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Guy Pearce plays Munro, a lay preacher tasked with looing after a new British settlement on the coast of 1830's New Zealand. The area is riven still with tribal wars and Munro becomes involved in these by accident, during other endeavours.

While this does not pretend to be an accurate retelling of events, it does portray very much the feelings of the time. Tribes who think revenge blood is the only redemption, explorers who think they have a right to other lands, a King who seeks to rule over lands he's never even seen, and the power of the passionate belief of a handful of people.

Munro, an ex soldier who has realised that war is not the route to peace, attempts to convince 2 warring tribes to find a more peaceful way. Of course, this ends in a brief war. However his influence appears to have lain on the victor as he seeks peace from now on with the vanquished.

There is of course a lot of sacrifice along the way of loved ones, some dirty dealing, some giving up of values and some compromise. But is that a fair price to pay for peace?

It's very, very well acted, and the story flows quickly yet in great detail. Guy Pearce is his usual excellent self and the story is inherently interesting and emotional. I liked it a lot so I gave it a solid 7.

I honestly don't know what people expect these days. Yes, it's not great, could have been better, missed opportunities blah blah blah. But it's quite good, very good even (caughtme in justtheright mood). It has a story to tell and it tells it - in a simple and uncomplicated way. Acting is up there with the best, scenery is NZ, so no more to be said there, and with Guy Pearce and Jacqueline McKenzie giving it their all, I was happy to overlook a few things that got up my nose, which us regular, garden variety folks invariably do from time to time. If you're after a feel good movie, a bit of blood and guts notwithstanding, and not a movie buff keen to slash and burn, then have a look. I was engaged from start to finish. Somewhere around 7 is fair.

A very simple straight forward watch about the start of the invasion of west into new Zealand. I love watching Maori films , but unfortunately majority of them are terrible and unwatchable. Due to all new Zealand TV being pretty cheesy and terrible. When I was there , quality is like watching stuff from the 80's.... Anyway the film has fantastic locations and captures the maori's well . Brutal culture , very tough people. They were way more aggressive than native Indians in usa. Their general rule of thumb is they will cook you until your eyes pop out , then feast on you. This film kept me to the end and I enjoyed the acting and story. It reminded me of the last samurai with Tom cruises character, very similar to the main protagonist in this movie. It has hints of the old traditional movie ' The bounty ' as well. It's a little slow to begin with , but has some fun exciting scenes towards the end.

Greetings again from the darkness. Ten years ago, no one would have thought twice about a preacher traveling to a remote island with the given mission of converting souls - both indigenous and British - to Christianity. But much has changed in those 10 years, and writer-director Lee Tamahori (hit and miss with NEXT, 2007; DIE ANOTHER DAY, 2002; ALONG CAME A SPIDER, 2001; THE EDGE, 1997) and co-writers Michael Bennett and Shane Danielson take head-on on the "white savior" backlash that's surely coming their way (not from me).

It's 1830 and Thomas Munro (Guy Pearce) is catching a ride across the rough waves of the Tasman Sea. His beautiful white steed doesn't much care for the boat's ups and downs, and both man and beast are happy to go for a run on the sandy shore once they reach their destination. And that's pretty much the end of the good times. Munro has been hired by the colonists to be their preacher and bring Christianity to the locals ... tribes of Maori. Munro stumbles into the brutal inter-tribe battles and he quickly negotiates to save the life of Rangimai (a stunning Tioreore Ngatai-Melbourne), the daughter of the other tribe's chief.

Early on, we also learn that Munro is no ordinary preacher. He has a past that haunts him - and skills that come in handy in this new environment. Mostly though, he does a great deal of talking - regularly negotiating one thing or another with one side or another. His sketch book offers proof that he's a good man with good intentions, and one who seeks the good in others. What he also learns is that muskets are often more powerful than Christian words.

Munro's mission is aided by Charlotte (a terrific Jacqueline McKenzie) who acts as a translator, while carrying her own personal history of tragedy. Racism is of course on full display, despite Munro's efforts to negotiate peace between the tribes and the always-hovering British colonists. Throughout the film, there are some sloppily staged fight scenes, yet the cinematography from Gin Loane is exceptional. We do get the crescendo of a final showdown, as well as a somewhat surprising ending on display in a "Four years later" epilogue. Director Tamahori hits us very early with a smaller bird being attacked midair by a larger bird, with the survival of the fittest on display - whether here in New Zealand, or most any other place throughout history.

