Login
Legacy sequels are a tricky proposition, especially for a cult item like Gettin' Square that seemingly did not leave much room for a follow-up. However, returning screenwriter Chris Nyst and director Jonathan Teplitzky find fertile narrative ground by switching the focus to the titular Spit and delving into unfinished business from the first movie. Promoting a scene-stealing supporting character to the protagonist is also tricky, but the creative decision feels sufficiently motivated, and Spit benefits from fantastic writing and a sharp sense of humour. Let's not mince words here: this is a very, very funny movie that made me laugh out loud frequently and heartily. Teplitzky hits the ground running with Spit shamelessly shoplifting at an airport before his capture and interrogation, and the belly laughs scarcely stop throughout the picture's brisk 100-minute duration. It is hilarious to watch Spit try to teach English to refugees despite his tenuous (heavily bogan-esque) grasp of the language (and spelling), while Spit's interactions with border officials and investigators are equally side-splitting. Spit is the most consistently funny Australian comedy in a long time (perhaps since Kenny in 2006), and the volume of gags puts most of Hollywood's recent comedic output to shame. Happily, the humour is also genuinely witty and seemingly effortless, and it never feels like the actors are wildly improvising or simply mugging the camera for laughs.
Although Spit deals with criminals, it is a change of pace compared to Gettin' Square. Instead of a humorous heist picture, this follow-up focuses on Spit as he navigates detention and deals with personal issues, including his little sister, Julie (Sofya Gollan), and young nephew. Despite a considerable part of the narrative occurring in a detention centre and following refugees, Spit is not a political movie. Instead, it is a movie about Australian values, particularly mateship and the right to a fair go, and Wenham's non-judgemental Spit is the perfect vehicle to reinforce these messages without devolving into controversy or divisiveness. Additionally, the subplot about Spit's sister and nephew gives the former drug addict a renewed sense of purpose, and the material complements the humorous set pieces with genuine heart.
Despite the two-decade gap, Spit brings back most of the creative team from Gettin' Square, including producer Trish Lake, cinematographer Garry Phillips, production designer Nicholas McCallum, and make-up artist Tess Natoli, among others. Director Teplitzky brings the same infectiously enjoyable energy to Spit, including shrewd use of music to drive the proceedings and create memorable set pieces. (Like Gettin' Square, this sequel opens with a montage.) Teplitzky makes the most of a modest budget, shooting in and around the Gold Coast and even using some original sets from the first movie. Most interestingly, instead of filming at an actual detention centre, the production shot at a Queensland quarantine centre that was purpose-built during the COVID-19 pandemic to house returning citizens, but it was hardly used.
Several Gettin' Square cast members return here, each with an important and organic part to play in this story. Front and centre is the iconic Wenham, who's exceptional as Spit, effortlessly slipping back into the role of an uncivilised bogan wearing thongs and eccentric clothes (including a pair of maternity jeans that Wenham himself sourced from a charity shop in London). The schtick does not get old, with Wenham's distinct voice and body language remaining a constant source of amusement. His dialogue is frequently funny, while Wenham also delivers a few memorable moments of physical comedy, such as an erratic dance that is intercut with CIC investigator Niall Toole (David Roberts) reading Spit's 2003 arrest warrant. Teplitzky eventually brings Spit back to the courtroom, where he fixates on minor details yet again, stalling proceedings until his grievances are acceptably resolved. The scene is a fun callback to the memorable courtroom scenes in Gettin' Square ("Excuse me, who's paying for my bus fare today?"), but it thankfully does not feel forced or gratuitous. Other returning actors include Aussie acting veteran David Field, who is still as despicable as ever as DeViers, and Helen Thomson, who scores a few laughs as the now-widowed Marion Barrington. Some notable absences include Avatar star Sam Worthington (he was probably busy filming the sixteen sequels), while Timothy Spall's role of the now-deceased Darren 'Dabba' Barrington only features in photographs.
Despite its connections to its predecessor, you can still watch Spit without having seen Gettin' Square, as this movie confidently stands on its own as a satisfying, heartfelt comedy. However, fans of Gettin' Square will, of course, get the most out of Spit since it is a fun reunion with several colourful returning characters. Spit is also an enormously charming win for the Australian film industry. At a Q&A following a preview screening of the movie at Sydney's Hayden Orpheum Picture Palace, director Teplitzky emphasised that he and Wenham would like to see more people supporting the industry by going to the cinema. Although Spit is a lightweight comedy that may not look like the type of movie that demands the big screen experience, it is worth seeing in a cinema with like-minded film-goers. Indeed, the picture is a side-splitting crowd-pleaser guaranteed to become a cherished cult favourite like its predecessor.
7.9/10
