PRESS REVIEWS

for Beneath Hill 60 (2010)

“This is our first really good movie about the Western Front... The early scenes include an extraordinary tracking shot of a British trench under artillery fire....the triumph of the film is its re-creation of the war underground, a visceral, claustrophobic netherworld where war is being reinvented....Beneath Hill 60 is a considerable achievement: it shows

that the Western Front can be dramatised, and on a budget. More, please.”

1. -Paul Byrnes, Sydney Morning Herald
   

“Beneath Hill 60 is a film that demanded to be made. And the result is a landmark achievement: harrowing, moving and brilliantly suspenseful. [it is] among the greatest Australian war films.” - Evan Willams, The Australian

“Compelling and believable production design, sound design and truly stunning cinematography. A brilliant film, and a film that will delight all ages and tastes. It should carve up the AFIs, in all categories.” - CJ Johnson, ABC Radio ‘Nightlife’

“it’s refreshing to report that Beneath Hill 60 is a superbly crafted, tension-filled drama based on a little-known episode of the First World War....Often using close-ups, Sims and director of photography Toby Oliver succeed in putting the audience literally into the trenches, tunnels and mud with the protagonists.” - Don Groves, SBS

“...the film boasts superb production values, managing to recreate the rain drenched, mud-filled trenches of Europe (all around Townsville!), conditions that drain a man's spirit, even before the bullets and the shells drain his life. Adding to the film's sense of scale is Cezary Skubiszewski's rich, textured and sensitive score and brilliant work from cinematographer Toby Oliver. In all, a film to be proud of for all the right reasons.” - Andrew L Urban, Urban Cinefile

for Cane Toads The Conquest 3D (2010)

“The film is the first independently financed doc to be shot with digital 3D and overall production values are first-class, with the 3D cinematography adding to the eye-popping realism” - Justin Lowe, The Hollywood Reporter

“Technically his film is a dazzling achievement, in some ways more so than "Avatar"...A visually masterful film... [The] cinematographers create a visual landscape to tell [the] story of the cane toads, and the vast Australian landscape with all its harsh contradictions is as much a character in this movie as the toads and laconic people we meet.” - Paul Fischer, Dark Horizons

for The Combination (2009)

“... it's beautifully shot. I mean the Toby Oliver cinematography is really fine, so it gets off to a good start for me.” - David Stratton, At The Movies, ABC TV

“The digital cinematography by Toby Oliver looks amazing. For my taste he's kinda the go-to guy for digital camerawork in Australia.” - Marc Fennell, Triple J

“The film looks so good, cinematographer Toby Oliver’s work on the new RED digital camera is pristine.” - Margaret Pomeranz, At The Movies, ABC TV

“[Field is] well served by cinematographer Toby Oliver, who spares us the realist clichés and chooses a rich palette, painting the suburbs as a magical if ominous place.” - Jason Di Rosso, ABC Radio National

"Sallows editing is succinct, complementing DOP Oliver’s framing of the visual subtext of fear and insecurity.....all in all making (the film) grippingly real and honest, without being pretentious” - Zona Marie Tan, IF Magazine

for Last Train To Freo (2006)

"I was happy to see this movie was shot on film, meaning it doesn't have the cheapy digital look that's plagued a lot of low budget movies recently." - Eric Vespe, Ain't It Cool News ('Freo' was shot on 25P HD video)

for Em 4 Jay (2006)

"One of the strongest films I have ever seen. It hangs in your blood long after it ends. This is the real thing."- Larry Clark (Kids, Bully, Ken Park)

"... the beautiful cinematography by talented Australian DOP Toby Oliver (Last Train To Freo , Fresh Air ) whose visuals bring a depth to Em and Jay's bare bones environment" - Megan Spencer, Triple J

"Lensing by Toby Oliver, the helmer's regular collaborator, is stylish, but never forgoes realism for mere prettiness ." - Russell Edwards, Variety

“The cinematography by Toby Oliver, who has worked on all of Tsilimidos' films, is superb, similar to Tom White. It has a real honesty and authenticity rarely seen in Australian cinema (the last time for me would be Tom White). The scenery around Melbourne is so recognisable without being postcard beautiful.”

- Paul Martin

for Waiting Alone (Du zi deng dai) (2005)

“Lensing by Oz d.p. Toby Oliver ("Looking for Alibrandi," "Tom White"), in his first Asian assignment, is of high quality, as are all other tech credits.” – Russell Edwards, Variety


for Tom White (2004)

“ ….a beautifully shot, uncompromising film. … It's a painterly approach, without being self conscious, and beautifully shot by Toby Oliver, who photographed both of Melbourne director Alkinos Tsilimidos’s earlier films”- Paul Byrnes, Sydney Morning Herald

“ The images Alkinos Tsilimidos presents - in collaboration with Toby Oliver's remarkable cinematography - convey a complex emotional turmoil that we half sense, half intellectualise.” - Andrew L. Urban, Urban Cinefile

“….such a mix of pain, rage, shame and compassion that it’s impossible to look away, or to walk from the cinema and forget what we’ve seen. This is an essential film.” – Julie Rigg, Radio National

“It's been a while since an Australian film with serious intentions has come together into such a deeply satisfying package.” – Peter Thompson, Channel 9 Sunday

for Love Is A Four Letter Word

“ ….a slick, edgy visual style…. It doesn’t look like anything else you’ve seen on TV.”- Matt Buchanan, Sydney Morning Herald

for Looking For Alibrandi (2000)

“…Striking cinematography and direction reveal Sydney in all its glory…” - Louise Keller, Urban Cinefile

“…here the filmakers waste nothing in turning the elements into a coherent whole, making best use of cinematography, music and performances.” - Andrew L. Urban, Urban Cinefile

“…Technically this film is a joy… it’s one of those Australian films that ought to get everyone excited…” - Margaret Pomeranz, The Movie Show SBS

for Fresh Air (1999)

“…Inspired cinematography by Toby Oliver means shifting between styles to make a point….”
- Kirsten Krauth, Realtime Onscreen

for Everynight... Everynight (1994)

“...Beautifully lit by cinematographer Toby Oliver, pic’s monochrome images and the directors’ fondness for very long takes give the pic an austerity at times reminiscent of French master Robert Bresson.”
- David Stratton, Variety, SBS The Movie Show