Opening July 12, 2024.

In 1830-based period-drama "The Convert" English lay-preacher Guy Pearce (strong as ever) is assigned to a remote New Zealand outpost where the Brit settlement (led by Mark Mitchinson) rents land from local Maori chief Antonio Te Maioha whose tribe is threatened by warlike rivals led by Lawrence Makoare. Aided by Scottish outcast Jacqueline McKenzie and Te Maioha's daughter Tioreore Ngatai-Melbourne, Pearce attempts to break the savage cycle of violence... but can he? The screenplay from Michael Bennett, director Lee Tamahori & Shane Danielsen is interesting & engaging (if not outstanding for the genre). It's good, solid, worthy, & well-performed fare.

It's 1830 New Zealand. Guns have changed the local Maori culture and soon Christianity. Thomas Munro (Guy Pearce) is the newly arrived Reverand from England to preach over the tiny community of Epworth. On the way there, he encounters a tribal conflict and rescues Rangimai (Tioreore Ngatai-Melbourne) from execution. She turns out to be the daughter of a rival clan leader. Charlotte (Jacqueline McKenzie) is an Epworth villager with connection to the Maori.

This is essentially the story of Dances with Wolves in another place with more religion. There is a lot to like. It also feels very familiar. It is nice to see this culture and this particular time/place being represented. It's not the most covered. This may not be the most inventive, but it's nice just to see it.

I was privileged to see this film Friday night at the Toronto Film Festival. It was a riveting and exciting story about the history of the Maori tribes in New Zealand and their conflicts with the British as well as with each other. Thomas Monro (Guy Pearce) is a lay preacher who comes to serve the British settlement in New Zealand. Pearce gives an emotionally riveting performance and the rest of the lead cast, particularly Tioreore Ngatai-Melbourne, Jacqueline McKenzie, and Dean O'Gorman, were memorable and masterful in their roles. The story explores the age-old conflicts between tribes as well as those tribes and their victimization by the invading culture (in this case, The British). The resolution reflects the irony of the title. Overall, very worth seeing and I will see it again!

It's a unique story from what the title would typically suggest. It's about the righteousness and beauty of humanness rather than petty politics and false patriotism. This portrayal of civilizations clash invites the audience to accept the face value but gradually accompanies the viewers towards reality and a history that wasn't famously documented. Excellent visuals of nature that's untouched and formidable even for royal navies. Great performances by the cast. Good use of audio. For the surprising message the story carries The Convert would be an absolute treat for anyone who looks for period drama with a unique perspective.

Thomas Munro is caught in between two warring factions of the Maori tribe and the British trying to benefit in the name of his majesty. Thomas Munro has a violent past as he was part of the military and has turned into a preacher, seeking peace but to his bad luck, he lands up in New Zealand and peace is a luxury here. He is forced to pick his side in the ongoing war among the Maori tribe and his choice sets the future, to stand up against the British.

The Convert isn't a bad film, it is just so blandly narrated, I couldn't help get over the typecasted characters that kept getting thrown in. The drama again is not well balanced as there isn't enough backstory to Thomas Munro and there is also very little to Rangimai. The story felt repetitive as it lacked freshness when it comes to establishing the need for dominance and ofcourse the British's games in pushing the Maoris into a war within. The action scenes too were routine.

The Convert, director Lee Tamahori's latest historical epic, takes us on a journey to 1830s New Zealand, a land simmering with tribal tensions on the precipice of British colonisation. We meet Munro (Guy Pearce), a disillusioned former soldier turned lay preacher who arrives at a fledgeling British settlement. When he's caught in the crossfire between warring Maori tribes, Munro's faith and identity are put to the ultimate test.

Tamahori doesn't shy away from the complexities of this period. The film beautifully portrays Maori culture, from intricate haka dances to the spiritual significance of moko (facial tattoos). There's a refreshing lack of subtitles for some te reo Maori dialogue, forcing us to immerse ourselves in the world and appreciate the characters' communication struggles. This commitment to authenticity extends to the production design, with meticulously crafted costumes and settlements that transport us back in time.

The Convert occasionally stumbles in its attempt to balance historical accuracy with crowd-pleasing action. The fight choreography, while intense, can veer into slightly unrealistic territory at times. Likewise, the film flirts with the "white saviour" trope in the first act, although Munro thankfully develops a more nuanced relationship with the Maori characters as the story unfolds.

