Their relationship is both heartening and heartbreaking in turn, and it only works because the on screen chemistry is so palpable. Their commanding presence says that these guys have a bright future in cinema. Reshad Strik is riveting as the tortured older brother and Shane Jacobson shines as the father who is the antithesis of the typical American movie's working class brute of a dad – this guy has the heart of an ox. Kirk Jenkins (Andy), Ben Milliken (Nathan), and Israel Cannan (Scotty) are the core of the surfer mates – Cannan provides much of the film's comic relief (and contributes several songs to the soundtrack). All add nuances and layers to their characters which surface when one least expects it.

Production values belie the film's modest budget, with the polished look of a Hollywood movie from the first to last breaking wave. The soundtrack is killer, an absolute requirement for any film featuring competitive sports. Most of all, though, the cinematography is breathtaking. Richard Michalak's shots of surfers riding the waves, with his camera looking up from the ocean floor, had me shaking my head with wonder. It was like nothing I'd ever seen. I avoid spoilers at any cost but I feel confident in saying that there are several scenes which will bring tears to your eyes. "Newcastle" sets a new standard for underwater photography.

Various elements in the film, taken individually, aren't necessarily anything we haven't seen before. But it's the way Castle integrates them and the lengths to which he is willing to take them which makes "Newcastle" so refreshing. There is some content which may be too uncomfortable for theatergoers who have issues with male nudity and sexuality. Some scenes will likely have young guys squirming in their seats. But that didn't happen here at the Tribeca Film Festival screening, and perhaps America has progressed to the point that we can appreciate a film which dares to be different.

With "Newcastle," Dan Castle pushes the boundaries of the typical American coming-of-age slash sports competition film (in this case, surfing). Perhaps he can do it because it is not, in fact, an American film at all but hails from Australia. Perhaps he can get away with it because it wasn't churned out by a Hollywood studio and didn't have the hand of the usual producers and distributors whose financing would undoubtedly come with strings attached. Or perhaps it's just because he had a vision and the tenacity to surround himself with others who wouldn't compromise. In the end, nothing is as it seems at first glance. "Newcastle" is a totally unexpected film at a time when there are far too few.

I saw this at its second screening at the 2008 Louis Vuitton Hawaii International Film Festival in Honolulu.

For me, a lot of movies only manage to engage me as a passive, casual observer--the proverbial fly on the wall. This film's extreme close-ups, tight shots and screen-filling POVs, both in and out of the water, drew me in and then ultimately carried me away--not unlike some riptide--into the world of surfers and surfing, a way of life that I only know on a very superficial level. (This is partly because I am terrified of the water, and the glaring irony of my moving to Hawaii from the US mainland so as to be completely surrounded by it isn't lost on me!) Just like how Scott Bakula's character must have felt in the sci-fi series "Quantum Leap" every time he time-traveled and ended up in someone else's body, I not only witnessed the unfolding of a story about a bunch of surfer kids...I actually became one of them. From the moment one of the surfer boys first opens his eyes in the morning. To his hearing waves breaking in the distance. To his paddling out into the salty, churning swell. To his jockeying for position--both literal and figurative ones--amongst his peers. For just a brief couple of hours of absolute clarity and certainty, I finally could understand the passions that drive my surfer friends, which at times can be dangerously all-consuming and, at other times, linger just below the surface--a gnawing, constant craving--quite similar to an itch you can't quite reach and/or satisfy.

Excellent cinematography and soundtrack, especially for the surfing segments. Decent pacing and competent acting from a handsome ensemble cast. Combining those with generous helpings of humor, pathos and youthful indiscretions round out this coming of age narrative.

I really liked this movie despite the lengthy surfing scenes and lack of real depth to the storyline. The actors in the film were all entertaining to watch. There was a array of characters with various interactions...some funny, some sad, some utterly bland but contributory nonetheless. The scenery was incredible. I think many modern films lack that beautiful setting which captivates the audience so it was nice to see it be different in Newcastle. I especially enjoyed the relationship between Xavier's and Kirk's characters. It felt real and very believable. I was upset that I missed the scene at the end of the credits. There should have been a heads up that the movie was not yet done. Overall, I give this movie a 9/10 as I thoroughly enjoyed watching it.

This is a great film, make no mistake about it. Mr. Castle, the writer/director, uses a fusion of cinematic styles: French New Wave, Italian Neorealism, and classical Hollywood cinema, to create something truly original and consequential. His masterful integration of cinematography, editing, sound manipulation, and music track create a sense of memory, what it feels like to be a 17 year old, trying to figure out one's place in the world.

Thus, I don't think this is a film for teenagers - all the chaos and noise and music and confusion and rage and elation and sexual discovery feel perfectly normal to them. It also lacks the idiotic vulgarity of most teen flicks or the reassuring confirmation of the norm that an "American Graffiti" or a John Hughes movie might offer. That's not to say that some mature teens and 20-somethings won't get the film, I just think an adult's perspective gives this film its punch.

It's the little moments in which "Newcastle" absolutely soars, as when the six friends are speeding in their vehicle, radio blaring with their favorite song on, all of them joining in. It's like the real life version of that scene in "Wayne's World" when "Bohemian Rhapsody" comes on. What's captured on film is that feeling of youthful exuberance, of having your friends and being in that moment – even if ten minutes later you'll be at each other's throats for something ridiculous or mean-spirited.

Stylistic choices aside, what makes this film great is the way in which its subject matter is considered. These young men are all on the verge of manhood, trying on different identities, struggling with who they are and what they will become. The naturalistic tension that arises from their competitive, testosterone-driven natures and the Bad Choices they continually make reminded me of the men who populate Scorcese's films or the troubled young men from "Saturday Night Fever." Their friendships have the potential to be lethal. As do the sibling rivalries and father-son relationships.

And it's all performed with such ease and lack of pretense by the gifted, well-directed cast. I can sense this film's influence on the later, Oscar-nominated Australian film, "Animal Kingdom." So what's sad and shocking was how little critical attention this film received. One might speculate on the reasons for this: The (too?) subtle way in which it examines the issues of ambition and destiny? The unapologetic gay character who's neither a Monster, Martyr, nor Mary? Its usage of certain Hollywood elements? I don't know.

What I do know is that this is a thoughtful, masterful piece of cinema that deserves to be seen.