851222 Greetings from Lithuania."The Dead Lands" (2014) tries to mix some genres, ideas, visual scenes it fells short very quickly in creating a simply involving movie. The story here isn't bad, but it is so uninvolvingly made that i finished watching this movie in like a week - seriously. I just didn't care AT ALL about two main characters, i didn't connect to them and i couldn't care less about the outcome. I liked the landscapes although, nature is very beautiful in here, but sadly that is the only positive thing i can say about "The Dead Lands". Overall, "The Dead Lands" isn't a terrible movie, it isn't a very bad one either, it's just that i tries mix some genres, but fails to create a simply involving movie. The story is very simple, but that isn't a problem. Problem is that couldn't care less for this story - editing, directing and especially script are very poor. Acting was OK just by the guy who played this "flesh eater" - everyone else were very quickly forgettable. There are plenty more better movies in the market, you can skip "The Dead Lands".

sittdogg This movie kept me interested all the way to the end despite the subtitles. The language used by the tribes in the movie added to the action and culture they expose you to. This was different and intriguing and I nearly felt I was seeing a piece of these tribes and their ways from hundreds of years ago. The action keeps you going throughout the movie and seeing these cultures in action keeps you in awe. Everything from the the battle scenes, language, scenery, and even the facial expressions captures these ancient people well. I'm the type of person who has to be captured to watch a movie to the end and this one did it. This movie is about ancient cannibal Indian tribes in New Zealand.

euroGary Seen at the 2014 London Film Festival, 'The Dead Lands' is pretty much your basic revenge flick, but as it is set in New Zealand before colonisation and is made entirely in the Māori language, it carries mucho filmsnob brownie points! Unimpressive young warrior prince Hongi is the scapegoat chosen by Wirepa, prince of an opposing tribe, to provide the excuse he needs to restart war between the two peoples. Wirepa subsequently leads his forces in a night-time attack against Hongi's tribe. As the sole male survivor, Hongi feels duty-bound (or should that be testosterone-bound?) to avenge his dead kinsmen and sets off after Wirepa's forces, who are beating a retreat through the quasi-mystical 'Dead Lands', an area that is home to a feared warrior who is also the last surviving member of his tribe.Like many basic revenge flicks, this film has plot holes a-plenty: for instance, Hongi's metamorphosis from hopeless fighter to someone able to defeat several fighters at once is rather sudden; and from where did that well-made hut in which he nurses the injured warrior back to health suddenly appear - it wasn't there before the big fight! All the pre-battle tongue-waggling proved difficult for this white European reviewer to take seriously, although obviously it is of great cultural significance to Māoris themselves (not to mention the All Blacks rugby team). Budget constraints may have meant the producers couldn't hire many actors; Hongi's entire tribe seems to number no more than six or seven people. For much of the film Wirepa is seen with even fewer soldiers on his side, until one shot suddenly shows about twenty of them - up until then Hongi and the warrior's quest didn't seem as hopeless (or unbelievable) as it actually is. But there is a certain comfort in watching a film that reliably goes from A to B; and the battle scenes are balletically-staged (although I could have done with fewer of them being shot in the dark).As for the acting, barring once or twice where he sticks out his tongue, James Rolleston as Hongi spends most of the film peering sulkily from between the curtains of his carefully-arranged hair like a boybander shooting the video of his next hit single. The well-muscled, statuesque Te Kohe Tuhaka makes a cruel - if at times camp - villain as Wirepa. Top acting honours go to Lawrence Makoare as the warrior - he's got the looks and build that suggest he usually plays brainless heavies (he's been in the 'Lord of the Rings' films but I haven't seen those), but in this he nicely conveys the warrior's rage, bewilderment and redemption, using humour when required but crucially knowing when to rein it back in.Also worth a mention is the music - whoever is responsible (I can't find his name on the official site or IMDb) has avoided the trap of thinking "Maori film so it's got to be tribal music" and instead gone for a varied score with elements of classical and electronic that is most pleasing - the last time I really noticed a film's music was 'The End of the Affair', so it says something that I noticed it here! But the biggest attraction of all is perhaps the New Zealand scenery, with every tree, bush and blade of grass vying for attention.

Raven-1969 "Stars, hide your fires" exhorts Macbeth "let not light see my black and deep desires." Similarly, a vicious and powerful band of thugs destroys a village, murders its people, and counts on escaping notice and justice for their actions. These formidable Maori warriors from long ago slip into the forest with confidence that their heinous deeds will go unpunished. They believe deeply that such violence feeds their glory. They did not concern themselves that Hongi, a young warrior from the village they destroyed and burned, slipped away with them. They did not much hesitate to enter the forbidden dead lands where a legendary fighter is rumored to rule and reside. Into this fearsome land of bones they go, pursued by the solitary Hongi and soon a new menace that none of them imagined.