The performances elevate the film. Pearce delivers a solid portrayal of a man grappling with his past and purpose. But it's Tioreore Ngatai-Melbourne as Rangimai, a fierce Maori warrior, who truly steals the show. Her performance is brimming with raw power and vulnerability, making Rangimai a character we can't help but root for. The supporting cast is equally strong, fleshing out the Maori community and the fledgeling British settlers.

The sweeping cinematography captures the breathtaking beauty of New Zealand's landscapes, with rolling hills and lush forests contrasting with the harsh realities of tribal warfare. The score is appropriately evocative, using traditional Maori instruments alongside a more modern orchestral sound. The editing is generally crisp, keeping the pace steady without sacrificing character development.

The Convert isn't a perfect film, but it's a compelling one. It's a visually stunning and thought-provoking exploration of cultural clash, faith, and the fight for survival. While the action sequences might not be the most grounded and the narrative occasionally flirts with clichés, the film's commitment to historical authenticity and the strength of its performances ultimately won me over. If you're looking for a historical epic that's both beautiful and thought-provoking, The Convert is definitely worth a watch. Just be prepared for a bumpy ride along the way, but one that ultimately leads to a rewarding destination.

In his most recent film, "The Convert," director and co-writer Lee Tamahori revisits his native New Zealand to explore a tumultuous period in the nation's history. Alongside co-writer Shane Danielsen, Tamahori may have taken certain historical liberties by loosely basing their narrative on actual events, creating composite characters, or introducing new figures. Nevertheless, if the intention of "The Convert" was to evoke the essence of New Zealand during a time when most inhabitants referred to it as Aotearoa, it achieves that aim effectively. Cinematographer Gin Loane captures the story crafted by Tamahori and Danielsen against the backdrop of the stunning natural landscape, occasionally employing stark contrasts to highlight the dark sandy soil, deep rivers, and overcast skies. At other times, the camera immerses itself in the crashing white surf, imposing rocky cliffs, and vibrant green forests, occasionally zooming in on a bird or plant, thereby anchoring the narrative in a uniquely defined sense of place.

In the year 1830, Thomas Munro (Guy Pearce) arrives in New Zealand. A man burdened by his military past, he seeks to escape England and secures passage to the far side of the globe as a lay preacher. However, rather than finding solace, he encounters a community in disarray, as two Maori chiefs, Maianui (Antonio Te Maioha) and Akatarewa (Lawrence Makoare), engage in a fierce struggle for dominance over the area. Traders like Kedgley (Dean O'Gorman) supply both factions with muskets and ammunition, while the British colonists in the town of Epworth ostracize anyone who is not British and Protestant. They even go so far as to deny medical assistance to a wounded Maori woman, Rangimai (Tioreore Ngatai-Melbourne), whom Thomas has rescued from an ambush. As tensions escalate, Thomas finds support in Rangimai and a widow named Charlotte (Jacqueline McKenzie), even as the specter of war looms ever closer.

The essence of the film is encapsulated in the character of Rangimai, a woman deeply affected by the brutality of the men surrounding her, yet fiercely determined to avenge her husband's murder. In a performance that showcases her talent, Ngatai-Melbourne delivers a striking portrayal, singing mournful songs for the deceased, taking up arms against her foes, and also engaging in rare moments of tenderness with Charlotte and Thomas. This character is both enigmatic and sincere, possessing an awareness of the political dynamics at play and demonstrating a willingness to engage in them. She is eager to learn from her British neighbors, despite their rejection of her and her community, recognizing that understanding them offers her a strategic advantage.

At times, the film may appear hurried and somewhat unrefined; however, it remains a captivating and fully romanticized narrative drawn from New Zealand's history, presented in a manner that resonates positively.

This movie was silly at times. Bad special effects and just a badly shot movie. In one scene, the girl characters friend gets his throat slashed right in front of her and then two seconds later she's completely fine like nothing happened. The girl seems to speak and understand perfect English but then in the next scene, they talk to her like she has no clue what they're saying. Very inconsistent themes and scenes. Then there's a scene where they are almost dancing and being silly with a very obvious fake sun and forest in the background. It's a really bad movie honestly and I wanted it to be good but unfortunately it's not. Definitely would not recommend.

