Hunt for the Wilderpeople

Film Bouquets 2016

 

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It was an interesting year for film. Here, in order of release, rather than stature – and with the benefit of hindsight – are our favourite movies of 2016.

Room

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This superb adaptation of Emma Donoghue’s novel got 2016 off to a cracking start. There were powerful performances from Brie Larson and young Jacob Tremblay as the central characters in a tragic yet oddly inspirational story.

The Revenant

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Alejandro Gonzalez Inaritu delivered another dazzling movie, this one as savage and untamed as the grizzly bear that mauled Leonardo Di Caprio half to death – but made up for it by helping him win his first Oscar.

Anomalisa

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Writer/director Charlie Kaufman gave us a quirky (and deeply disturbing) animation that was a Kafkaesque meditation on identity and the bleak nature of the human condition.

Dheepan

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Jacques Audiard’s fascinating study of the lives of refugees never fell into cliche. There was violence here, but it felt horribly real and totally devastating. There were affecting performances from a cast of newcomers.

Victoria

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Sebastian Schipper’s film really shouldn’t have worked. Delivered in one continuous take, the fact that it hooked us in so brilliantly was just the icing on the cake – a real ensemble piece but plaudits must go to Laia Costa as the eponymous heroine.

Sing Street

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John Carney may have only one plot but when it was delivered as beautifully as it was in Sing Street, we were happy to indulge him. This was a beautiful, heartwarming film with appeal to anybody who has ever dreamed about pop stardom.

The Neon Demon

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The fashion industry as seen by Nicolas Winding Refn is a hell hole and here, Elle Fanning as Jesse, was the latest recruit. A weird mash-up of sex, violence and extreme voyeurism, this was the director’s most assured effort yet.

Hunt for the Wilderpeople

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New Zealand director Taika Waititi offered up this delightfully quirky story about a troubled teenager (Julian Dennison) and his friendship with crusty curmudgeon, Hec (Sam Neill). This film reeled us in and kept us hooked to the end credits.

The Girl with all the Gifts

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Just when we thought the zombie movie had stumbled as far as it could go, Colm McCarthy’s film gave the genre a hefty kick up the backside – and there was a star-making performance from young Senna Nanua in the lead role.

Under the Shadow

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Babek Abvari’s film had all the tropes of the contemporary horror movie and a powerful political message as well. Set in post war Tehran, young mother Shideh (Narges Rashidi) struggled to keep her daughter safe from the forces of darkness.

I, Daniel Blake

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Ken Loach’s return to the screen resulted in one of the most powerful and affecting films of the year – a searing look at ‘benefits Britain’ that would have the most stony-hearted viewer in floods of tears. Should be required viewing for Tory politicians.

Train to Busan

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Another day, another zombie movie – but what a zombie movie! Korean director Sang ho Yeon gave us a galloping ‘zombies on a train’ thriller that nearly left us breathless. There were some incredible set pieces here and a nerve-shredding conclusion.

Paterson

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Jim Jarmusch presented a charming and quirky tale about a would-be poet living in a town that had the same name as him. Not very much happened, but it didn’t happen in an entirely watchable way. A delightful celebration of the creative spirit.

Life, Animated

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This compelling documentary squeaked in right at the end of the year – the true life tale of Owen Suskind, an autistic boy, initially unable to speak a word, but rescued by his love of Disney movies. It was funny, uplifting and educational – and our final pick of 2016.

Hunt for the Wilderpeople

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New Zealander Taika Waititi’s last film, What We Do In The Shadows, offered (against all the odds) a refreshingly original take on vampirism – and the oddly titled Hunt for the Wilderpeople is another quirky and unusual film, set in the writer/director’s homeland. It tells the story of Ricky Baker (Julian Dennison), a troubled teenager in care whose unruly behaviour has pretty much exhausted the list of foster families prepared to give him a chance. In a last-gasp effort to find him a suitable home, he is placed with Bella (Rima Te Wiata) and her curmudgeonly husband, Hec (Sam Neill), who live in a shotgun shack in the middle of nowhere.

After initial teething troubles, Ricky takes a shine to Bella and, for the first time ever, his future looks promising – but then she dies unexpectedly and Hec isn’t slow to point out that having Ricky here was all his wife’s idea. Plans are set in motion to take Ricky back into care, whereupon, he heads off into the outback, determined to fend for himself – and Hec has little option but to go after him. After an accident obliges Hec to lay up for several weeks to recuperate, Ricky and Hec finally begin to bond…

The interplay between Neil and Dennison is a winning combination, delightful and often hilarious – while the succession of eccentric characters they encounter throughout the film adds to the fun, particularly Rhys Derby’s ‘Psycho Sam,’ a deranged hermit who spends much of his time disguised as a bush. Rachel House also shines as child services official Paula, determined to find Ricky and throw him back into care.

Okay, the film isn’t perfect – you can’t help wondering how Ricky can spend five months in the outback, living only on what he and Hec can forage, without losing so much as a pound in weight, for example –  but the New Zealand locations are absolutely ravishing and there’s no denying that the tale is enough to reel you in and keep you hooked right up until the epilogue. Waititi’s  decision to present the film as a series of chapters is also a nice touch. If you’re looking for something different from the usual Hollywood fare, this is a sure bet and the 12A rating means it’s suitable for family viewing.

4.5 stars

Philip Caveney