Viago, Deacon, and Vladislav are vampires who are finding that modern life has them struggling with the mundane - like paying rent, keeping up with the chore wheel, trying to get into nightclubs, and overcoming flatmate conflicts.
Set on the east coast of New Zealand in 1984, Boy, an 11-year-old child and devout Michael Jackson fan, gets a chance to know his absentee criminal father, who has returned to find a bag of money he buried years ago.
In the forests of the Pacific Northwest, a father devoted to raising his six kids with a rigorous physical and intellectual education is forced to leave his paradise and enter the world, challenging his idea of what it means to be a parent.
High schooler Greg, who spends most of his time making parodies of classic movies with his co-worker Earl, finds his outlook forever altered after befriending a classmate who has just been diagnosed with cancer.
In a dystopian near future, single people, according to the laws of The City, are taken to The Hotel, where they are obliged to find a romantic partner in forty-five days or are transformed into beasts and sent off into The Woods.
Bella and Hector, two reclusive country folk, become foster parents to Ricky, a problem child from the city. After some adjustment, things go reasonably well. However, the death of Bella means Hector now has to look after Ricky, and they didn't get along too well. Moreover, her death causes Child Services to decide to send Ricky back to the orphanage. Ricky refuses to go back and runs away, ultimately sparking a national manhunt for him and Hector. Written by
Ricky Baker does not believe that Uncle Hec's use of "majestical" is correct.
The word majestical was used by William Shakespeare and appears in Hamlet (Act 1,Scene 1) when Marcellus refers to the departing Ghost's monarchial appearance:
'Tis gone. We do it wrong, being so majestical, To offer it the show of violence, For it is, as the air, invulnerable, And our vain blows malicious mockery. See more »
Realistically, Ricky Baker would have lost a significant amount of weight when himself and Uncle Hank go on their trek into the bush: They would have been surviving on little food and doing a lot of exercise every day. See more »
Why do you reckon he calls himself "Psycho Sam?"
[Psycho Sam puts kitchen pots on Ricky and Hec's head]
Here you go. Put these on, to stop the government from tracking you.
See more »
The credits include sections headed "Wildercrew" and "Wildercast", with the latter including the subheading "Wilderdogs". See more »
Written by Billy Alessi (as Alessi) and Bobby Alessi (as Alessi)
Royalty Network/Alessi Music
Administered by Universal Music Publishing Pty Ltd
Performed by Alessi Brothers
Courtesy of Universal Music New Zealand See more »
This movie is really good - I have to say I enjoyed it and would probably see it again.
A far more developed example of what Waititi can do as a director and storyteller; the film has examples of pathos, comedy, action, drama, art film, satire, good cinematography and even a few decent VFX shots. His last film, vampire mockumentary "What We Do in the Shadows" was a narrative disappointment, despite NZ media committing to expose the film and help generate sales. Something of a misguided indulgence, "Shadows" made the mistake of letting three or four (very) minor indie celebs improvise in digital for many, many hours, then the director tried to create a concrete whole in editing and post. Didn't work. Great intro though.
Hunt for the Wilderpeople focuses on the life of Ricky Baker - a young, overweight, orphaned juvenile offender that idealizes hip hop and creates haiku poetry as a method of externalizing emotional conflict, due to the influence of counseling and therapy sessions. Stuck in New Zealand's sub-par youth welfare system (known for endless governmental restructuring with little or no substantive improvement), Ricky ends up on a rotting farm somewhere in the rural back blocks with foster parents.
The film clearly shows elements of the barren, social realist film of early 80s NZ, but with bigger, better cinematography, and Waititi's indie sense of the quirky and offbeat. "Quirky" can become a meaningless attribution in today's market of indie features where anybody and everybody can have a go at being "quirky" to make up for budget and spectacle, but this film also has real nuance and character development, and a quality cast that seem to get the idea of being a bit "quirky" and "meta" without forgetting that emotional investment is what an audience really needs to feel involved with the story. Rachel House is hilarious. So's the director in an excellent cameo.
Some of the early scenes don't read as naturally as they could, and also Tioreore Ngatai-Melbourne's mother in the film is referred to but is never actually seen for unknown reasons. In addition, New Zealander's might complain about the films location improbabilities, but that's been standard practice in US features for years. Cool movie!! Go see it!!
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