A very well-made film, shot beautifully in picturesque NZ. Locations, casting and costumes very fantastic. Jaquelline Macenzie and Guy Pearce at their very best. Overall, it's an interesting topic about Christianity being introduced into NZ but it didn't really do much in terms of that. The story didn't know whether it want to be a converting local to Christianity story or a story about the violent traditional tribal practices of the Maori. This felt like 2 different stories that were not blended correctly. The idea was good but not great and was not written well and not executed well. Overall, the film looks great, but the story got boring and uninteresting halfway through. Overall, I recommend and great co-production between Australia and NZ, but the director has made many great films locally and in Hollywood.

The title just about says it all. Now, I have to admit that there are already some less-usual touches, like the repeated references to "The Father of Capitalism" Adam Smith, whose Wealth of Nations was published less than a century before the events of the film and which shapes how the colonizing characters approach the people of Aotearoa (native name for New Zealand), with the final reference being deliciously ironic.

Similarly, we also see divides within the colonists, such as the most openly racist character being a Catholic shopkeeper - that is, he attempts to emphasize the superiority of the colony over "the uncivilized" in the hopes it would make him more accepted via contrast.

On the other hand, while just about everything to do with the tribal conflict is fine, it is too straightforward to really shine. The big battle sequence was clearly something Lee Tamahori really wanted to do, but it's ultimately nothing you would not have seen before, and the logic of how it unfolds is shaky. Who gets to live and who has to die for the sake of the narrative holds no surprises, so deaths don't affect like they do in the first half.

As a final note - it's interesting that a Maori director apparently considers "raise their rent" as an acceptable remedy to the injury suffered by the tribe immediately before. I would have questioned it further if the director had a different background, but even so, the speed with which said suggestion is accepted rings false.

The Convert (2023), based on a story by New Zealand writer Hamish Clayton, is a film that's been a long time coming. Directed by Lee Tamahori, a seasoned veteran of both drama and action genres, it's a film that's been quietly simmering on the back burner since its sales rights were acquired at the 2022 Cannes Film Festival.

I'd done some reading about it a couple of years ago, and it seems the film spent those two years languishing in some production company drawer. The reason, I suspect, is the current state of movie-going audiences. Let's face it, most people (with a few exceptions) aren't flocking to theaters for two-hour (or longer) historical dramas. The box office numbers back this up. And I guess the production company didn't want to relegate this film to a straight-to-streaming/home video release either. They have a point.

Guy Pearce, one of the most talented actors working today, but one who's been plagued by a less-than-stellar career trajectory, takes the lead role. And boy, does he deliver. He's absolutely mesmerizing, bringing a Shakespearean intensity to every scene as if he were performing on the National Theatre stage. It's clear he's deeply invested in the story, perhaps due to its historical relevance to his own background.

Gin Loane, whose work I haven't seen before, delivers stunning cinematography that captures the rugged beauty of the New Zealand landscape. Tioreore Ngatai-Melbourne gives it her all, and it wouldn't surprise me if she snags an award for her performance in this film. (I haven't checked, but it wouldn't be undeserved.)

The Convert is a film that deserves recognition for its acting, well-choreographed fight scenes, seamless integration of the Maori language, and authentic portrayal of 1830s New Zealand society. It's a film that transports you to another time and place, immersing you in a world of conflict, faith, and redemption.

It's a good story, but incredibly bad directing that makes the actors look like amateurs.

Bad photo. The special effects and the stunts are like in a movie from 100 years ago except it is not in black and white I have liked Lee Tamahori early works but this is like a school movie he could have made in his youth.

I have no understanding of the good reviews here. This fantastic people's story deserves a better delivery than this like he has done before. Please give him a decent budget so he can return and give us quality again. This is not the way he deserves to be remembered.

Lee can not be satisfied with this result.

I found this movie to be surprisingly great. The cinematography is breath-taking. The acting is exquisite. The story was very slow in one respect but not detailed enough in others. The pace was a tad slow for me, but failed to delve into character detail and the individual stories on the other hand. I believe this could have been a respectable mini-series if, for instance, the details of the young English girl and the Maori man were expanded or the relationship of Monroe (Pearce) and the woman (McKenzie) he met on the island, was drawn out in more detail. Some scenes are not for the faint-of-heart but they are tastefully done. But again I feel the need to mention the visual aspect of these beautiful islands. And speaking of details, I have to ask - knowing that Mr. Pearce is not only a great actor - but a skilled artist as well, did he do the drawings that were in the sketch book he carried? Being no stranger to performing portrait art myself, the sketches were amazing. As far as the subject matter, I had no idea of the history of New Zealand or the tribal inhabitants so I feel I learned a lot from watching The Convert, even though I read that it may not be a historically accurate as it could be. Over all, I was pleasantly surprised by this movie and already have viewed it twice to take everything in. I highly recommend it.

