|Directed by||:||Roar Uthaug||Produced by||:||Gary Barber, Graham King||Story by||:||Evan Daugherty Geneva Robertson-Dworet||Based on||:||Tomb Raider by Crystal Dynamics||Starring||:||Alicia Vikander, Dominic West, Walton Goggins, Daniel Wu, Kristin Scott Thomas||Production companies||:||Metro-Goldwyn-Mayer, Warner Bros. Pictures|
REVIEW: Alicia Vikander makes a leaner, meaner Lara Croft in a kick-ass Tomb Raider reboot
BARE knuckles, reckless courage, quick wits ... Alicia Vikander pares Lara Croft back to her bare essentials in this muscular reboot of the groundbreaking 2001 franchise.
The updated version of the camouflaged character that turned Angelina Jolie into Hollywood’s first bankable female action star has less pout, more clout.
Vikander’s 2018 model is leaner, meaner and paradoxically more vulnerable — and this raises the film’s emotional stakes.
Since the contemporary Croft is a super-fit athlete rather than a freak of nature, we feel her body puncture, her sinews strain.
Her first kill, too, is strangely disturbing in a genre with an exceptionally high body count. He’s a villain and a nasty one, but as the man takes his last breath, it’s clear Croft has crossed a line.
n the original Lara Croft: Tomb Raider movie, Jolie’s pneumatic shape and unattainable beauty caused an exciting tension between the character as an emblem of female empowerment and as an object of sexual desire.
That debate continues — although it must be noted here that the reboot’s preview screening was 80 per cent male.
It will be interesting to see what both genders make of the current version, who like her video game character, has become noticeably less sexualised.
Tomb Raider marks the English-language debut of Roar Uthaug (The Wave).
The Norwegian director is clearly more comfortable with the film’s action sequences than he is with the slightly hokey English aristocrat backstory involving Lara and her missing father (Dominic West).
And there is a strange disconnect between the film’s introductory sequence in London, where Lara is put through her paces in the kickboxing ring, and Hong Kong, to which she travels in search of her father.
After a close friendship is set up between Lara, a bicycle courier, and her flatmate (Hannah John-Kamen), the latter then fails to make a reappearance.