Brothers Jeff (Clayton Jacobson) and Terry (Shane Jacobson) have come up with a plan for the perfect murder; they've meticulously organized a sequence of events so that when the body is discovered, it is seen as obviously a suicide. Jeff has even ensured that they won't leave any DNA evidence behind, making sure that they have protective clothing, gloves and shoe covers. But when the intended victim arrives, nothing goes quite to plan....This kind of deeply dark humour either strikes the viewer as wonderfully imaginative and smart and funny, or as producing a "huh?" kind of reaction; fortunately this viewer at least felt the former rather than the latter. The film was directed by Clayton and produced by both real-life brothers, so in addition to the dark humour the comparisons to the Coen Brothers are bound to come up; but these two put a whole new spin on the idea that things never quite go to plan, no matter how meticulous you've been in trying to foresee every contingent. A few violent scenes, nothing more gory than you might see on television today, but a warning to the squeamish on that front; otherwise, just enjoy!

This small Aussie gem is filled with a plethora of psychological, existential and family related questions posited, often answered in surprising and unexpected ways. That it does this while being funny and thrilling is an accomplishment.Terry and Jeff feel slighted. Their mother is dying, and in their eyes, step father Roger is taking advantage of her by willingly accepting their childhood home as part of her will.The only answer is obvious. They must kill him, naturally.Entering his house in orange overalls under the darkness of morning, Jeff begins to go through the plan with his brother. Only this isn't a conversation, the plan is represented by a convenient, harmless looking checklist. Terry's reaction to seeing what they plan to do listed on paper is understandable, but what lingers under his skin is the fact that his brother seems so non-nonchalant about the entire situation.As if they aren't planning to kill their step-father and then to make it look like a suicide.Terry remarks that if he didn't know any better, he'd have thought that Jeff had done this before, with every detail meticulously thought through. Apart from the obvious requirement for gloves, he goes a few extra steps bordering on the obsessive compulsive, including no opening of the fridge as that could cause a power surge. The same applies to the toilet:: the water pump goes off and electricity is used.Enter the use of piss-bottles. If he wants to take a crap Terry asks, Jeff calmly replies that unless he wants to get his hands particularly dirty, he'll hold it in like a big boy.Each item on the agenda is carefully timed so that they can get the jump on Roger while having everything planned to perfection. But nothing is perfect, and once Murphey's Law kicks in, and after much shenanigans, their plans go awry. They still though insist on maintaining their alibi for their mother: that they are in Sydney, while using a cassette tape of the noises of a big city to fool her. Scruples are not something either brother possess.It soon turns into a thrilling guessing game as to what surprise lies around the next corner. The deeper into the situation the brothers get, the more they disagree on what is happening, the darkness of the entire situation, it is here where the fact that the two actors are brothers in reality becomes obvious, as this sort of conflict, such deep verbal jabs, this chemistry between the brothers on screen could never have been apparent if this weren't the case.Terry begins to wonder what he is capable of, knowing his mother is only has a few months left to live and he plans to kill her partner during her final days, but furthermore, despite knowing his brother so well, he can never be sure of what he is capable of either. This is amplified by Clayton Jacobson's muted, almost emotionless performance as Jeff.Comparisons to Coen films are not far off, as this is a dry film. It is also filled with dark humour, at first subtle but it increases as the action increases, not unlike a Coen film. The laughs come despite violence on-screen. When Roger unexpectedly arrives at the house early, the two jolt into action that they weren't prepared for, forcing them to act in ways they may not have. Suddenly, the carefully planned timetable is useless. Yet the laughs still come, if one has a twisted sense of humour. There is a definite Australian character to the laughs, not unlike Chopper.Interestingly, their biological father killed himself when they were children, a traumatic event that still lingers, with many thoughts going unsaid. This could be seen as a family drama wrapped up in a darkly comedic thriller. Perhaps their father's suicide provided that extra motivation to get the ugly deed over with. Or perhaps it just gave Jeff the idea, as he is certainly the one in charge.As seamlessly as this turns from an interesting premise into a thrilling movie with laughs probably more appropriate for a lunatic, there is an uncommon complaint to be found. Almost every aspect of this film is near perfect, especially the aforementioned chemistry between real brothers Clayton and Shane. And the sense of humour. And the dread that consumes the film very quickly. But it feels like this chamber-piece is over too quickly, that the psychological and existential implications of what transpires aren't fully explored. This is admittedly nit-picking, but the ending does feel underwhelming given what preceded it. Regardless, Brothers' Nest is an extremely memorable film made on a typically shoestring Australia film budget.Funny, dark, unpredictable. Coen-esque. What else could one ask for?

Shane Jacobson emerged as a seriously reliable performer in film and musical comedy in the last decade here in Australia. Through Kenny, the port-a-loo entrepreneur, the chubby chap that many of us Aussies had enjoyed on the musical stage was brought to broader knowledge. I may have misunderstood the attractions of 'stars' - not just that their role will be convincing, more that their presence says 'This must be OK or I wouldn't have signed up."It's somewhat like that with 'Brothers' Nest', but more so. Shane and his real life big brother Clayton have the relationship in this family muck-up story that cannot be acted - it just has to be innate and honed over decades of brotherly rivalry to work this well. The setting, in a western Victorian farmhouse, shot mostly at dusk, overnight and dawn looks the real deal it is.The story is about family relationships - intense, marginal, commonly held and individual, stemming from not so happy families, divorces, new unions, strengths but mostly weaknesses. It isn't pretty, and if your family isn't like this, you'll probably be thankful, but it really does have a lot to say.It's a small cast, and the two bothers plus Kim Gyngell as their step father leave little space for the others, but all click satisfyingly. They are all believable in their roles.The billing was 'black comedy' but I'd allocate this to the thriller category. Few laughs, personally or in our cinema, and virtually none out loud. But it seriously held my attention.Give it a go - it's good.

This movie ticks all the boxes for its genre (which, by the way, is the 90% cocoa kind of dark comedy, so don't expect every laugh to be a belly laugh).Clayton Jacobson shines his directorial expertise at a fabulous script and the end result is deliciously fascinating. There are twists and turns that I didn't see coming (and I'm a pretty savvy predictor of plot twists) - yet from the first frame, we know we're in for a dark and unsettling journey. The tension stays high throughout, except when we're let off the hook with an uncomfortable chuckle. But honestly, from the word go you KNOW we're not in a unicorns-and-puppies kind of world here. The character psychology is utterly consistent and beautifully drawn by both screenwriter and cast. The acting is superb - nuanced and brilliantly paced - and the story builds in a hugely satisfying way, with information being revealed at just the right time, every time.Cinematography, art direction, music and editing are all excellent, supporting the overall mood and story with textured layering that does its work almost invisibly, it's so good.I can't wait to see this movie again. Even though a part of me kinda doesn't want to. (Did I mention, it's dark?)Highly recommended.