Boy Swallows Universe Review
Whimsical, fun, gory and mysterious, Boy Swallows Universe is a wonderfully engaging Aussie series.
In 1980s Brisbane, Eli Bell (Felix Cameron) and his mute brother Gus (Lee Tiger Halley) are concerned that their stepdad Lyle (Travis Fimmel) is dealing again, and getting their mother Frances (Phoebe Tonkin) addicted to the stuff again too. The precocious Eli follows Lyle one evening on a drug deal, and while Lyle is initially cross with him, Eli eventually finds his way into Lyle’s business; coming across a seedy underbelly of crazy characters as he does.
Boy Swallows Universe is based on the wildly popular book from Brisbane author Trent Dalton, and the series tries to capture the mythic qualities of his ultimately quite stark and autobiographical novel. That means a suite of tone shifts in the first two episodes we viewed as part of the Netflix Global Premiere, but hopefully those smooth out further into the series.
As it stands, the series does a great job of mixing comedy, a touch of fantasy, and the terrors of a range of bad guys and the overbearing threat of addiction. The series is gorgeously shot, making the suburbs of Brisbane sing, and the set design and costuming is as exhaustingly beautiful as only a big budget Netflix series can be.
What sets Boy Swallows Universe apart is the story, and the performance. There’s a very cynical tall-poppy culture often when reviewing Australian content, but what cannot be denied here is that the suite of performances on display are world class. Phoebe Tonkin in particular shines in the rehabilitated mother role, and her flashbacks going through withdrawals as she tries to get clean for her kids are nothing short of harrowing. Bryan Brown is also captivating, even in his limited screentime.
But it is the story that really shines through and hooks you as a viewer. One imagines that with this cast and Dalton’s incredible story, this series would have been a success if it were shot on an iPhone. It never shies away from the pain and poverty and trauma in this life (the ending of Episode 2 is particularly gory), but it weaves its comedy in impercetibly, and in a way that doesn’t leave the audience feeling cheated of the drama. The fantasy elements may not have gelled quite as much, but that may well straighten out by the end of the series. As it stands, this is a show that sucks you in from the off.
