Hunt for the Wilderpeople is the fourth film from New Zealand director Taika Waititi, and follows on the heels of 2014's excellent horror-comedy What We Do In The Shadows. Waititi's stylish, almost whimsical approach brings us a funny and uplifting movie, which has much in common with his warm and idiosyncratic second feature, Boy.
Hunt for the Wilderpeople is the story of Ricky Baker, a troubled inner city kid, moved around his whole life in a variety of foster homes. As something of a last resort, Child Services case worker Paula brings Ricky to stay in the countryside with kind hearted Bella, and her curmudgeonly partner, Hec. As Ricky begins to soften, and learn what it is to have family, tragedy strikes. Circumstance forces Ricky and Hec to flee into the bush, and live on the run. An outlaw odd couple, who capture the public’s imagination. As Child Services and the Police pursue them across the country, Ricky and Hec learn to trust and respect each other.
Although at its essence the plot is one of a begrudging friendship, it is the journey, rather than the destination that will propel Wilderpeople into your heart. It defines itself with a good natured sense of humour and a rich vein of pathos; the laughs are broad and frequent, but we do find ourselves in some dark territory on occasion. Somehow, this darker element ought not to work, but Waititi balances the general tone with a charming silliness and a poignancy to the darker moments.
As Ricky Baker, Julian Dennison is the heart of the picture. And he’s terrific. Ricky is cocky and overconfident, but never malicious. He’s more of a scamp and a tearaway than a thug, and it is this approach which allows us to sympathise with him. Sam Neill excels too, as Uncle Hec, walking the thin line between irritation at his young charge and a burgeoning paternal affection. Paula House and Oscar Kightly provide big laughs as the somewhat hapless pursuing authorities, and regular Waititi-player Rhys Darby delivers a ridiculous cameo. The stunning New Zealand landscape dazzles the eyeballs as Ricky and Hec take to the countryside. The elements and terrain almost as much of a character as the rest of the cast.
Waititi is an intriguing director, with a style that brings to mind Wes Anderson with less of a retro fetish. Surprisingly, he is soon helming Thor: Ragnarok for Marvel which on current evidence suggests will be a very interesting prospect.
On a couple of occasions the tone of Wilderpeople gets a little awkward – most notably in a church scene – and one or two of the more ridiculous elements threaten to get out of control. But ultimately Wilderpeople’s honest, cockle warming centre builds up such goodwill in the audience, it could convert even the basest cynic. Taika Waititi has crafted a beguiling, redemptive comedy which is almost impossible to dislike. Hunt For The Wilderpeople is an absolute delight of a movie.
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Hunt For The Wilderpeople
Generally speaking, it’s safe to say the words ‘unfilmable novel’ should not be taken as a challenge. But who better to take it up, than one of the most compelling and interesting filmmakers to emerge in recent years, Ben Wheatley. Wheatley’s debut, the gritty crime drama Down Terrace, put him on the map. He duly followed it up with a stunning tale of occult horror in Kill List – arguably the greatest horror movie of the last ten years. Sightseers combined the darkest of black comedy with English eccentricities, and for his fourth movie he gave us the divisive and surreal A Field in England. With High-Rise, Wheatley gets his teeth stuck in to J.G. Ballard’s classic dystopian novel. Grindhouse Ben Wheatley has morphed into Arthouse Ben Wheatley.
