The Mountain Review: A Charming Kiwi Story of Friendship

      It's no surprise that Rachel House gives the primary acknowledgment in her feature debut to Te Kāhui Tupua, the mountain at the heart of The Mountain. Co-written by Tom Furniss (based on his original story), the film revolves around a young girl named Sam (played by Elizabeth Atkinson) who resolves to climb the peak in hopes of asking the mountain to use its power to save her life. Having recently discovered that her cancer has returned, she believes that connecting with the ancestry of her father, whom she never met, might help her. Thus, Sam escapes from the hospital in search of Taranaki Maunga, driven to find her identity and overcome her illness along with the help of two new friends she meets during her journey.

      Mallory (Reuben Francis) embarks on this journey because his late mother, who passed away from cancer, always dreamed of hiking the mountain one day with him and his father, Hugh (Byron Coll). Coincidentally, today is her birthday, and he requests to climb it in her memory, though he faces a quick refusal. On the other hand, Bronco (Terence Daniel) has no particular destination in mind; he is merely trying to escape and live in the wilderness as a steward of Mother Earth. He is frustrated about having to relocate, leaving early to keep his father Tux (Troy Kingi) company, only to find that Tux's work takes up all his time. So when Mallory agrees to be Sam's Sherpa, Bronco decides to tag along.

      The film primarily focuses on this young trio forming a friendship during their spontaneous adventure that they concoct as they go. As they gaze at the stars, they share Māori myths and express wishes for guidance, revealing their lives and current struggles. Meanwhile, both Hugh and Tux notice that their sons are missing, as does Sam's mother, Wendy (Fern Sutherland). Adding to this, the unemotional Peachy (Sukena Shah) joins the group as they rush to the mountain to ensure the kids' safety and seek forgiveness for the circumstances that caused their departure in the first place. Hugh is easily persuaded by a courtesy text from Mallory, while Tux and Wendy require more convincing.

      It's a charming Kiwi story about friendship and understanding. Each character is grappling with some form of loneliness and loss without a clear way to heal. Sam isn't necessarily on the hunt for friends (she "doesn't do friends"), but her decision to leave the hospital ultimately unites them all in a moment of urgent need. However, it shouldn’t be assumed that House and Furniss are steering towards a neatly wrapped happy ending. Charming doesn’t equate to easy. Despite this being a comedy with likable characters and humorous moments, the overarching theme remains cancer. The shadow of death lingers even when the film knows how to entertain.

      The Mountain's most commendable aspect is its respectful treatment of the family-friendly audience. It never patronizes them by softening the realities these kids face, nor does it succumb to false sentimentality, as many adult narratives about similar topics tend to do due to a common urge to avoid discomfort. This doesn’t imply that Mallory and Bronco are oblivious to Sam’s condition and prognosis; they simply choose not to let it dictate their interactions with her. If she asserts that she’s ready, they see no reason to think otherwise. It's only when her struggle becomes apparent that they respond with genuine concern, absent of the pity Sam finds intolerable.

      I also appreciate how House handles the representation of Taranaki through the clouds shrouding its peak. Initially, it seems like a stylistic choice that Sam can interpret as a sign (when they clear, she’ll know the mountain is beckoning her), but it evolves into a supernatural barrier that compels her and others to confront reality. Even though death casts a long shadow over the story, the core message pertains to acceptance—embracing one's present (Bronco), reconciling with one’s past (Mallory), and coming to terms with one’s future (Sam). The same applies to their parents, who must recognize that their children are stronger than they realize, and that overprotection serves the parents' needs more than the child's.

      While these themes are rich, the plot itself is relatively simple. The stakes aren't excessively high, and the humor mainly consists of straightforward jokes that shine due to the performances of Atkinson, Francis, and Daniel. At one point, I glanced at my watch and noted that only 25 minutes were left, feeling puzzled about the lack of significant events so far. But that’s intentional, right? These kids aren’t meant to outpace the adults; the lessons are to be learned together. The script has to stretch to allow sufficient time for its themes to resonate, which I prefer over a rushed narrative any day.

      The Mountain is set to hit theaters on Friday, April 17.