Critic Reviews

[Geoghegan] allows his film’s message about intolerance and oppression to emanate naturally from the action, thereby letting the proceedings gradually transform into a revisionist fantasy of defiance, expulsion and vengeance.

Mohawk is exciting on its own merit. Seen as a piece of Geoghegan’s growing filmography, it’s positively thrilling, a great extension of its author’s fascinations.

Ted Geoghegan's Mohawk is a survival-of-the-fittest film that's charged with a thunderous urgency.

While some of its dramatic gestures fall short or feel stilted, it is through sheer pervasive commitment to its characters and message that Mohawk’s grimy power is able to shine.

Viewers who are looking for something thought-provoking as well as thrilling have come to the right place.

Geoghegan and Hendrix have the right instincts, which goes a long way, given that their vision is slightly limited by their budget. I didn't just fall for this type of film: I also admire its creators' knack for conveying what they like most about their characters through pulpy dialogue, impressive shot choices, and satisfyingly gory set pieces.

Mohawk is a gripping and despairing action picture, about how we can't seem to stop trying to destroy those we distrust — including ourselves.

Mohawk takes its time revealing all its generic elements, but at its high point dares to vault toward something grander and more mythic than action-adventure realism.

Respectful of its heroes' suffering and willing (for a while, at least) not to afford them the usual big-screen satisfactions, it mourns a centuries-old genocide through the torment of three young protagonists.

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.