When using the default search be aware that for many Australian films and the people involved in them there may not be any results (as the amount of books published on Australian cinema is quite small).
The plot hinges on an existential threat to the castle: a large, well-funded company, with the authority of the government, decides to “compulsorily acquire” all the houses in their small subdivision.
Yet, the movie never laughs at them; it laughs with them, understanding that their overjoy with tacky souvenirs and simple meals is merely an exaggeration of how any ordinary person gets through the day without losing sanity: happy to have with they have, instead of unhappy about what they lack.
This is key to making the Kerrigans so goddamn lovable—we’re not all of us quite so feeble, but anyone can relate the desire to fight external threats to their cheerful stability.
How does The Castle manage to make a movie centered around a not-very-bright family and get it exactly right?
I’ve asked this question every time I’ve watched The Castle—several times since I first saw it seven or eight years ago—and in this essay, I’m forcing myself to come up with an answer.