À la poursuite de Ricky Baker

Bon film !

Bon film !

Bon film !

Bon film !

Bon film !

O, my goodness, I wasn't expecting this at all, I seriously thought HUNT FOR THE WILDERPEOPLE was going to be your usual predictable story about an orphan who looks up to an older man as his father figure. But the level of brutal honesty coming from all the characters is just off the charts. This is hands down, one of the funniest movies of the year, I couldn't stop laughing. Writer/director Taika Waititi who gave us "Flight of the Conchords," and "What We Do In The Shadows" is back with this story set in his origin place of New Zealand where a defiant city kid named Ricky (Julian Dennison) finds himself at a home of a new foster family, an aunt that actually cares for him and Uncle Hec (Sam Neill) who'd rather be left alone. But a tragedy strikes which motivates Ricky and Hec to go on the run while a national manhunt ensues and brands them outlaws. HUNT FOR THE WILDERPEOPLE is absolutely hilarious, calling it a crowd-pleaser is spot on, no better way to describe it. And as I said earlier, the characters in this film are brutally honest, there's no holding back and the comedy lies in this huge case of misunderstanding. But deep down, the kid just wants to be part of a family that for once wouldn't quickly give up and leave him out to dirt at the first sign of trouble. I've never read Barry Crump's book which was the basis for this film, but I'm guessing Waititi saw something in that story that resonates because we all want to fee like we belong somewhere; we don't want to feel like some kind of vagabond or a stray. So despite the fact that this kid, Ricky, is hard to deal with and he'll make anyone frustrated, you can tell that he's just an angry and scared teen and when you look at him from that perspective, HUNT FOR THE WILDERPEOPLE will leave a lasting impression in addition to it being ridiculously funny. The things that Ricky says and does, you'll be laughing out loud till it hurts. Julian Dennison is a revelation, I hope he gets more gigs from this point forward. -- Rama's Screen --

Hunt for the Wilderpeople was one of my top movies at Sundance. The film used symbolism expertly. The director was able to convey powerful symbolism through something as small as a rubber water container. It was used as a symbol for home. It showed that in a harsh world full of rejection, what we all really want as humans is to be loved and wanted by other people. This movie shows that even though people can have a hard time trusting others with themselves, relentless love can break down barriers. In the movie, Ricky shows us that even though being truly loved by someone can feel foreign and awkward, once you get a taste of it, you never want to let it go. Through the rubber water container symbol, the film shows that when life circumstances change, we still just want intimate relationships with other people. Although it may appear different on the outside, it will always be similar at its core. This movie also shows how much our pasts want to dictate our future. We see outcasts of society searching for freedom from who they were, but how people around them are trying to not let that happen. Where they find the most freedom is exactly where society is trying to rip them out of. They would rather keep in the lowest levels of civilization rather than let them have their freedom. Just like with these characters, the world will identify us most by the things we least like about ourselves. Whether it is an addiction, or a mistake we would rather forget, these are the things the world continually wants us to live in rather than finding freedom from them. It is a fight to live in that freedom rather than being dragged down to believing we are still those same people from our pasts. This film shows that freedom is possible. No matter what is in our past, that does not have to be who we are today, but it is a battle. We will have to run, fight, or go against what people around us are telling us to do, but we must seek to live in that freedom. This film is fraught with other symbols and social commentaries. It is at the top of my list of recommendations for people to see.

Kiwi director Taika Waititi of "Boy" and "What We Do In the Shadows" fame will shortly be stepping into the big leagues directing the next "Thor" movie. In the meantime he has conjured up another slice of real Kiwi life on a budget that would probably fail to cover the catering bill for his new movie. Waititi translates Kiwi writer Barry Crump's book into a screenplay full of Kiwiana, irony and humour. We meet Ricky Baker (Julian Dennison) as the local police (Oscar Kightley) and "enthusiastic" Child Care worker "Paula" (Rachel House), attempt to rehouse the young Maori lad with his new adoptive foster parents. "Aunt Bella" (Rima Te Wiata), child loving and with a heart of gold together with husband "Hec" (Sam Neill), a loner bushman with little desire to house a young delinquent. Ricky's long list of offences are mentioned, including "smashing stuff and throwing rocks" but Paula is very determined, oft repeating her personal motto, "no child left behind". The opening scene sets the tone perfectly, as Ricky carefully surveys his new accommodation and quietly returns to the police car. Despite finding his new basic rural surroundings somewhat bewildering, including a gloriously bloody wild pig hunt, Ricky starts to become part of the family as he is showered by Aunt Bella's practical love and understanding. Following an event, Ricky and Hec strike out on their own into the New Zealand bush as a national man hunt for the pair commences. Can they get on, will Hec's heart eventually melt, if indeed he can find it? This is a comedy drama with emphasis on the humour with incompetent hunters, crazy bushmen (Rhys Darby) and comical situations. However framed with underlying sadness and a serious story under pinning the whole endeavour. The tone is reminiscent of director Waititi's' "Boy" and manages to stay consistent throughout. Waititi even allowing himself a brief cameo, to great comedic effect. There are plenty of belly laughs for those that understand and know New Zealand well. Neill essaying your everyday "she'll be right" Kiwi bloke, whilst providing a much needed straight man to all the shenanigans. Some scenes are pushed too far, with Paula's quest going to ridiculous length's for the sake of comedy and Darby overbalancing his scenes with his usual shtick. Somehow with the solid anchor of Dennison's fresh performance and Neill's experience, the ship manages to stay the right way up. The New Zealand bush is shown in all it's glory with the addition of a great choral track to accompany the shots of the overhead tree canopy. Overall a much more approachable and enjoyable film than "Shadows" which will play especially well with Kiwi's and Australians but does have broader appeal. Summary Hugely enjoyable comedy adventure with serious undertones and represents a real return to form for Waititi. It's also good to see Sam Neill on the big screen again, opposite a great new young talent.

