Cathardincu Surprisingly incoherent and boring

Brightlyme i know i wasted 90 mins of my life.

Cleveronix A different way of telling a story

Keeley Coleman The thing I enjoyed most about the film is the fact that it doesn't shy away from being a super-sized-cliche;

makaniolu I live in Hawai'i and because of that, I could relate to the history of how a Polynesian of Maori descent would've been treated back then. The British treated the Maori just the same as how the Americans treated the Hawaiians. But then again, back then, anything other than being white, you were less than human. The British and Americans treated their dogs better than they did someone of color. But going back to the movie, I found it to be a good story with very good acting from Winstone and Morrison. Temuera Morrison seems to be the go to actor when filming in or about Aotearoa. The relationship that developed between the two characters was interesting and I was waiting to see if/when the common bonds would kick in. In the end, I'm glad that it did. It somehow redeemed the fact that there is some decency in humans after all on the part of Van Diemen. The only reason I didn't give it a 10 was because of the weak supporting cast of characters. I could see this movie being acted out with just the two characters of Winstone and Morrison once the story was set in place.

euanthes Telling a story about the inherent contradictions in both indigenous and colonial cultures and their practices is hardly an easy aim which all too often ends up recklessly spinning off into unfair stereotyping or outright cliché - either quick to villainize colonialists as imperialists who have no sense of moral uprightness and cast the repressed indigenous peoples of some region as morally perfect peoples living in a utopian integration with nature ... or the other way: the way conquerers often told the story lauding the good empire and denigrating the savages. This movie commits neither error. It explores the stereotypes and the moral highs and lows of both groups.I don't think I've seen a more probing and honest film about this sort of subject since Last of the Mohicans (Michael Mann). Though the production quality and budget are not near what they are in a Mann film, there is something actually brilliant about how this film is done WITHOUT the loads of cash which would typically ensure a production like this to be at very minimum, eye-candy watchable. It is a far greater accomplishment and leaves me bewildered why Ian Sharp and Nicholas van Pallandt aren't getting more credit than seems to be showing up here at IMDb.Maori of New Zealand and bushmen of South Africa (though not directly represented in the film) comprise indigenous groups which have had extensive experience with British colonization for a couple centuries and form a layer of history beneath all of the action taking place in this film. The protagonist, Arjan van Dieder (Ray Winstone), plays a similar sort to his role in Cold Mountain as a man with a tough shell from a poisoned and violent past yet with a softer underbelly that could be at times vulnerable to coaxing. Keremea (Temuera Morrison) is the counterpoint to the protagonist (and nearly a second protagonist). The actor plays a Maori which is fitting enough since he IS one. The two actors play perfectly off one another's grit and tenderness.There is one scene I would like to spoil though because the writing/direction is utterly impeccable. At the peak of the film there is a "discovery" which borders on psychologically cathartic and metaphysically salvific: at the cave/fire the fugitive & the tracker share a moment of sorrow separated in time and space but united where the solution to the fated, irresolvable moral entanglement is actually creatively worked out inside. This scene is incredibly powerful and proves this film to be written in a uniquely philosophical way meant to address the role of risk (to the point of self-sacrifice) and creativity (to the point of self- mutilation) when dealing with what seem to be insoluble ethical knots.The scenery throughout the whole film is itself a character and would've been worthwhile without the incredible story-telling!

studio-163-123247 Having been promised a movie like 'The Fugitive' on the DVD cover, I was not disappointed with this low budget action thriller set in early 20th century New Zealand. The film was a sequence by sequence, parallel to the vastly superior Fugitive, yet still kept me entertained. The film even has a replica fugitive jumping vast distance into the water, not pulling the impact of the fugitive, but still extremely entertaining to see Dr. Hone Ropata stick out his tongue as he falls.The acting in the film is generally very good. Ray Winstone pulls a great South African accent, occasionally a little rough to understand but constantly a believable and understandable effort. Gareth Reeves also stands out as an exceptional English soldier, standing up amongst the great of Winstone and cementing his nature of a chameleon actor. Mark Mitchinson also stands out as truly despicable villain, a archetypical antagonist, who unfortunately does not give a satisfying conclusion to his arc in the story. The only lowlight in this stellar cast is unfortunately, the usually very talented Temuera Morrison. His lackluster performance is way behind his past standouts as Hone Ropata, Jake the Muss and Jango Fett, making his apparently intimidating character seem vastly inferior and weak standing next to the wonderful Winstone. When emotional scenes are called upon, Morrison seems to shout in a grisly voice, instead of actually acting and it is hard to sympathize for the character without feelings of melodrama seeping in, with only the well written script being an indication of how the viewer should feel.The film is superbly directed, with every establishing shot a wonderfully beautiful shot of New Zealand landscapes, putting across the setting and giving viewers an idea of the characters anguish and backstory. At times the audio is hard to understand but generally the film is well edited and enjoyable to view. The direction is great and the film, though nothing compared to the Fugitive, is a enjoyable watch.

Dharmendra Singh Archetypal Londoner, Ray Winstone plays Arjan Van Diemen, a staunchly anti-British character, who fought against the Brits in the Second Boer War. He's come to New Zealand to confront them for scorching his farm and murdering his family. Instead of receiving retribution or an apology, he is invited to track a Maori on the run for the (false) charge of killing a British soldier. The reward is 100 sovereigns alive, 25 dead. The casting director can't have had many names in the hat for the role of Kereama, so Kiwi Temuera Morrison seems stereotypical. But for a man who I still remember for T.V.'s 'Shortland Street', Morrison more than holds his own. Winstone's presence doesn't faze him. The plot ensures he is integral and not just a brown-skinned irrelevance, and he demonstrates an impressive Maori lexicon to prove it. It's not a natural pairing, but they have unmistakable chemistry. Both are educated, worldly and principled. They have a mutual respect. Winstone's rotund frame (he's a Boer, but looks more like a bear) suits his weathered character in a way that it hasn't in his recent tough-guy roles. To track Kereama he has to be agile, self-sufficient and able to summon his skills as a South African bushman. He shows in a gritty, punch-up that he still has the moves. And he pulls off a convincing accent. What stood out for me was New Zealand. Cinema has scarcely photographed a more magnificent land. The mountain ranges, woodlands, lakes and rivers are a pleasure to behold. You can watch 'Tracker' just for the scenery; it really is that attractive. What spoiled it was the constant to-ing and fro-ing. Van Diemen loses Kereama every time he catches him, though their constant reintroductions allow them to size each other up a bit more. Kereama expostulates 'We both hate the British'. 'I don't hate the British', Van Diemen defies, 'I hated my God, for a time'. I didn't understand why Van Diemen accepts the task. Money can't be his motivation because that would undermine his case for what the British did to him. Winstone's passion didn't come through for me, and Morrison's sudden embracing of Maori customs and incantations, including a flaccid enactment of the Haka while on the run seemed forced.There's some fun action, however, set against beautiful, sweeping vistas, but ultimately I wasn't moved enough to believe in the characters or their motivations. www.scottishreview.net