FILM@TWO_SENSER: The Dead Lands

As is often the case with a classical heroic journey, what you get out of the quest is often what you bring to it. 

Toa Fraser's The Dead Lands is a slow burn, a classic hero's tale sprinkled with action and violence. This is a journey that takes its time, stopping along the way to explore issues of family, honour, and ancestral duty within the context of a young man thrust into circumstances that must make him a man.

The film's archetypes are made overtly manifest, from the monster in the dark woods, the big bad guy making for a fine protagonist, and of course our young hero making his way through a world for which he is barely able to cope.

Yet the power of this film lies not in what it shares with other films, but its unique quality and flavour. While not drawn from an explicitly Maori tradition, the film nonetheless provides what feels to be a genuine, heartfelt look into the traditions of Native New Zealand culture.

The action elements - and there are plenty - are constructed to further emphasise these elements. Traditional weaponry, connections to the spirit world, and the use of hallucinogens to help the voyage to that world, are also employed as both echoes of traditional experiences and of ancient tales from numerous cultures.

Director Fraser mixes this sense of spiritualism with some astonishing and lush cinematography, as well as more than a few visual flourishes for the action sequences borrowed from classic martial arts films. The ensemble cast, led by James Rolleston and Lawrence Makoare, inject the film with both a seriousness and liveliness that is compelling. 

The film brings the physicality of the Maori warriors to international audiences; as well as, and even more crucially, its language to a wider world. It may be an aspect too easily dismissed, but the decision to have the film presented with subtitles, allowing the performers to speak in their Native tongue, is a critical aspect of the film's success. Given that Maori battle culture is entwined with its language, the chants and battle cries very much part of its dance-like form of martial arts, the producers were wise to never push the film to become more mainstream, as it would have diluted much of its impact.

The visit to The Dead Lands is both epic and intimate.

FILM@TW0_SENSER: These Final Hours

How would you spend your Last Day on Earth?

This is the question posed by These Final Hours. It's a question that's been asked many times before. Celluloid has placed the Earth and the Human Race in many apocalyptic scenarios, from alien invasions to climatic catastrophes, to viral pandemics. Most of these have been huge, effects-driven blockbusters - and although the Apocalypse told on such a grand-scale certainly draws the crowds - it's the smaller, more intimate stories that leave a lasting mental impression, and lead you to really ponder the question, "What If?" 

Set in Perth, Australia, we quickly learn that this is the final day on Earth and that the Western Australian city only has 12 hours left before the inevitable downfall that has already taken down Europe, Canada and a large chunk of the rest of the world.

We meet the self-absorbed James (a believable and gritty performance by Nathan Phillips) as he is rushing off to his mate’s massive house party to drink his sorrows away and forget about the looming end of life as we know it. It’s a dark, foreboding urban landscape that James traverses - as society falls apart at the seams, and the city's inhabitants cope with the impending disaster in their own, often disturbing and macabre ways.

Unforeseen events then place James in situations where he is forced to choose between his own self-destructive resolution and the last shreds of humanity that are buried away, deep within him. 

What is most disturbing about this movie, and the reason why it works so well, is that the scenarios presented are entirely plausible. We all like to think of ourselves as decent, civilized human beings. But when presented with just 12 hours to live; and a fate we simply cannot escape - would it be so difficult to slip from the shackles of humanity and rapidly descend into a much darker state of consciousness?

Adding to a growing list of recent explorations into the Apocalypse by way of Antipodean directors and storylines, (see The Rover and the upcoming Mad Max reboot), director Zak Hilditch takes us on a journey without destination, although we inevitably, unequivocally know where we're headed...

FILM@TWO_SENSER: Pompeii

In a moment of weakness, and subconsciously knowing exactly what I was getting myself into, I decided to watch Pompeii... And I have come to the conclusion that a Paul W. S. Anderson movie is where all actors go to die. 

Let me explain...

You know Asylum Films - that production company that makes low budget versions of Hollywood blockbusters (eg: Atlantic Rim, and Age of Tomorrow)? This initially felt like a cheap rip-off of Gladiator, with an exploding volcano thrown in for good measure. 

The first thing you notice is, "Hey, hang on a minute, isn't that Jon Snow from Game of Thrones? What's he doing away from The Black Watch? And isn't that like, Heavy Duty from G.I.Joe? What's he doing with a strange accent and cheesy one-liners? And isn't that the Police Captain bloke from Grimm? What's he doing with a pansy haircut and less lines to say than some of the animals appearing on-screen?

But wait, that's not all - isn't that Prof. Moriarty from Sherlock Holmes? What's he doing being mis-cast as a spineless and ineffectual Roman leader? (By the way, the actor in question is Jared Harris - son of the legendary Richard Harris, who might actually be rolling in his grave). But the greatest travesty comes from Kiefer Sutherland, who obviously needed some spare change to take this role - playing a cliched cruel and unscrupulous senator.

In fact 'Cliche' is the operative word for this movie - you've seen it all before - so don't be surprised if you watch many of the scenes with a sense of deja-vu. W. S. loves his action sequences, so the gladiatorial battles are fast and furious - and the volcanic eruptions are actually quite beautiful. And quite clever.

Unfortunately there's nothing clever about the plot - our main protagonist's upbringing and means of gaining proficient fighting skills are all glossed over. After losing his father and his tribe, obviously he's got an inherent hatred of the Romans, but hell, so did most of subjugated humanity at the time... He also conveniently falls in love with the main female lead within seconds of seeing her, prompting that old 'unrequited/forbidden love' movie chestnut. (Her mother, incidentally, is played by Trinity from The Matrix, who obviously had some time on her hands now that Neo's escapades are over).

Having said all of this, again I must say I knew what to expect, and therefore wasn't as disappointed as I might have been. In the climactic scene, as fire and brimstone rains down upon the doomed city, I dare say a few budding movie careers will also go up in flames.

Pompeii. Better than a punch in the face. Only just.