Tries to be modern i.e. Also shows the maori side(however lack of subtitles) but in the end it just conforms to all the old stereo types as well as adding some new inventions and perpetuating the ever present white saviour trope.

Absurdly the preacher teaches the savage to dance!. ?I was astounded that nobody was taught twerking. Peace was taught thru war, shades of reality wot? The natives periddically seem to be itching to haka which they do quite often really, talk of stereotyping just stick your tongue out. Had promise that is sorely dashed, does show some nasty settlers and some gone native.dissapointing hodwash really with manufactured love interes thrown in for completeness.

While this film tells of a seemingly unimportant bit of history from a global political perspective, it is infact a very interesting tale which is omitted from commonly known pop history.

The scenes are dramatic and don't pause, one picture almost seems better than the last. Every shot tells a story of culture and narrative, and every line of the script only adds more meaning to human nature.

In a lot of ways the seemingly small skirmish which is depicted in this film, can be far more dramatic than the large scale battles of the massive nation States who dominate the Globe. Each member of the warring tribes are not only friends but also lovers, family members and close nit family legacies.

As a history enthusiast, I also very much appreciated a more realistic portrayal of...history which is often, or almost always ignored by mega budget Hollywood fairy tales disguised as history. Yes there were some goofy flaws with weapons, but the flaws told a larger narrative and gave more color to viewers who might not be history buffs.

In the end this movie is at heart a play and not a documentary, but it's a story true to it's spirit.

Enjoy!

Baffled by the direction of the writer and director with this one. It started out spectacularly, wonderful and full of potential. It is New Zealand! The location of The Lord of the Rings! Beautiful scenery, great special effects, etc... and potential story.

Then suddenly, it turned into a documentary on the Maori people, boring and just pointless. If I wanted to watch a documentary, I'd go watch a documentary. If you sell yourself as a movie, then you better have enough substance, plot, story, to keep audience engaged. Otherwise you alienate majority of your viewers and only retain the attention of specialized viewers with interest in the Maori people.

A good effort, but without vision, without direction.

It is one boring film.

3/10.

Tamahori coaxes every last ounce of actors skill, and doesn't spare any punches in crafting the honest reveals that are his films.

This is a thoughtful and insightful look at a lay preacher who lands up in a very early colonial outpost where colonial oppression is already being enacted. To balance this he shows that there were some Europeans who cared for and highly respected Maori.

Yes, there is shockingly realistic and bloody battle between tribes, but there are also lovingly depicted examples of their cultural norms, which put the English's(still) lack of care for those in their tribe into sharp contrast.

The way that the actors are framed in the landscape, the mud and squallor of the European camp, the beautifully peaceful and happy hill top encampments of the Maori. There were several reasons why Maori didn't build by the swamps and wetland valley floors. Once was the ability to defend, and another they weren't flooded out and muddy.

I came away shaken by this chilling view of my ancestors as awful colonisers and callousness to their own (to the point of murdering to get pecuniary advantage), and in awe of the mana (power, goodness, worth of respect) of Maori leaders. This contrast continues right to the present day in Aotearoa/New Zealand.

I went into this movie with high expectations - a part Maori director taking on the task of chronicling early Maori-British interactions...sounds great! I left somewhat baffled. The viewpoint, from a seemingly benevolent, reformed soldier British priest just felt off. In a movie I expected to buck archaic and misguided concepts of "native savagery", it seemed too familiar a portrayal of a white man on a mission to rebuff his own people's wrongs but also seemingly bringing morality to the violent Maori. Violence is, indeed, pervasive, but we simply don't need another tale of a white man as the savior who is going to free this world from that violence. I would have loved this movie from a Maori perspective. As is, it felt more like Apocalypto with a savior on top...

Not a bad film about the early days of white settling in Kiwi land that this Aussie doesn't know much about. Thankfully our Aussie Guy my favourite actor helps me know more in this good story. Another fine Aussie actress Ms. McKenzie backs him up. It's good to see Maori actors playing their ancestors and how the Director of Once were Warriors fame doesn't white wash their violent past. As a character says-Blood redeems Blood. When the violence it's realistic and shattering as always. Guy and Jackie also tell their tragic pasts and the new New Zealanders show they aren't lilly white of sins either. By the conclusion you know who the Convert is.