Film Reviews

Cargo

Ramke and Howling are at their best when they orchestrate scenes the depend on suspense rather than overt horror. And they're helped immeasurably by the outstanding cinematography of Geoffrey Simpson, whose use of spectacular South Australian locations gives the film a tremendous boost.

Cinematographer Geoffrey Simpson (Shine) does brilliant work capturing the isolation of the characters as they hike through the sun-drenched landscape. The drone footage, in particular, conveys this to great effect.

Martin Freeman's performance is spectacular and Geoffrey Simpson's cinematography is a hymn to landscape.

Geoffrey Simpson's sumptuous lensing, capturing the green-and-rust hued South Australian landscape in soaring overhead shots as well as on-the-ground, also helps make the correlation plain, filled as it is with scenic sights corrupted by voracious interlopers.

Kill Me Three Times

... apart from the choice locations and DP Geoffrey Simpson's sizzling widescreen compositions, which nicely capture the feel of a deceptive paradise where terrible happen in broad daylight.

Monk Comes Down The Mountain

Special mention must also be given to the sumptuous cinematography of Australian DP Geoffrey Simpson, who captures sweeping vistas, bustling street scenes and leaf-swept temple settings with equally impressive majesty.

Craft contributions aim to be crowd-pleasing, from Geoffrey Simpson's prettified lensing to Han Zhong's fairy-tale-evoking production design.

Satellite Boy

Simpson's gorgeous lensing on previously restricted areas around the distinctive sandstone formations of the Bungle Bungle Range leads the first-rate tech contributions.

... as is this (film), which was shot by Geoffrey Simpson, one of Australian cinema's greats. He photographed Oscar and Lucinda and Romulus, My Father and he has a fine eye for the outback's pale greens, golds and ochres.

The Sessions

Lewin ... deserves credit for striking just the right tonal balance, reinforced by Geoffrey Simpson's gorgeously lit camerawork ...

Production values are strong, led by Geoffrey Simpson's lustrous cinematography.

Sleeping Beauty

What is sensual is the patient camera work that lingers on the beauty of everything it touches, from fabrics to faces - not least Browning’s, who’s soulful eyes lend weight and allure to her character when the script holds back.

The Tender Hook

This film looks amazing. The cinematography by Geoffrey Simpson (Oscar and Lucinda, Shine) is spectacular, particularly in the tighter shots following Byrne and Weaving.

Under The Tuscan Sun

. . . some of the most beautiful photography in any film I've seen this year

Shine

Director Scott Hicks ... his vision is beautifully augmented by cinematographer Geoffrey Simpson, who's eye has graced a number of films, including "The Navigator", "Fried Green Tomatoes", and the upcoming "Some Mother's Son". Here Simpson simply outdoes himself with exquisite images of water, hands at the keyboard and the faces of David's enrapt audiences.

Till There Was You

Seale chose Simpson after considerable thought and research. "I haven't worked in Australia for 5 or 6 years... Geoff's career started during that time so I looked at his films and was impressed." Seale, who has made several films with Peter Weir, adds a footnote that sums up how he feels about Simpson's work: "Peter rang and asked how it's going... now Geoff is shooting Peter's next film."

The Navigator:
A Medieval Odyssey

Sally Campbell's production design use is impressively austere and other-worldly and the cinematography by Geoffrey Simpson has a high-contrast elegance which is very powerful.

Romulus, My Father

Warmly felt but haltingly told meller, "Romulus, My Father" holds the attention with fine perfs and exquisite lensing... ... but Geoffrey Simpson's lensing never fails to please the eye.