Raider reboot not gripping enough
by the family bug and finds herself hiring the son of Daddy’s seacaptain to take her in search of that same island. From which point, dear reader, I imagine you can fill in the rest of the plot of Tomb Raider yourself.
There’s the gang of inscrutable baddies with nonsensical motivations. The cheerful stereotypes who make up Lara’s allies. And before too long, Daddy Croft himself appears, complete with a wig left over from Braveheart and a remarkably white set of teeth for a man who has been living on seaweed in a cave for seven years.
Director Roar ( Roar!) Uthaug has a deft enough way with a digital effect or a stunt scene. His calling card was the Norwegian tsunami thriller The Wave (Bolgen), which at least proved he knows his way around the waterfall and rapids combo that provides a mid-point highlight of the film. Armed with a script that serves mostly as an excuse to have Vikander nearly fall off things, Uthaug is perfectly adequate at setting up the mechanics of the film. But what neither he nor Vikander can manage is to make it interesting.
After a promising opening – a couriers’ bike race is the most genuinely spectacular sequence in the entire film – Tomb Raider quickly turns into a frustratingly unambitious and lumpen procession of set pieces.
Jolie, Nicolas Cage, Harrison Ford and co have all spun gold out of this sort of Friday night dross by winking and smirking their way through the plot. Letting us know in a hundred different ways that they are in on the joke too.
While Vikander may bring it physically, she totally lacks the chemistry of a lasting matinee idol. She never makes us laugh. And for a film called Tomb Raider that really is missing the point. – Graeme Tuckett
As Tomb Raider’s Lara Croft, Alicia Vikander is a sinewy, wiry presence on screen.