Hunt for the Wilderpeople

Because of Jojo Rabbit, I had to go on a quest to watch more films by Taika Waititi, as I'm increasingly enjoying his unique style. Hunt for the Wilderpeople once again warmed my heart with its humanity. At its core, it’s a very simple story without any innovative plot twists, but the way the film is presented won me over. Sam Neill can definitely be counted among the film’s biggest draws; his dry humor made me laugh several times, and Julian Dennison is the proverbial cherry on top. The absurdity that permeates the film at every turn didn’t bother me at all; on the contrary, I can’t really imagine the film without this huge exaggeration. As I mentioned, the film is infused with humor throughout its runtime, despite the fact that it also features serious moments that are genuinely not funny. And that’s how Waititi won me over, with his flawless ability to mix these two genres together. I give it 79%. (12/02/2020)

Waititi's got it in him. A film that is a first-rate and unrelenting critique of the complexity and sterility of the contemporary world, but at the same time never stops churning out amusing plot twists, metaphorical ideas and even some great lines that will stay on my mind for a long time. And where the legibly plotted development of a simple story isn't enough, the chemistry between the wilful Ricky and the hardened Sam Neill helps, as he takes on another memorable role. Armed with a volley of cinematic references, Waititi escapes into a wild territory of endless irony and hyperbole, where he never gets lost but manages to merge deliberate plot extravagance and goofiness with a cleverly intimate story that, while failing to inspire any thought, is so entertaining and functional on the surface that could be a lesson to many indie writers. Let’s hope Taika won’t get burned in Hollywood. 80% (22/04/2017)

As for stylization, it's pretty much unique. However, it's the stylization I’m not happy about, because the individual styles (poetics of children's adventure, more serious tone and absolutely crazy) do not match each other at all. It does not create one cohesive whole, but it goes on like this for a while and then like that, which breaks down the whole concept and therefore the emotional level does not work, that largely determines its success. So no matter how hard it tries to combine "Little Rambo viewed by Wes Anderson's perspective", the effort produced no results, which although is not boring and nice to watch and quickly passes by, but just as quickly (if not faster) gets out of your head. (17/10/2016)

A relaxing comedy (it sometimes reminded me of a more vulgar version of Kolya), which I would screen as a double film with Wes Anderson's Moonrise Kingdom. It's playful, sensitive, funny, very well acted, filmed and accompanied by great music. It perhaps bothered me that it was a bit predictable. However, I wish I would see such films more often in the movie theatre. (16/11/2017)

If I were supposed to take care of that fat bastard (sorry, morbidly obese troubled boy), it would definitely be a short film, as he definitely wouldn't survive his attitude in the beginning. The longer I watched, the more obvious it was that it was a typical family film, whose plot, despite its many unlikely adventures, was inevitably marching towards a happy ending, which isn’t exactly my thing. It’s not that I hate happy endings, but the story just wasn’t any good. I’m not sure why the characters repeatedly said there were a million hectares of the Bush around them, when both runaways kept stumbling across people all the time. Lame. (10/03/2018)