Scott Derrickson is a director who, from his beginnings, always tried to elevate himself. Supernatural horror, classic science-fiction, slasher, police investigation, and he even gifted us the privilege of witnessing one of the best superhero movies with the premiere of Doctor Strange in 2016. A pretty decent career that apparently posed a new challenge for him: combining all this and incorporating a romance to that interesting mix. Unfortunately, I came across his new, dumb, visceral—and innovative?—proposal, The Gorge, a few days later than I would have liked. This perfect blend of pleasant tones should have been part of the romantic dinner I enjoyed last Friday in the middle of that so famous and commercialized Valentine's Day.
Apple TV+'s new proposal, which premiered on the platform last February 14th, went all in or, at least, what they consider going all in is. Miles Teller and Anya Taylor-Joy play Levi and Drasa, the absolute protagonists that fill the screen with charisma. Then, in a forgettable supporting role, we have the legendary Sigourney Weaver, making a fool of herself for around 10 minutes, maybe? Well, everything to get the much-desired check. So, you might be wondering: What's the hook? Essentially, the mystery behind the main idea.
Inspired by Polish Zdzislaw Beksinski's paintings and excited by Zach Dean's original script, Derrickson innocently set out on the journey of bringing to life a story that has little of what made him renowned. Levi and Drasa are two mercenaries who spend their days waiting for a private sector's offer to get rid of anyone they are ordered to eliminate. The only thing they share is the loneliness they've been suffering from for a while but, coincidentally, they are both offered a peculiar proposal: to guard a huge gorge in the middle of an unknown forest for 365 days. There's not much information about it, but the idea of being isolated from everyone maybe gives them the opportunity to breathe fresh air—these two should have watched The Shining. They both must, from the East and West sides and without contacting each other, guard the area and obey the strict order of eliminating everything that comes out of that gorge immediately without asking why.
What's below the mist that's covering the whole gorge? Before getting to that, I want to focus on Teller and Joy's relationship. They both have pretty lineal roles throughout the development, but Drasa is the one who carries most of the emotional burden. Her father has cancer and she has to consider the idea that, most likely after finishing the job, she may receive the news he's no longer here. What's stopping her from accompanying him during his final days? Taylor-Joy does what she can with a pretty mediocre script that tries to delve into matters that would have been better left aside to focus on the action. "Take the bitter with the sweet," says the proverb, but I believe that, if that tender moment would have been left out, the impact would have probably been greater.
Conversely, Miles Teller leaves behind the whole performance range he showed in Whiplash eleven years ago to slowly turn into the heartthrob/action hero he always wanted to be. A millennial, degraded version of Tom Cruise that doesn't completely connect with Taylor-Joy—I repeat, once again, despite the relentless effort to take control of the narrative—but that unfolds pretty well in this role of a know-it-all who would even sacrifice his own life for love. There's nothing more exhausting than an archetype presented as a vaguely developed plot. The signs game and the almost non-existent chemistry between both actors seem on purpose. What would have happened if they had to face each other from the beginning? Definitely, the flop would have been bigger. Luckily for them and us, they have the "gorge" keeping them apart.
Far from this character's dynamic, the only appeal proves to be what's going on below them. Something approaches with human-like sounds, but it isn't until half-hour has passed by that these "Hollow Men" are revealed. This is how Levi's work predecessor describes them before a worker of Sigourney Weaver's private company shoots and throws him from a helicopter to silence him. There's a conspiracy and several secrets behind this terrible work habit, but The Gorge discloses fragments of the information in a subtle but clumsy way, without leaving any loose ends, to avoid asking ourselves too many questions.
What are the "Hollow Men"? Once again, a question, but with an easy answer, since the mystery is uncovered with the clues that are gradually presented: World War II soldiers that ended up trapped in that toxic, lethal area mixed their DNA with the DNA of all living beings of the area, turning into horsemen of the apocalypse who, if liberated, would cause colossal catastrophes. A blend of The Last of Us with Dead Space vibes and a hint of Doom's action. Even though I commend some part of the proposal's originality, I have the bittersweet feeling that it could have been exploited in a better way.
Therefore, I hold onto the idea that, on Valentine's Day, I tend to watch peculiar romance movies. In that sense, Derrickson's new work is a perfect match.
Posted on FEBRUARY 24, 2024, 15:39 PM | UTC-GMT -3
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