Two highly-trained operatives become close after being sent to protect opposite sides of a mysterious gorge. When an evil emerges, they must work together to survive what lies within.
Ah, “The Gorge” – a movie that promises the kind of edge-of-your-seat excitement only to occasionally trip over its own ambitious feet. Let me take you on a journey through this cinematic oddity, where the stars – Miles Teller, Anya Taylor-Joy, and Sigourney Weaver – collide in a story that’s as confused as my morning coffee order.
I started into “The Gorge” with high hopes: a mysterious chasm, two highly-trained operatives guarding opposite sides, and an evil that lurks beneath like that one relative who always overstays their welcome at family reunions. And sure enough, the premise had enough potential to spark a bonfire… if you were willing to ignore how absurd it all sounds. I mean, who in their right mind decides that protecting a gorge is an operative’s duty?
Now, let’s talk about our leading trio. Miles Teller, with his brooding intensity, channels the spirit of a man who’s had one too many drum solos in life – a nod, perhaps, to his breakout in “Whiplash.” Meanwhile, Anya Taylor-Joy is as enigmatic as a chess grandmaster – wink, wink to her brilliant performance in “The Queen’s Gambit” – delivering scenes that are equal parts brilliance and bemusement. And then there’s Sigourney Weaver, who, as always, brings a gravitas that suggests she’s been in on every secret since the dawn of time. Together, they form an ensemble that could, under different circumstances, have saved a sinking ship with style.
The movie’s visual flair is, admittedly, one of its saving graces. For an Apple TV production, “The Gorge” doesn’t skimp on the spectacle. The gorge itself, and the creatures that lurk in its depths, are visually inspired by the dark, nightmarish visions of Polish painter Zdzislaw Beksinski. It’s like walking through a fever dream curated by a mad genius – eerily beautiful, if you can look past the chaos of its narrative.
Speaking of chaos, the gun fight scenes are a masterclass in “all-in-budget” action. It seems the filmmakers decided that if you’re going to spend money, you might as well splash it on bullets and explosions. The sequences are so meticulously choreographed that you’d almost forgive the rest of the film’s narrative shortcomings. Almost.
But let’s not get too carried away. The film, for all its visual pizzazz and star power, suffers from an identity crisis that would make a chameleon dizzy. Is it a military thriller? A romance? A horror flick? Somewhere along the way, “The Gorge” forgot what it wanted to be, and we’re left with a hybrid that tries to be everything at once. One minute you’re watching operatives exchange witty banter (and awkward glances across a chasm) and the next you’re in the middle of an overly elaborate backstory montage that drags on long enough to make you wonder if you accidentally signed up for a college lecture.
There’s a scene – yes, a scene – where our heroes, during a Christmas montage, engage in a game of chess followed by a drum session. This cheeky nod to Taylor-Joy’s chess prowess and Teller’s percussive talents is a delightful Easter egg for pop culture aficionados. But let’s be honest: while it’s a fun detour, it only highlights the film’s scattered focus. One minute, you’re contemplating a strategic move on the board; the next, you’re smacked in the face with the realization that the movie can’t quite decide if it wants to be a psychological thriller or a holiday special.
Now, don’t get me wrong – “The Gorge” is not without its charms. There are moments of genuine excitement, where the tension of impending doom is palpable, and the camaraderie between our operatives feels earned. But these moments are often undermined by a sluggish pace that seems to meander through endless backstory. It’s as if the film wanted to be a rich tapestry of narrative depth, but ended up looking more like a laundry list of plot points that just couldn’t decide on a climax.
I found myself oscillating between awe and exasperation. The sheer potential of the premise was tantalizing, yet it was dampened by an overabundance of subplots and a payoff that fizzles out like a damp firecracker. The movie’s climax, which should have been a rousing crescendo of action and revelation, instead delivered a lackluster finale that left me pondering whether the real evil was the narrative indecision all along.
In sum, “The Gorge” is a cinematic experience best described as a paradox – a film with a dazzling visual palette and memorable performances, yet marred by its own inability to commit. It’s the kind of movie that makes you laugh at its absurdity, marvel at its stylistic bravado, and then sigh at the realization that, sometimes, even the best ingredients can’t salvage a recipe that’s lost its flavor.
So, what’s the final word on “The Gorge”? Despite the dazzling action sequences and the undeniable star power, I’m left with a bittersweet taste. The film is a mixed bag of ambition and mediocrity, where the promise of a thrilling, multi-genre experience is undermined by a narrative that simply can’t decide what it wants to be. If you can overlook the incessant backstory and the slow pace, there’s still plenty to enjoy – but if you’re looking for a cohesive, fully satisfying ride, you might want to proceed with caution.
Final Rating 6.5/10
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