The Dead Lands (Toa Fraser, 2014). What a ridiculously good idea. Like a lot of people, I came out of Mel Gibson’s Mayan action film Apocalypto thinking that someone needed to make a movie like that, set in pre-European New Zealand, with all dialogue in Te Reo. And now someone has. It seems to me that the success of The Dead Lands is in the melding of a generic horror-action-martial arts idea devised by commercially-minded producer Matthew Metcalfe and writer Glenn Standring (previously, demons and steampunk vampires) with the more mainstream values of director Toa Fraser, cinematographer Leon Narbey and musician Don McGlashan, whom you would never have picked as the composer of the threatening electronic score. In other words, the right talent came together in the right way. The Dead Lands is a straight-forward, unrelentingly violent and constantly uncompromising action film that throws audiences into an unfamiliar world run according to codes of honour, family and spirituality (with occasional cannibalism). The secret weapon is the impressive Lawrence Makaore as the film’s soulful monster – so much more than the terrifying dark object used to frighten Tolkien and Jackson’s Anglo-Saxon and Nordic heroes in the Lord of the Rings films.