Chief of War

While some of the war and adventure scenes are genuinely among the most enthralling on TV in 2025, they sometimes overshadow some of the quieter scenes, rendering them mundane.

The script has its simplistic touches and obvious contrivances. Romance is minimized. .... But Momoa, a hulking specimen even in his dad-bod years (he turned 46 this month), is the riveting, scowling prescence who holds our interest and this sprawling and historically respectful narrative together.

It by no means sugarcoats how bloody that war got, and though it isn’t as narratively daring as “Shogun,” it is on the same playing field as that Emmy winner when it comes to the pure spectacle of it all and the level of exacting attention it pays to cultural detail.

It’s clearly a passion project, and like many passion projects, it can go overboard at times, grow overstuffed, not to say oversolemn — though solemnity, to be sure, is appropriate to the history. But the passion shows through, and the stuff is interesting — nothing you see everyday, for sure.

Unwilling to abandon its meditative story for loud action sequences or gaudy performances, the series takes time in a landscape that feels the need to rush through these tales. “Chief of War” forces its audience to reckon with its languid storytelling process and the histories it teaches, demanding to be seen in a genre that outsiders often dominate.

We felt instantly immersed in this 18th century Pacific island world, before contact by Westerners, where omens and prophecies are all powerful and the stars above are as important a guide as what the land and sea can give.

None of it would work without Momoa’s considerable screen presence.

The series' first two episodes are almost entirely in Hawaiian with subtitles, which may be a barrier for some viewers, but shouldn't be. Each episode is better and more gripping than the one that came before, as the stakes of the story increasingly raise.

Like every other modern streaming enterprise, Chief of War could be more concisely plotted and there are times when its adherence to storytelling formula dilutes its impact.

Stunning, historical and with acute attention to detail, this series is about the greed of men, a crushing power obsession and the brutality of war.

The series’ impressively brutal action sequences are the fun stuff, but questions about the validity of a monarchy and the intrusions of the outside world on an insular culture are what stick with you. Some people may be annoyed by this. But for those who want a little bit of rumination with their raucousness, Chief of War provides a nice balance.

“Chief of War” moves rather slowly, except when it doesn’t: The opening sequence, in which Ka‘iana literally manhandles an enormous shark, assisted by jars of anesthetizing ‘awa root (kava) sprinkled into the water, is electric. You hope for more of the same. What you get is just more.

They remain laser-focused on the big, burgeoning war. A similarly single-minded approach could weigh down a show with less momentum, but “Chief of War” has such a strong engine — in Momoa, his character, and their shared daring — it rarely feels slow or stagnant.

Chief of War is a stunning, culturally rich epic, and Momoa’s finest work to date. I can’t wait for season two.

Momoa adeptly embodies all of Ka’iana’s contradictions, creating a compelling portrait of a desperate leader bound by duty and sacrifice. .... While the characters in Ka’iana’s immediate family could have all used a tighter focus after his unexpected departure at the start of the season, their relationships eventually pay off in the final three episodes in a way that is rewarding and heartbreaking in equal measure.

As with any of these somewhat ironically called historical epics, varying levels of disbelief suspension are required. That doesn't stop Chief of War from feeling like a culturally significant series, as this could very well be the start of something special that is as engaging to explore as it is entertaining to watch.