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Review and Trailer for Oscar-Nominated 'Kon-Tiki' - An Enjoyable, Supersized High-Seas Adventure

Photo of Beth Hanna By Beth Hanna | Thompson on Hollywood April 25, 2013 at 12:46PM

Norway's Oscar-nominated Foreign-Language entry, the enjoyably supersized “Kon-Tiki,” follows the real-life adventures of explorer Thor Heyerdahl, who, in 1947, embarked on an eccentric mission across the Pacific Ocean, from Peru to Polynesia, on a wooden raft. His goal was to prove that Polynesia...
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"Kon-Tiki"
"Kon-Tiki"

This review was originally posted January 10th. Watch the new trailer below.

Norway's Oscar-nominated Foreign-Language entry, the enjoyably supersized “Kon-Tiki,” follows the real-life adventures of explorer Thor Heyerdahl, who, in 1947, embarked on an eccentric mission across the Pacific Ocean, from Peru to Polynesia, on a wooden raft. His goal was to prove that Polynesia had been discovered and settled by ancient Peruvians, and not by Asians, as went the leading scientific belief. “The oceans aren’t barriers, but highways,” says Heyerdahl (Pål Sverre Valheim Hagen) in the film.

Heyerdahl assembles a ragtag team of raftsmen, including a recently divorced refrigerator salesman who understands ship mechanics, two sailors (one a ladies’ man, the other a taciturn WWII veteran) and, importantly, a man with a movie camera. Silent, flickery black-and-white sequences pop up periodically in the film, mimicking the actual 8mm footage shot by Heyerdahl and his crew while onboard the raft. The real footage became the documentary that would win Heyerdahl an Academy Award in 1950.

The ocean is a central character of “Kon-Tiki,” occasionally outshining the film’s raft-bound human characters, but mostly bolstering their seabound drama to a level of exciting entertainment. The film is conventionally well made, sticking to the usual tenets of overblown Hollywood epics. It’s overscored for maximum emotional manipulation, and begins with one of my narrative pet peeves: the childhood flashback that explains in a pat way an adult character’s motivations. The cinematography and set design both have the high-gleam polish of money. (“Kon-Tiki” is Norway’s most expensive local production to date.) A big budget often results in aesthetic artifice; sure enough, this movie's vivid colorful surroundings, lavish period detail and impeccably assembled raft  are all too perfect. They glow with lighting.

Yet “Kon-Tiki” is a crowdpleaser. The film excels in aquatic special effects. The motley crew faces more than one shark encounter: each sequence is breathtaking, even heartpoundingly visceral. Early in the voyage a whale shark emerges, which is technically a harmless subset of the species, but this gives Heyerdahl and his men little comfort -- with a flick of its massive tail, the whale shark could capsize the raft (and almost does). While luxurious widescreen lensing brings the heft of the gigantic creature to life, underwater photography does the same for the more compact if still frightening great white sharks that circle underneath the wooden vessel. Shark lover that I am, I marveled at the photo-realism of the beasts, particularly during a sequence where the war veteran hauls one onboard and takes bloody revenge on the animal for having eaten his parrot.

This article is related to: Reviews, AFI, Kon-Tiki, Reviews


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Thompson on Hollywood

Born and raised in Manhattan, Anne Thompson grew up going to the Thalia and The New Yorker and wound up at grad Cinema Studies at NYU. She worked at United Artists and Film Comment before heading west as that magazine's west coast editor. She wrote for the LA Weekly, Sight and Sound, Empire, The New York Times and Entertainment Weekly before serving as West Coast Editor of Premiere. She wrote for The Washington Post, The London Observer, Wired, More, and Vanity Fair, and did staff stints at The Hollywood Reporter and Variety. She eventually took her blog Thompson on Hollywood to Indiewire. She taught film criticism at USC Critical Studies, and continues to host the fall semester of “Sneak Previews” for UCLA Extension.