John Chard
⭐ 7/10 January 19, 2019
He went walkabout.
New York reporter Sue Charlton hears of a guy in the outback of Australia who survived an attack by a crocodile. For research she meets up with "Crocodile Mick Dundee" and spends time with him out in dangerous Bush Country. Finding a rapport during their time together, Sue convinces Mick to go back with her to New York, which brings interesting results as Mick becomes a big hit by treating the Big Apple, and all that comes… read the rest.
He went walkabout.
New York reporter Sue Charlton hears of a guy in the outback of Australia who survived an attack by a crocodile. For research she meets up with "Crocodile Mick Dundee" and spends time with him out in dangerous Bush Country. Finding a rapport during their time together, Sue convinces Mick to go back with her to New York, which brings interesting results as Mick becomes a big hit by treating the Big Apple, and all that comes his way, the same as he would the Outback.
Crocodile Dundee has a standard fish out of water comedy premise, yet with a number of truly funny sequences and an appealing turn from Paul Hogan as Dundee, it became a monster smash hit that the cinema watching public lapped up with glee. In a decade that is often considered or debated to be the worst for film, it may just be that cinema goers were desperate for a pick me up movie? Possibly, but undoubtedly Crocodile Dundee most assuredly is that type of escapist piece. However, to give that credence would, I feel, be doing it a disservice, for in spite of the rickety concept and the obviousness of where we will ultimately end up, it has bundles of earthy charm, a charm that many can identify with.
As Dundee goes about his way, meeting pimps, transsexuals and muggers et al, they are not only very funny scenes, they are also points of reference to the ever changing way of the Continents. Not that the film doesn't come dangerously close to falling into a sugary rom-com mire, but with a strong performance from Linda Kozlowski as Sue, and Hogan introducing an icon to 80s cinema, Crocodile Dundee safely hits the target that it was surely aiming for. Besides, the love story here is very easy to get on side with, to support it and hanker for this opposites attract coupling to work out.
Two sequels would follow, the first one was a retread reversal and just about passable, the second one, after a gap of 13 years, was bad and evidence that the joke had long since passed. Crocodile Dundee 86 holds up well as the escapist piece of cinema that it is. A nice film to revisit every other year, for it be simple, warm, and yes, I'll say it again, damn funny. 8/10
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CinemaSerf
⭐ 7/10 November 8, 2025
Time hasn’t been especially kind to this, but it is still a groundbreaking piece of light-heartedness that almost single-handedly kickstarted a renaissance in Australian cinema. Riddled with stereotypes, it tells the tale of an American journalist “Sue” (Linda Kozlowski) who reads of a famed Aussie crocodile hunter (Paul Hogan) and sets off to interview him. Assuming he is something of a yokel, she arrives to find he is perfectly prepared to play… read the rest.
Time hasn’t been especially kind to this, but it is still a groundbreaking piece of light-heartedness that almost single-handedly kickstarted a renaissance in Australian cinema. Riddled with stereotypes, it tells the tale of an American journalist “Sue” (Linda Kozlowski) who reads of a famed Aussie crocodile hunter (Paul Hogan) and sets off to interview him. Assuming he is something of a yokel, she arrives to find he is perfectly prepared to play that part, ably assisted by his mate “Walter” (the frequently scene-stealing John Meillon) and make her feel suitably superior. Of course, as the plot thickens she begins to realise that there is much more to him than initially met the eye and when she convinces him to come with her to New York their relationship heads off on a fairly predicable, but still quite entertaining, route. I found the comedy was at it’s best when it was at it’s simplest and the charismatic Hogan brings a charm to his role as he points out what a real knife is, or when he says hello to a man at a busy crossing as if they are destined to meet again for a beer. Though hardly sophisticated, it uses the concept of the culture clashes of two countries divided by the same language to ping some of the superciliousness of some urban American attitudes towards this presumably ill-educated oaf and at times is actually quite a funny and potent critique on snobbishness. It probably wouldn’t even get made now, and maybe it’s tinged with nostalgia, but I did quite enjoy it.
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