Pathfinder
Review by Peter T. Chattaway | posted 4/13/2007
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It's never a good sign when a movie sits on the shelf for too long, and to give you an idea how long Pathfinder had to wait before it could come to a theatre near you, consider this: The studio behind this film also produced X-Men: The Last Stand, and invited journalists to visit the sets of both films simultaneously while they were being shot in Vancouver. But the mutant-superhero movie, which presumably needed a lot more time in the special-effects lab once all the principal photography was done, came out almost a year ago, whereas Pathfinder, a simple revenge flick set during the Vikings' attempted colonization of America, is only coming out now.
Karl Urban as Ghost
Unfortunately for the film, this delay means it is coming out after the release of Mel Gibson's Apocalypto and Zack Snyder's 300, two films that it resembles rather strongly—and while Pathfinder would have been a bad film no matter when it was released, the inevitable comparison makes it look all the poorer.
Like Apocalypto, the new film concerns a man whose village is destroyed by brutish outsiders, and who fights back by retreating deeper and deeper into the forests that he knows. And like 300, the new film depicts a turning point in history when one civilization tried to conquer another, but ultimately failed; just think how different our world would be if the Persians had squelched Greek culture, or if the Norsemen had established a permanent base in North America centuries before Columbus showed up. However, unlike those films, which were engaging on all sorts of levels despite their crassness, there is little in Pathfinder that is all that interesting.
Since he was a young boy, he always wanted to get a head
Like those films, Pathfinder also has a lot of violence—but it doesn't have a lot of action, and that is one of its biggest problems. The film is directed by Marcus Nispel, whose only previous feature film is the remake of The Texas Chainsaw Massacre—and Pathfinder comes across like the sort of film one makes when one is more fascinated by ugliness and the grotesque than by anything resembling movement or excitement. The film is populated by monstrous bad guys who wear skulls for masks, and it is full of tight close-ups on people being jabbed and stabbed and ripped apart in every possible way. And then there are the corpses, lots and lots of corpses.
The story starts when a Native American woman discovers a Viking shipwreck filled with dead bodies and one lonely survivor, a 12-year-old boy she takes home to raise as a member of her tribe. Fifteen years later, the boy—named "Ghost" due to his pale skin and blond hair—is a man, and something of a misfit, neither fully accepted by the Americans nor eager to reconnect with his Scandinavian roots. Ghost (Karl Urban, who played the Viking-like É omer in The Lord of the Rings) is haunted by nightmares of his youth, when his father beat him for failing to be as savage and bloodthirsty as all the other Vikings, but he still practices with his father's sword, an heirloom that easily outclasses the stone-age weapons used by the Americans.
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