To me, this movie is perfection.

Just perfect...

Am i the only one who thinks........Average?

While it doesn't offer any answers, it both thrills and makes you think.

This is an odd, slice-of-life film that is somehow comedic and depressing at the same time. The child actors are actually really good, and the overall events found here are engaging and well-told. Its really funny. My only complaint is that the ending is a bit anti-climatic. I would highly recommend watching this movie, though its probably not for everyone. There's an end-credits scene in case anyone who hasn't seen it yet is wondering.

According to Hollywood, childhood is either a magical, shiny age of oblivious joy and discovery, or full of terrible people and generally sh*t. Thankfully, there's Boy, the brainchild of weirdo genius Taika Waititi, here to wallop us with a knuckle sandwich of truth, then share a melting popsicle with us, staring off at a hazy sunset through a black eye. It's a film ruled by a tyrannical bullsh*t radar, seething with raw emotion but flayed of any obnoxious coddling moralizing or contrivance. It knows that the happiest memories are often witnessed through tears, and that the most profound epiphanies usually come waist-deep in mud and manure... then turn out to be 100% wrong. It knows that your idols matter, truly matter, even as you watch them disintegrate before your eyes. It's a film that knows that lying can sometimes be okay when the truth sucks too much. It's a film that knows that childhood means riding a dolphin brandishing a machine gun as much as it means having heart-to-hearts with your goat. It's a film with absolutely nothing to prove about people with altogether too much to prove. It's a film that knows that buried treasure really is buried treasure, even if it's something altogether scummier. It's a film that understands exactly how beautiful and lonely New Zealand is. It's a film that knows that the Incredible Hulk is a hero, but that there's a reason people outgrow their childhood heroes. It's a film that knows that a beatdown is really a dance-off. It's a film that understands colour and music in a way that other films only dream they could. It's a film that knows that children can withstand anything, and I mean anything, but that they shouldn't have to. It's a film that understands just how hard it is to miss someone, especially when they're right in front of you. It's a film that knows that not everyone is going to be all right, but some people will be, and that's all right. It's a film that knows that sometimes you cast that weird kid from the background as your lead, because you just have a good feeling about him, and he turns out to act the pants off all the professionals because he just gets it. It's a film that knows that sometimes you cast the director as the kid's dad, because he's just too adorable and f*cked up not to. It's a film that gets that sometimes you need to switch to cartoons to show the real truth, because live action film is too old-fashioned to believe in telekinesis. And if you told Boy that it just might be one of the most wildly wonderful films of the past who-knows-how-long, it would probably sucker-punch you, then moonwalk away, flipping you off. But then it would crack a secret, fiercely proud smile when it was sure you weren't looking anymore. Promise you'll never tell. Hee-hoo. -10/10

An enjoyable, thoroughly entertaining and absolutely credible story of rural life on the East Coast of New Zealand in 1984.Many co-opted actual East Coast locals - conscripted by blossoming director/writer and adult lead, Taika Waititi - emerge with much honour as natural actors in a humorous tale of a boy's (James Rolleston) reunion with his madcap father (Waititi) on his release from prison. He has returned home to find a stash of cash he hid - with his entire gang of two dim-witted pals.Laughs and from beginning to end make this a must-see.

When his father returns from prison, an adolescent has to wrestle with the possibility that his dad is less interested in him and more in a fortune stashed away in this comedy-drama blend from New Zealand. The film gets off to a delightfully quirky start with humorous cutaways as the title character introduces us to his brother with "special powers", his pet goat and close friends. There is also a lot to like in the responsibility he takes for his brother and his keen interest in Michael Jackson music with the 1980s setting. The magic is not quite the same though when his father enters the picture. Director Taika Waititi is decent enough as the long-absent patriarch who feels so far removed from his son that he asks the boy to refer to him by a different name. There is also a telling scene in which he tells him "we are like bros, you and me", highlighting just how little interest he has in being a father. Solid drama though this provides as the protagonist has to contend with disillusionment, the laughs are not really there and the film never once recaptures its initial zaniness. Of course, this could be argued as a deliberate change of genre to coincide with growing up, but what Waititi does best is quirkiness with some heart and as such this mostly just feels like a stepping stone before 'What We Do in the Shadows' and 'Hunt for the Wilderpeople', the latter of which has laughs from start to finish.