Lee Tamahori

Once Were Warriors (1994)

Once Were Warriors (1994)

(On TV, April 2019) There’s a good reason why Once Were Warriors remains a landmark of New Zealand cinema even twenty-five years later: It’s a harsh -at times unbearable—film, but it makes a few fundamental points about cultural disconnection and how social policy failures can have real, personal, and violent impacts. The story revolves around a Maori couple that leaves their village to go live in Auckland, but (eighteen years later) find themselves in desperate circumstances with the father of the family unemployed and alcoholic, his rage often manifesting itself in physical violence against his wife. Tough but compelling, it’s a film that hasn’t really aged, and remains relevant well outside New Zealand—as a Canadian, it’s impossible to watch the film and not feel the social indictment of government policies (some of them well-meaning, other decidedly less so) that end up separating First Nation people from their culture. It’s only, suggests the film, by reconnecting to traditions that there is hope. Once Were Warriors is extremely difficult to watch: the very realistic scenes of domestic violence are infuriating and nausea-inducing at once, with even worse material coming up later on. I’m impressed at how director Lee Tamahori was able to make a film that’s expressionistic and realist at once, combining impressive cinematic sequences with very humble moment showing familiar patterns of broken promises, commonplace abuse, casual use of violence and aimless lives. With all due respects to Rena Owen who plays the anchor of the story, this is Temuera Morrison’s film: he embodies charm and violence in a character that’s as magnetic as repellent. The film does have a strange relationship with violence, though—one of Once Were Warriors’ final scenes has a villain getting a much-deserved comeuppance, and now we’re cheering for the blows to land hard. Still, there’s a lot to digest in terms of themes and wider implications: it’s fast paced, seldom boring and some good visuals along the way. You will seldom see a film as hard to watch yet compelling and even admirable.

xXx: State of the Union (2005)

xXx: State of the Union (2005)

(Netflix Streaming, February 2016) I remember that xXx: State of the Union got terrible reviews upon release, but watching the film lately is enough to make anyone wonder why the reviewers were so vexed. Of course, time has been kind to lead actor Ice Cube, who seems even more iconic today thanks to his anointment in Straight Outta Compton: Part of State of the Union’s charm comes from seeing his gruff demeanour clashing with the usual nonsense of a typical dumb action movie. It’s worth highlighting that Ice Cube has personality and the film distinguishes itself (even a decade later) by featuring it as best it can. There is some daring in State of the Union’s premise of a coup building against the US government, and a sprinkling of action sequences (especially a purely nonsensical but fast-paced bullet-train sequence at the climax of the film) are enough to keep things interesting to the end. Under Lee Tamahori’s direction, State of the Union is not a film that takes itself seriously, and so becomes one of those movies in which absurdities act as features rather than problems. It’s easy to feel some odd affection for it, especially if you’re already an Ice Cube fan and find much postmodern fun in contemplating an NWA founding member saving the US government from rogue elements.

The Devil’s Double (2011)

The Devil’s Double (2011)

(On Cable TV, February 2014) Perhaps the most interesting thing about dictators is how they represent a case study in what happens with humans given almost-unlimited power. So it is that The Devil’s Double imagines a fanciful story about an ordinary man coerced into becoming Uday Hussein’s doppelganger. Along the way, he discovers the insanity of the man, tries to escape and take revenge for what he has seen. Dominic Cooper doubly stars as both Uday and his double, relying on basic but effective acting tricks so that there is never a moment’s hesitation in knowing who we’re dealing with. The Devil’s Double is never as interesting as when it becomes an excuse to dramatize the life of excess in which Uday Hussein lived: fast cars, faster women, unchecked power and blatant sadism all abound here. What’s less compelling is the by-the-numbers nature of the story, which adheres faithfully to the good-old templates for innocents brought near sources of raw power –it does feel a lot like a gangster film. Also rather less than interesting is the film’s raw violence, which often crosses far beyond the necessary to indulge into sheer gore. Director Lee Tamahori keeps things moving briskly, and gets a great performance from Cooper… but the end result does feel too conventional. Worse yet: The Devil’s Double is based on a book that pretends to be a true story, but investigations have revealed no evidence that this ever happened. At least we get a passable thriller out of the fanciful story.