Movie Review: Apex
One-liner: Sharp co-lead performances elevate this somewhat disjointed, miscast and sparsely scripted survival thriller.
Apex is a survival thriller from director Baltasar Kormákur, starring Charlize Theron and Taron Egerton. The film centres on Sasha, a grieving woman who embarks on a solo wilderness journey following the death of her partner during a tragic mountain climb in Norway. During her expedition to test her limits in the Australian wilderness, she discovers the threat of local inhabitants, eventually coming to trust a fellow explorer with ulterior motives.
Starting at the “Troll Wall” in Norway, Apex plays out against stunning backdrops, ranging from icy Norwegian peaks to the lush, rocky terrain of Australia. As a story about a rock climber, the film’s title acts as a clever hinge, pivoting from the idea of a mountain summit to the concept of an apex predator. Having an apex actor like Charlize Theron in the lead makes the film worth watching, proving once again how resilient and tough she can be after a number of gritty action roles in recent years.
Theron shows no signs of slowing down. Having dominated the world of drama, she has set her sights on testing the full extent of her physicality in this action-oriented thriller, doing many of the climbing sequences. Playing opposite Taron Egerton, it’s an unlikely pairing that serves as a strong showcase for Egerton’s own physical evolution. Undergoing a training regime that puts him in peak condition, Egerton is more than up to the challenge, even if miscast. His adept performance serves as a good contrast to Theron, turning the film into a tense two-hander between the hunter and the hunted as a serial killer begins to toy with his prey. At first unassuming and offhandedly charming, the young man reveals his darker side as a deadly cat-and-mouse game begins.
Baltasar Kormákur is no stranger to intense thrillers. Having helmed films like Beast, Everest and Against the Ice, he is well-versed in the “man vs. nature” arena and brings that same high-stakes energy to this outdoor adventure. While Sasha attempts to surmount the guilt and self doubt associated with her partner’s demise, her fight for survival takes on a new layer of meaning. The friction between the leads maintains the film’s relentless pace. Having two fine actors in these roles elevates a relatively straightforward thriller, adding nuance and character depth. While the emphasis is on action, there’s a clear effort to mine the characters and excavate their trauma to better understand their motives.
“There’s no turning back now.”
The spectacular backdrops are transportive; the vast wilderness dwarfs the characters with its expanse and beauty. The script is fairly sparse, with much of the momentum carried through visuals and intermittent confrontations. These shifting power dynamics create an interesting seesawing effect as Sasha attempts to break free from the relentless pursuit. While it’s a handsomely mounted film with two sharp performances, Apex does face some precarious issues. One relates to the genre mix: by attempting to hybridize a gory actioner with a survival adventure, the filmmakers have created something akin to a rocky blend of Deliverance, Split and Wolf Creek.
The casting of Taron Egerton draws comparisons to James McAvoy’s memorable character turn in Split with a similar duality, frame and “beast” mode. While Egerton is talented and establishes the “wolf in sheep’s clothing” persona well, the overall effect isn’t quite as intimidating as one might hope. Much like the debate over Tom Cruise’s suitability as the titular Jack Reacher, the effect feels somewhat diluted here. While the choice of Egerton helps carry the film’s realistic culmination, it occasionally undermines the sense of threat – leaning into the game. Knowing exactly who the predator is from the jump limits the suspense and Egerton’s likability becomes a liability.
There’s a Deliverance feeling that carries through the film, portraying Australia as a dangerous place in spite of its raw beauty. While it’s easy to admire the tenacity and commitment of the leads, the net result is a bit of a mixed bag. The film is primal and beautifully shot, but the disjointed character dynamics and the odd co-lead pairing ultimately diminish the overall impact. It’s entertaining and watchable thanks to the collective efforts and quality of its ingredients, yet off-key in its unwieldy balancing act.
The bottom line: Disjointed
