tomsview To judge from the derision heaped on this film, one could be forgiven for thinking it must be totally unwatchable, however, that definitely is not the case. The film was shot on location and despite liberties taken with history, it is an absorbing look at a mysterious culture that has virtually disappeared.1400 years ago, Polynesian seafarers settled on the most remote island on earth, Easter Island or Rapa Nui as they called it. Although most of what is known about their history is speculation based on archaeological evidence, it seems the island went through an intense period of statue (moai) building, followed by an equally intense period of tearing them down. In the course of which, Rapa Nui was denuded of trees and its society decimated by warfare and famine. To regulate their dwindling resources, the islanders conducted an annual ocean race with the winner's tribe ruling the island for a year under their leader, the Birdman.Kevin Reynolds' movie is about these events. In fact, every event in the island's history is in the film. What took over 1000 years to unfold takes place in what seems like a single season. Time compression is one of the major criticisms of the film.The writers constructed a Romeo and Juliet love story around the characters played by Jason Scott Lee, Sandrine Holt, and Esai Morales. This aspect of the story is quite effective due to their convincing performances. Less convincing are passages of silly dialogue between Eru Potaka-Dewes, and George Henare playing the reigning Birdman and the High Priest respectively. However, these are exceptions; the rest of the script effectively moves the story along and explains why things are happening to this doomed culture.The making and moving of the moai are highlights of the film as is the birdman competition; an event so gruelling that by comparison, a modern triathlon seems about as difficult as an egg-and-spoon race. The film recreates the event at the actual location: the cliffs at Orongo. Today it is forbidden to scale these cliffs but it seems the film was shot before the restriction existed.The score by Stewart Copeland, the former drummer of the band Police, features a blend of choral, orchestral and new age elements. A traditional score may have worked but this one is inspired, delivering a sense that time is running out for Rapa Nui.Much bare skin is exposed in the movie and nearly all the women appear topless. Gratuitousness is another charge levelled at the film, however the alternative would have been Dorothy Lamour sarongs. Historical evidence suggests the costume designers got it right, which probably pleased the marketing people who no doubt had an eye on the box office.Rapa Nui offers a very different cinema experience. It is not without the odd gaffe, but it is also totally unique and utterly compelling as well.

KFL There seems to be some doubt among posters here as to the broader outlines of this story--the religious motivation for building the statues, and the environmental disaster this wrought. However, in broad outline this agrees with the best educated guesses of recent anthropology; see for example Chapter 1 of Clive Ponting's _A Green History of the World_. After noting that by the time of the first visits of Europeans to Easter Island in the 18th century the island had been stripped of all its trees, and that some of this lumber would have been used for building, cooking and the like, Ponting continues: "The most demanding requirement (for lumber) of all was the need to move the large number of enormously heavy statues to ceremonial sites around the island. The only way this could have been done was by large numbers of people guiding and sliding them along a form of flexible tracking made up of tree trunks spread on the ground between the quarry and the (site). Prodigious quantities of timber would have been required and in increasing amounts as the competition between the clans to erect statues grew. As a result by 1600 the island was almost completely deforested...."Thus in its broadest outlines the story told here is correct, and there must have been a kind of apocalyptic dread among the more enlightened of the residents, as the island was inexorably denuded.This portrait of a dying society, if done well, would have alone been enough to make Rapa Nui a highly interesting movie. But unintended comedic elements prevent us from taking it very seriously. On being presented with a huge statue, the result of months of work, the chief simply says "not big enough! Build another one!" ...he couldn't be bothered to vet the project in the design stage? Lines like this, and "don't bother me, I've got chicken entrails to read", and other idiotic plot twists that would constitute spoilers, dash cold water on this film as the tragic if formulaic reenactment of the final days of a doomed civilization.As others here have said, Easter Island itself is breathtaking; the beauty of the setting is one of the better things about Rapa Nui. And the story had great potential. But this movie is impossible to take seriously, and that is a shame.

petesykze The only good thing about this film is the scenery. It's preposterously overblown, sincere and pompous, at least 90% of the cast can't act to a degree necessary for a motion picture, and the whole thing is so dull, noble and lifeless that it just sucks all energy and intelligence from you as you watch, leaving you admiring the nice pictures of forests and tropical lagoons. Even worse than 'Legends of the Fall'. 4/10 (and that's being generous)

LuvsFood Rapa Nui is more than just a bunch of Polynesian (and Hispanic!) actors running around half-nekkid. It's an allegory about the dangers of theocratic government, and a tale of class struggle. Rapa Nui is the Polynesian name for Easter Island, that famous dot in the Pacific Ocean with the mysterious statues. We get to see how these things were carved - and why. The Long Ear tribe has effectively subjugated the Short Ear tribe, forcing them to carve Moai (statues) in order to placate the gods. Director Kevin Reynolds uses the island and the carving of statues as an effective backdrop to illustrate the enmity between the tribes, as well as a power struggle for eventual spremacy of the island. The film is driven by visuals and ideas. The writing hardly ever rises above so-so, and it's jarring to hear Polynesian-looking people with British, American and Latino accents. But the film has a certain power to fascinate, and for that alone I recommend it highly.