Directed By Joe Penna
Starring – Mads Mikkelsen, Maria Thelma Smaradottir
The Plot – A man (Mikkelsen) stranded in the Arctic after an airplane crash must decide whether to remain in the relative safety of his makeshift camp or to embark on a deadly trek through the unknown in hopes of making it out alive.
Rated PG-13 for adult language and some bloody images
– A complete immersive experience. “Arctic” is a survival movie whose elements push the limits of theatrical watches, placing you right in the cold of the moment within this frozen hostile wasteland. The sound mixing, while slightly too low to authenticate the atmosphere seamlessly, does do a fine enough job in constantly reminding you of the conditions that are brewing surrounding our protagonist. The visual camera work is easily my favorite aspect of the film, harvesting a majority of wide angle lens depictions that not only convey the realities of isolation, but also instill a sense of weight to a journey that exponentially tests the will of human strength. Likewise, the absorbing color textures reflect the desperation and hopelessness of the situation, and constantly remind us the audience of the situation if even we forget for a single solitary second. These perks combine enough emphasis of the bone-chilling cold that transcends the screen, making for a combination of sight and sound presentation that is exceptionally impressive for a first time filmmaker.
– Visual storytelling throughout. What I love about this screenplay is the minimal amount of dialogue and exposition delivered that highlight how the characters service the film and never vice versa. There are no conversations, nor past flashbacks that provide insight into how this guy came to be in this predicament, but if you pay attention closely enough you can notice abilities that he would only master if he has been forced to live that way for a while, and that’s what I took away from how the film depicts him. Likewise, props and objects used in the film are frequently inserted, and it isn’t till later on when we learn what they elaborate towards, proving that the puzzle is complete when you can understand how all of the pieces vibrantly fit together. In certain aspects, this is a modern day silent film that visually communicates to its audience instead of beating them over the head with heavy details, and I admire the kind of confidence that comes with outlining a story where we begin right in the middle of this thing without much thought as to what came before it.
– Pleasantly paced. I sat through what only felt like the first act of this movie, and was surprised when I checked my watch to see that only 40 minutes remained in the film. This isn’t an insult to the film, but instead complimentary for a script that is so grounded in reality that we as an audience find ourselves lost in the redundancy of something mundane as a daily routine. Perhaps it’s a testament to Mikkelsen’s persistent presence on the film, who I will definitely get to later, but I feel bigger credit derives from beneficial editing that never hangs on or relents for too long on a particular scene. The splicing on this film is wonderfully done, inspiring subtle humor in redundancy, all the while giving grave focus to each task he must endure to stay alive, and the introduction of a map that comes into play gives us something to keep tabs on in our man reaching his goal.
– Speaking of grounded in reality, “Arctic” maintains real life dramatic tension and situations that gives the film anything but a par-for-the-course Hollywood survivalist movie. There’s plenty of adversity in the way of predatory animals, increasing heights, and even sleeping arrangements, that never stretched or removed the visible line of what’s possible, and if anything it proves that real life drama can still be compelling without reminding us every ten minutes that this is a movie. While not an action movie first, this is the kind of action that I crave in a film, combining the dangerousness of environment against man’s desire to live, and what we’re left with is a confrontation that never exceeds the boundaries of the human spirit.
– Dedication to the craft. This movie was filmed on location in Iceland, and what Penna pulled from such a decision made for some specific challenges in filmmaking that, while difficult to maintain professionalism, does solidify the intensity of the destination. Front-and-center in the lens of the great Tomas Orn Tomasson, we see sequences involving hurricane-like winds increasing the ferocity of a blizzard, as well as the many peaks of the mountainsides, which treats us to claustrophobic scenes involving caves. As well, Mikkelsen himself gets in on the fun, gutting and devouring more than one fish to colorfully illustrate one man’s unabashed hunger. When what we’re seeing before us is real, it pays off in believability and integrity, and I commend the crew immensely for taking nearly three weeks to film in such an undesirable location that pays off valuably for the production of the film.
– One kickass Easter Egg. This is only known if you’ve read the production notes, but Mikkelsen’s character name in the movie is briefly shown as H. Overgard on his I.D photo. What’s funny about this is not only did Penna use a picture of Mikkelsen from the amazing TV show “Hannibal”, but he also hints that the “H” in his name is a nod to his breakthrough performance as the show’s title character. From someone who has adored that show endlessly, and was pissed when it was cancelled, it brought a smile to my face that some will never forget the time Mikkelsen spent in the role, re-defining Hannibal Lechter for an entirely new generation.
– Once again, Mads Mikkelsen proves why he is one of the very best actors working today, providing a committed performance from having very little to work from. When it all boils down, Mikkelsen is basically just emulating human emotion, and it’s his honesty and drive that preserve such intrigue for the character with no exposition or backstory to work from. Mikkelsen’s greatest strength in the movie is the physicality that he must endure in order to reach his goal in mind, and throughout it all we see a man who gets beaten down over-and-over, only to persevere and keep moving. Mikkelsen’s grip on the audience is so tight that we often know what’s to come from crytpic facial responses, carving out a telepathic link to an otherwise ambiguous character, that only serves as a testament to just how gifted Mads is.
– No special effects used for anything. This could be categorized in the dedication to the craft section, but I felt it deserved its own mention. During a couple of scenes during the film, we are shown a Polar Bear that frequently makes its presence felt through scenes of rash urgency. What’s incredible about this is the production doesn’t use C.G or any other form of incorporation for what we see front-and-center. This is very much a live action real walking, breathing bear, paying homage to a forgotten era of filmmaking that preserved calculated risk to the integrity of its film. Live action property in this instance pays off immensely, keeping the budget of the film maintained respectably, all the while bringing the most genuine of reactions from Mikkelsen when put in these dire situations.
– MINOR SPOILERS. There’s a female character introduced around fifteen minutes into the film, and I kept waiting for something big to happen with her, and it simply never does. Aside from her being a convenient plot device in regards to people looking for her, she serves no purpose or holds no bearing on the consequences of the story itself, instead serving as an unnecessary weight for Overgard’s quest that is already tough enough. For my money, I could’ve used a scene of connection between her and Overgard. If not, just keep this as a one man survivalist film, in turn making his isolation that much more complex considering he is quite literally all alone.
– While this is a beautiful looking and well acted film overall, the movie will do nothing to change or revitalize the sub-genre for the lack of chances it took with the condensed story. When you step back and look at the complete picture, long after the film has completed, you will notice more of the similarities to the competition more than the fresh takes, and if there’s anything that I wish this film would’ve done to rectify that it’s invest more into emotional character arcs with Overgard in particular. Mikkelsen pulls a diamond out of the rough, but the screenplay does him no favors in meeting him halfway with a layer that emits the drama from intended conflict. Take chances, swing the bat, and don’t be afraid to take your film to never before seen heights.
My Grade: 8/10 or B+