The idea of exploration is a tantalizing prospect in storytelling because it lends itself to tales of heroism, disaster and tragedy (very strong elements in any human-interest story) while also allowing the storyteller to create a character out of an environment; any place of desolation of isolation can become a source of menace and intrigue that can be stronger than any of the human characters and provide a unique adversary. Films like "The Grey" and "Flight of the Phoenix" are examples of environments that provide such an antagonist that presents many merciless challenges more foreboding than anything a Bond villain could dream up. "Sanctum" attempts to do the same thing with caves, presenting numerous pitfalls and obstacles for the characters to conquer and use their tribulations to grow and change.
Or at least that's what should've happened. Unfortunately, for as much good as the cave setting does to present an ominous--and even occasionally beautiful--setting for the characters, the lushly photographed scenery can't hide a stumbling script and a less than prepared cast.
While the actors aren't exactly good, they acquit themselves well enough to get by. What really hurts "Sanctum" is a screenplay that relies heavily the same human drama to forward the story that has become old-hat since "Night of the Living Dead" and finally devolves into complete, blithering stupidity in its final leg.
The most glaring problem is that the actors are saddled with several emotional scenes that fall flat. For example, Richard's speech to his son, Josh, about his failures as a father might've been an asset to the film's story, but when he breaks out a bunch of clichés about the caves being his "church", the whole scene devolves into a silly, eye-rolling exercise. The same can be said of the final showdown between Richard, Josh and their supposed friend Carl, who runs the gambit of hammy acting scenes from screaming Bill Paxton, sobbing yuppie, groveling heel and, finally, complete loony toon jumping out of the darkness screaming like an Indian warrior to knock people on the heads with a rock. I'd say Iona Gruffudd's performance was a detriment, but, compared to his peers, he at least injects some life into these scenes.
The film does have a number of truly effective moments and knows how to use a little explicit gore to increase the emotional resonance of a scene; a split second clip of Allison Parkinson's scalp being rended from her skull adds tension and sympathy during her climbing scene, for instance. It's also clear that director Allister Grierson knows his photography and utilizes a number of wonderful techniques to capture the beauty of their deadly surroundings.
What is most surprising is the filmmaker's choice to focus on how expansive the environment is when a cave would seem the natural place to tighten the frame and accent the claustrophobic setting. Instead, the caves never become as aggressive as, say, the ship hull in "The Poseidon Adventure" or even the catacombs in "As Above, So Below". The threat of drowning is established early in the movie yet is rarely used again as more than an idle threat to get someone to say, "we'd better keep moving of the plot will never go anywhere."
While "Sanctum" will likely only be remembered--if it is to be remembered at all--as a deleterious flick full of minor thrills and one cheese-ball performance, it has enough fun moments to make this an acceptable, if completely unmemorable, watch.
2.5 out of 4
Or at least that's what should've happened. Unfortunately, for as much good as the cave setting does to present an ominous--and even occasionally beautiful--setting for the characters, the lushly photographed scenery can't hide a stumbling script and a less than prepared cast.
While the actors aren't exactly good, they acquit themselves well enough to get by. What really hurts "Sanctum" is a screenplay that relies heavily the same human drama to forward the story that has become old-hat since "Night of the Living Dead" and finally devolves into complete, blithering stupidity in its final leg.
The most glaring problem is that the actors are saddled with several emotional scenes that fall flat. For example, Richard's speech to his son, Josh, about his failures as a father might've been an asset to the film's story, but when he breaks out a bunch of clichés about the caves being his "church", the whole scene devolves into a silly, eye-rolling exercise. The same can be said of the final showdown between Richard, Josh and their supposed friend Carl, who runs the gambit of hammy acting scenes from screaming Bill Paxton, sobbing yuppie, groveling heel and, finally, complete loony toon jumping out of the darkness screaming like an Indian warrior to knock people on the heads with a rock. I'd say Iona Gruffudd's performance was a detriment, but, compared to his peers, he at least injects some life into these scenes.
The film does have a number of truly effective moments and knows how to use a little explicit gore to increase the emotional resonance of a scene; a split second clip of Allison Parkinson's scalp being rended from her skull adds tension and sympathy during her climbing scene, for instance. It's also clear that director Allister Grierson knows his photography and utilizes a number of wonderful techniques to capture the beauty of their deadly surroundings.
What is most surprising is the filmmaker's choice to focus on how expansive the environment is when a cave would seem the natural place to tighten the frame and accent the claustrophobic setting. Instead, the caves never become as aggressive as, say, the ship hull in "The Poseidon Adventure" or even the catacombs in "As Above, So Below". The threat of drowning is established early in the movie yet is rarely used again as more than an idle threat to get someone to say, "we'd better keep moving of the plot will never go anywhere."
While "Sanctum" will likely only be remembered--if it is to be remembered at all--as a deleterious flick full of minor thrills and one cheese-ball performance, it has enough fun moments to make this an acceptable, if completely unmemorable, watch.
2.5 out of 4