Mills Goodloe and Chris Weitz from a novel by Charles Martin with little sense of drama or stakes, which is a genuinely impressive feat for a movie about two people who spend several weeks fighting for their lives in the wintertime mountains, after a plane crash. It's a hell of a fumbling script, adapted by J. And I do consider myself pro-movies that are pleasant to look at, all things being equal, but take away Elba, Walker, and the Rockies, and I'm just not sure what The Mountain Between Us is left with. In this case, Walker has threaded the not hugely impossible needle of making the Canadian Rockies look simultaneous Romantic and punishing the steep crags and wide snowfields representing, on the one hand, the tumultuous feelings of the two leads, and representing, on the other hand, steep crags and wide snowfields that can kill you dead with a cold that claws its way right to your bones.Īll of which is to say: here is a movie that is pleasant to look at. And part of the reason for that is because she keeps shooting movies like The Mountain Between Us more-or-less crap films that are gorgeously lit and framed, but who's ever going to notice (see, for instance, 2016's stellar-looking, dramatically incompetent punchline, Jane Got a Gun). The only other reason I could come up with was the film's terribly beautiful cinematography, courtesy of Mandy Walker, whom I would like to see get more attention than has mostly been the case. Idris Elba is a damned handsome man, and that's very close to the solitary reason it's worth paying any attention at all to The Mountain Between Us.
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