The Gorge Review: A Slow-Burn Romance Drowned By Action

Scott Derrickson, known for his mastery of genre films like Sinister and Doctor Strange, attempts to weave an ambitious blend of romance, sci-fi, action and horror in The Gorge. While the film shows promise, it ultimately falters in execution, struggling to balance its diverse genres, which leads to an uneven and, at times, frustrating experience.

The film begins with two snipers, Levi (Miles Teller) and Drasa (Anya Taylor-Joy), stationed on opposite sides of a mysterious ravine in a remote area. 

Tasked with guarding the gorge, the specifics of which remain shrouded in secrecy, they are under strict orders to avoid any interaction. 

Yet, despite their orders, they begin communicating through notes, initially establishing a quiet and intimate connection. Their relationship grows steadily over time, conveyed through these written exchanges, glances through binoculars and subtle body language. 

In these early scenes, The Gorge shows real potential. The chemistry between Miles and Anya feels natural and their performances speak volumes through minimal dialogue, with the tension and isolation of their mission adding to the emotional weight of their budding romance.

However, as the film progresses, it moves into more conventional sci-fi territory. After a series of romantic exchanges and emotional moments, the narrative shifts into a more action-driven plot, as the two snipers are forced to confront the dangers within the gorge. 

What begins as an understated, slow-burn romance morphs into a monster-filled, action-packed sequence that feels forced and out of place. 

The transition from the contemplative first act to the chaotic second half, with its reliance on CGI monsters and action sequences, is jarring. 

The creatures they encounter - mutated insects and skeletal monsters - lack the depth or horror needed to elevate the stakes, and instead, they become distractions from the core of the story. The suspense built in the first act evaporates as the film adopts a more typical monster-hunting narrative, offering little in the way of fresh ideas or emotional payoff.

Miles Teller brings his signature stoic presence to Levi, a sniper haunted by the ghosts of his past military kills. While his performance is competent, the character doesn't evolve beyond his surface-level trauma. 

Similarly, Anya Taylor-Joy's portrayal of Drasa, a Lithuanian sniper with her own troubled history, feels somewhat one-dimensional. 

The characters' arcs are underdeveloped, and once they meet in person, the tension that was so carefully built in the early stages dissipates. Their romance, which was tender and quietly compelling when confined to written notes and glances, loses its charm once it becomes overt and physical. 

Director Scott Derrickson, working with cinematographer Dan Laustsen, creates a striking visual atmosphere in the film's early moments. The gorge itself feels like a looming, ominous presence, and the isolation of the two snipers is well-captured through clever lighting and composition. 

Yet, once the film enters its action-oriented second half, the visual style becomes more erratic, with an overreliance on CGI that detracts from the eerie tone established earlier. While there are occasional moments of tension and a few genuine jump scares, the horror elements feel half-baked and tacked on, undermining the atmosphere that had been carefully cultivated.

The pacing is another significant issue. The film spends so much time developing the slow-burn romance between Levi and Drasa that it struggles to maintain momentum once the focus shifts to the dangers lurking in the gorge. 

The exposition-heavy revelations about the military conspiracy behind the mission come too late in the narrative, and by that point, the film has lost much of its emotional investment. The once intriguing premise about soldiers as pawns in a larger military scheme becomes muddled and difficult to follow. 

As the film moves towards its climax, the action scenes become repetitive and the characters are reduced to mere survivors, running from explosions and battling monsters in a series of forgettable sequences.

In the end, The Gorge is a film that starts strong but falters as it tries to juggle too many genres at once. The uneven pacing and lack of coherent world-building ultimately lead to a film that feels incomplete. 

However, there is something undeniably charming about the performances at its core, and the film's early moments of intimacy will stay with you long after the monsters have been vanquished.