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Everest

Everest is a mountain with two peaks, one of which is the highest point on Earth. Similarly, Baltasar Kormákur’s dramatization of a famous 1996 Everest expedition is a film of two halves, one of which is a gripping, moving and occasionally visceral experience, but the other is meandering and unfocused. The latter is the first half, in which the film becomes burdened with too many characters and fails to explore the motivations of those who risk life and limb to scale the mountain. The engaging half of the film is that concerned with the actual climb, as a motley crew of climbers, led by Rob Hall (Jason Clarke) experience extraordinary cold, sparse oxygen and treacherous ice and rock faces. There are vertiginous moments where the viewer gets a sense of the sheer drop below, as well as the scale of the mountain and the immense storms that assail them. But there are just as many moments where the film cuts between its range of rather bland characters, never spending enough time to really understand them or communicate their situation. This lack of focus or depth is most apparent in the first half of the film, as the climbing team assemble and acclimatise to the mountainous conditions. There is amiable bickering and brief discussions of overcrowding, but the paradox of overcrowding in one of the world’s most inhospitable places is not explored. At its best moments, Everest shows agony and anguish in equal measure, especially when Rob, now in dire straights, talks on the radio to his pregnant wife Jan (Keira Knightley). This moment wrung tears from me, but overall I found the film lacking in emotional engagement. One might see the film because it’s there, but you may come down wondering if that’s reason enough.

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