Cliff Curtis Movies

Nemis the Centaur (Cliff Curtis) is given the opportunity to avenge the death of his twin brother at the hands of Hercules (Kevin Sorbo)--who is at this moment en route to a wedding in the town of Nespa. Since Nemis also covets the bride Penelope (Jacqueline Collin), he looks forward not only to killing Hercules but claiming Penelope for himself. Upon his arrival, Hercules agrees to take on Nemis and his friends in a "friendly" game of combat--only to be rendered blind by the duplicitous Lyla, the girlfriend of one of Nemis's Centaur cronies. Lucy Lawless, later cast as warrior princess Xena, is seen as Lyla. This episode of Hercules: The Legendary Journeys contained the first of the series' semi-satirical disclaimers ("No Centaurs were harmed during the production of this picture"). ~ Hal Erickson, All Movie Guide

This powerful drama was a major hit in its native New Zealand, outgrossing Jurassic Park in Kiwi cinemas. Jake and Beth Heke (Temurea Morrison and Rena Owen) are a couple of Maori descent who are living in a slum in Aukland. While it's obvious that they still love each other, Jake's alcoholism has driven a wedge into their relationship and has left their children emotionally scarred. Jake is charming while sober, but when drunk, he's a violent psychopath given to blink-of-an-eye mood changes and terrible cruelty against his loved ones. Liquor has also made it difficult for Jake to hold onto a job, leaving him dependent on the dole to feed his family. Nig (Julian Arahanga), Jake's oldest son, has turned his back on his father and joined a gang of Maori youths whose initiation rituals include tattooing and torture. Jake's 13-year-old daughter Grace (Mamaengaroa Kerr-Bell) prefers to spend her time with her drug-addicted boyfriend -- rather than stay home and fight off the advances of her father's friends. And Boogie (Taungaroa Emile) ends up in juvenile hall when Jake's drinking prevents him from going to court to speak on Boogie's behalf. Once Were Warriors was based on an acclaimed novel by Alan Duff. ~ Mark Deming, All Movie Guide

Writer/director Jane Campion's third feature unearthed emotional undercurrents and churning intensity in the story of a mute woman's rebellion in the recently colonized New Zealand wilderness of Victorian times. Ada McGrath (Holly Hunter), a mute who has willed herself not to speak, and her strong-willed young daughter Flora (Anna Paquin) find themselves in the New Zealand wilderness, with Ada the imported bride of dullard land-grabber Stewart (Sam Neill). Ada immediately takes a dislike to Stewart when he refuses to carry her beloved piano home with them. But Stewart makes a deal with his overseer George Baines (Harvey Keitel) to take the piano off his hands. Attracted to Ada, Baines agrees to return the piano in exchange for a series of piano lessons that become a series of increasingly charged sexual encounters. As pent-up emotions of rage and desire swirl around all three characters, the savage wilderness begins to consume the tiny European enclave. Campion imbues her tale with an over-ripe tactility and a murky, poetic undertow that betray the characters' confined yet overpowering emotions: Ada's buried sensuality, Baines' hidden tenderness, and Stewart's suppressed anger and violence. The story unfolds like a Greek tragedy of the Outback, complete with a Greek chorus of Maori tribesmen and a blithely uncaring natural environment that envelops the characters like an additional player. Campion directs with discreet detachment, observing one character through the glances and squints of another as they peer through wooden slats, airy curtains, and the spaces between a character's fingers. She makes the film immediate and urgent by implicating the audience in characters' gazes. And she guides Hunter to a revelatory performance of silent film majesty. Relying on expressive glances and using body language to convey her soulful depths, Hunter became a modern Lillian Gish and won an Oscar for her performance, as did Paquin and Campion for her screenplay. Campion achieved something rare in contemporary cinema: a poetry of expression told in the form of an off-center melodrama. ~ Paul Brenner, All Movie Guide