'Mohawk' Is A Fascinating & Engaging Tale Of Bloody Revenge [Review]

There’s no faulting the ambition of director Ted Geoghegan’s latest effort, “Mohawk.” At once both a moody and grizzly thriller about the grotesque crimes inflicted upon Native Americans, as well as a blustering historical horror whose dialogue nearly succeeds in undermining its powerful imagery, “Mohawk” at the very least, is a triumph in kinetic storytelling. The film’s hand reaches into every pocket, playing with numerous genres and motifs all the better able to service a plot so specific, so untold, and so worthy of being presented on the big screen, that it feels refreshing by the merit of its own existence. Native Americans haven’t been well serviced at the movies and while slight in its budget and heavy-handed with its script, the story it tells is mighty in its righteous and intelligent heroine at its bloody center.

Led by Kaniehtiio Horn, a First Nations Mohawk who grew up on the Kahnawake Reserve, the film is a who’s who of bit roles. Horn, who, along with playing the leading role also served as a cultural consultant to the film, lends a sense of authenticity to the proceedings. A great leg up, considering the suspension of disbelief we must urge ourselves into as the lesser budget rears its head.

Set in early 19th century New York, with the war of 1812 serving as a narrative backdrop, Oak (played by Horn) is the daughter of a Mohawk tribal leader who believes in neutral pacifism, disengaging themselves from the fight between the U.S. and Britain. Her polygamous lovers Joshua (Eamon Farren of “Twin Peaks: The Return) and Calvin (Justin Rain) rightly believe that taking no stand in the fight will only lead to more violence, especially as they continue to watch further Mohawk people being brutally murdered. An act of violence sends Oak’s world reeling as she must fight for her life to keep her and loved ones safe.

Horn is the clear standout, conveying more with less, a character of few words whose eyes express more emotions than many of her male counterparts do with entire monologues. Exuding a magnetism that makes for an engaging and empathetic lead, no matter the supernatural goings-on and brutality following her, a film solely about Oak might’ve been a more thrilling tale. Farren and Rain fair well as her partners but ultimately are given less to do. Similarly, the relationship between the three would’ve been an intriguing storyline to follow as well. The performances beyond the core three are hit or miss, with the real success of the film coming in the form of its overwhelming tone.

A production that might’ve done well to flirt further with scenes set in dusk and tight shots, “Mohawk” does much with the shoestring budget it’s operating from. The forest that the majority of the action takes place in may seem barren and the costumes a touch too pristine, but the fight scenes are taut and agonizingly tense and the special effects amply support the grisly outcomes. There’s a terrific amount of craftsmanship in much of the film, particularly in how they utilize the space that they’ve been given to build anticipation and suspense.

Geoghegan’s eye for detail and squirm-inducing moments of violence and torture is a keen one, and he and cinematographer Karim Hussain turn the empty spaces into areas where hidden threats can emerge unnoticed. Along with the score by Wojciech Golczewski, the technical aspects of the film prove crucial as they build an otherworldly and disturbing tone. With a more finely honed script, “Mohawk” might not have had the polish of its bigger budgets counterparts, but it would have been a worthy pick in the sea of independent cinema. Even still, with its politically charged themes of oppression and the genocide of Native Americans, and the play on how history has been presented in the past, “Mohawk” is a fascinating and engaging tale of bloody revenge. [B-]