The primary pleasure of *Apex* lies in watching Theron push herself physically in the wilderness.
While reviewing Baltasar Kormákur’s filmography, I discovered that he made his directorial debut with *Go LazyTown!* in 1996. That musical comedy centers on an athletic elf who inspires some indolent children to adopt healthier lifestyles and compete in a sports contest (I read the synopsis on IMDb). While watching Kormákur’s survival thriller, *Apex*, I realized that this new film, in a way, also revolves around being healthy and physically fit.
Director: Baltasar Kormákur
Writer: Jeremy Robbins
Stars: Charlize Theron, Taron Egerton, Eric Bana
If the main character, Sasha—played by Charlize Theron—manages to defeat the psychopathic Ben—portrayed by Taron Egerton—it is because this adrenaline junkie possesses the physical conditioning necessary to endure the rugged terrain of the wilderness. She is capable of scaling rocky mountains, fending for herself in turbulent waters, and withstanding nature’s sudden surprises, all thanks to her athletic prowess.
The primary pleasure of *Apex* lies in watching Theron push herself physically in the wilderness. As she hoists her body upward using only her arms, one wonders if their own upper body would be capable of performing such a feat—and if they should be pushing themselves harder during their own gym sessions. *Apex* could even function as a subtle advertisement urging you to sign up for a gym membership if you aspire to become an intrepid explorer. While Theron, in her role as Sasha, brings formidable athletic endurance to the table, Egerton’s Ben unleashes a bestial threat upon her. He emits animalistic growls and stalks Sasha like a deranged predator. Why? Does it really matter? A film like *Apex* relies on the predator-and-prey dynamic to generate excitement and entertainment.
Motivations are often murky or irrational, as the primary focus lies in crafting tense, suspense-filled sequences. In that regard, *Apex* proves to be a failure. It never manages to unnerve you; it never keeps you on the edge of your seat. The natural setting serves merely as a backdrop for the action. The story opens with Sasha and her husband, Tommy (Eric Bana), attempting to climb the Troll Wall in Norway; what Kormákur and his screenwriter, Jeremy Robbins, omit from this opening sequence is any glimmer of interest in the practical aspects of survival in such frigid and extreme conditions.
How do the couple manage to attend to their—ahem—morning physiological needs? The filmmakers sacrifice practical details in favor of genre conventions, which implies that they also squander the potential of a decision of great moral weight: Sasha letting go of Tommy during an avalanche triggered by bad weather. He hangs unconscious from the rope, his weight dragging her down; this forces her to choose between holding onto him and dying together, or unhooking herself to survive. Sasha opts for the latter, but the only effect this produces is to leave her with a taciturn expression—that of someone who simply wishes to be left alone.
*Apex* tells the story of a woman tormented by guilt who attempts to move forward, seeking to forgive herself; however, the emotionally charged moments fail to resonate with the viewer. They are flattened beneath the weight of survival-thriller tropes; it is the actors who, ultimately, lend some credibility to the film's emotional core. Both Theron and Egerton are capable of delivering superb performances, yet their talent is stifled. They operate within a very narrow register, confined within the framework of a film with limited ambitions. *Apex* is by no means a bad film, but neither does it offer anything to inspire enthusiasm. At best, Kormákur has crafted a merely functional work; at worst, what he has created proves quite forgettable.
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