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Wolf Creek is a 2005 Australian horror film written, co-produced and directed by Greg McLean and starring John Jarratt, Nathan Phillips, Cassandra Magrath and Kestie Morassi. Its plot concerns three backpackers who find themselves taken captive and subsequently hunted by Mick Taylor, a serial killer, in the Australian outback .
Wolf Creek 2 is a 2013 Australian horror film co-written and directed by Greg McLean. The film is a sequel to the 2005 film Wolf Creek and stars John Jarratt , reprising his role as Mick Taylor. It was released on 30 August 2013 at the Venice Film Festival , then released in Australia on 20 February 2014.
Wolf Creek is an Australian horror television series that aired on Stan. The series is a spin-off of the movies Wolf Creek and Wolf Creek 2. [1] John Jarratt, who portrayed Mick Taylor in the films, reprises his role for the show. [2] The first season of Wolf Creek consisted of six episodes and was released on 12 May 2016. It follows Eve, a 19 ...
He rose to fame in 2005 with his debut feature film, Wolf Creek, creating the character Mick Taylor (played by John Jarratt). The sequel to his first feature, Wolf Creek 2 was released February 2013. Mclean also wrote, directed and produced Rogue (2007) and was executive producer of Red Hill (2010) and Crawlspace (2012).
In 2010, Jarratt appeared in a commercial for Husqvarna, where he proved the tools' efficiency by playing his character in Wolf Creek. In May 2013, Jarratt filmed a guest star role in the third instalment of the ABC telemovie series, Jack Irish: Dead Point. [4] In 2016, the Wolf Creek web television series debuted on Stan. The series saw ...
James Van Der Beek has recalled the time TSA found a Dawson’s Creek-inspired adult film in his bag. “It’s a 100% true story,” he told USA Today in a new interview.. According to the 47 ...
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Australian horror film production trebled from fewer than 20 films in the 1990s to over 60 films between 2000 and 2008. [7] According to one researcher, "global forces and emerging production and distribution models are challenging the 'narrowness' of cultural policy – a narrowness that mandates a particular film culture, circumscribes certain notions of value and limits the variety of films ...