Oak Cliff Film Festival 2016 Greetings again from the darkness. It just doesn't seem very many movies are designed to be funny to a wide range of viewers. There are raunchy comedies for taboo lovers. There are comedies for young kids. There are even Nicolas Cage movies for unintentional laughs. But writer/director Taika Waititi actually delivers a thoroughly entertaining movie that will generate laughs across multiple generations … it's quite simply, a fun time at the theatre. It's based on the 1986 book "Wild Pork and Watercress" by Barry Crump, who himself is a bit of a legendary figure in New Zealand. The film begins with Child Protective Services (or whatever it's called in New Zealand) dropping off 12 year old Ricky Baker to his new foster family. Paula, the CPS agent, considers Ricky a lost cause and describes him as "a very bad egg" as she rattles off his list of previous rebellions to new foster mom Bella, who takes note of Ricky's heft with a couple of wisecracks – delivered with a well-meaning smile. In a terrific screen introduction, "Uncle" Hec slowly comes into frame flashing a world class scowl and a wild boar slung over his shoulder. Ricky continues his habit of running away at night, but Bella slowly wins him over with her kindness, understanding and breakfast offerings. A tragic occurrence and fear of being shipped back to the juvenile center, has Ricky disappearing into the New Zealand bush. Soon enough Hec catches up and the two begin a relationship that is the core of the film. Rima Te Wiata plays Bella as a perpetually optimistic woman with a sincere drive to help Ricky adjust and find some joy in life. Sam Neill plays Hec in full grumpy curmudgeon mode … a nice compliment to the extraordinary presence of Julian Dennison (Paper Planes) as Ricky. Ricky and Hec together are a hoot to watch. It's not simply the generational differences, but also a clash of one man who wants little more than to be left alone and a young boy who wants little more than to be noticed and cared about. It's not so much the direction of their relationship that surprises, but rather the manner in which it develops. Director Waititi's next film is Thor: Ragnarok, so this makes us appreciate even more his pleasant little indie film that features not just colorful and interesting characters, but the beautiful landscape of the New Zealand bush … much of which we see during the humorous manhunt for Hec and Ricky. It's a farcical comedy with a dose of profundity and loads of adventure for two social misfits. Rachel House is pretty funny as the obsessed CPS worker, and Rhys Darby ("Flight of the Conchords") is downright hilarious as Psycho Sam. Watching criminial-wannabe Ricky literally count off his Haiku, leaves little doubt as to why this one has been such an "audience favorite" at multiple film festivals.

Some movies make you wonder why they were made at all. Today's crowded cinematic space suggests that if you are going to fund a feature film then surely you have a special story you want to share. Hunt for the Wilderpeople (2016) has all the ingredients of a good film, including star drawcard Sam Neill, an extraordinary setting in one of the most beautiful places on earth (New Zealand) and a respected tradition of filmmaking that includes The Piano, Lord of the Rings and An Angel at My Table. But labelling Wilderpeople as "comic dynamite" and "pure genius" did not help produce as much as a single laugh in my cinema, although it would have been hard to find an honest label that gives the film any sense of purpose. But New Zealanders love it. The main plot line consists of a "national manhunt" by bumbling police and reward-hungry bad guys in pursuit of grouchy old Hector (Sam Neill) and likeably obnoxious 11-year old Ricky (Julian Dennison). The weirdly funny Child Welfare Officer wants orphan Ricky back in State care and Hector is regarded as a possible 'pervert' so the duo head for the hills. They must deal with wild boar, crazy hermits, hunger, broken limbs and cold, but all of this is grist for the mill as Ricky loves living rough and playing a real gangster on the run. He has never known home or family so Hector is his salvation. Like in most runaway-chase films, the fugitives keep narrowly escaping the law but eventually come to rest and find redemption in each other. This film would be 'great family fun' if you are a Kiwi. For everyone else however, even their closest Aussie cousins, this film is little more than a spectacular tourism advertisement for the rugged landscapes and mountainous lakes and gorges that are scattered across beautiful New Zealand. The cinematography is absolutely delightful and will undoubtedly encourage many to see it for themselves. Without Sam Neill's capacity for gravitas, grouchiness and gruff sentimentality the film would struggle for audiences, and even with him it's a niche market only. If you dig hard, some will find a heart-warming tale about family or its emotional variants, but there is little more to this film than a few quirky characters, a romp through the forest chased by silly people, and script that probably read better as a book.