Tomb Raider (dir. Roar Uthaug)

Phrases such as “soul-destroying” or “lifeless” have been the go-to response from audiences and critics alike when referring to big-screen video game adaptations, with a plethora of storylines from the gaming world finding their way into theaters amidst universal derision. Though perhaps the first reboot of a reboot within this tired genre - in the form of "TOMB RAIDER" - should hopefully finally adopt a different reverberation around Hollywood, as Danish director Roar Uthaug’s intense and surprisingly enjoyable romp delves into something deeper within the melange of dunderheaded gaming storylines and comes out the other end with an entertaining, if slightly hyperbolic, glossy action-adventure commendably centered on it’s character’s vulnerabitlies instead of the outdated genre tropes.

Arguably the most popular video-game staple of recent memory and well-known for its assured femininity, no-nonsense Brit Lara Craft is the archeologist entwined in inter-continental escapades; frequently pictured in search of missing artifacts and uncovering clues to hidden treasures in boogie-trapped tombs. If this all sounds familiar, thats because directors Simon West and Jan De Bond tried to find both a enjoyable and profitable avenue for Croft’s cinematic birth back in 2001 (Lara Croft: Tomb Raider) and 2003 (Lara Croft: Tomb Raider - The Cradle of Life) respectively -though admittedly with diminishing results. But thanks to a franchise reboot back in 2013, which subverted the classic 90’s storyline to incorporate a more nuanced and character driven approach to Croft’s sub-Indianan Jones antics - a TOMB RAIDER game emerged which delved more astutely into the machinations of the character, eventually becoming the basis for this sub-prequel.

Replacing Angelia Jolie this time is recent Oscar winner (The Danish Girl) and Ex_Machina star, Alicia Vikander - though perhaps not as recognizable a name as her sex-symbol predecessor (who did marvelous with her British accent but little else) - our Swedish star appears to be less than the perfect choice for such a tough role - given her theater and melodramatic background - yet manages to bring an equally progressive tenacity to the strong female action-hero, while not forgoing gravity and empathy in a complex laden turn.

Beginning with an eerily underwhelming voice-over posing as hokey exposition, shrewd businessman Richard Croft’s (Dominic West) disappearance reaches it’s seventh anniversary as his daughter Lara (Alicia Vikander) refuses to sign her inheritance papers. She lives a modest life as a fast-food delivery person, equipped with cunning cycling abitlies (shown in the films first impressive chase sequence) and a keen eye for the odd boxing bout. Though the seven year mark reaches a tipping point, Croft doesn’t want to publicly denounce his presumed death, much to the annoyance of fellow board members Ana (Kristin Scott Thomas) and Mr Yaffe (Derek Jacobi). It soon becomes apparent that her father’s profession extended further than boardroom antics, as his inability to deal with his wife’s death led him on a spiritual journey across the globe in search of the supernatural - coming face to face with ancient Japanese mythology in the form of deceased “death queen” Himeko - who has been entombed somewhere on a mysterious island called Yimetai.

Legacy tells of her death-by-touch abilities and genocidal fits of rage, and Lara is instructed through a video message from her father - hidden in a rubbix-cube style contraption - to burn all the evidence linked to Himeko fearing it getting into the wrong hands. Yet Lara has other ideas - and arms herself with her father's notebooks pertaining to the deceased goddesses' whereabouts - and arriving in Hong Kong befriends local drunken sailor Lu Ren( Daniel Wu) and pays him to take her to said island. But meeting her there is Matthias Vogel (Walton Goggins) - a hired-mercenary who has enslaved an army to do his bidding and retrieve the mummified remains which he has been perennially unable to find for some time now.

Having been exiled on the island at the behest of his deadly employer TRINITY- a terrorist organization hellbent on destruction and eager to harness the supernatural abilities detailed in the HIMEKO legacy for nefarious reasons - Vogel is perhaps the film's most stereotypical character and is motivated solely by his determination to return to his daughter's and prone to moments of gun-toting violence. But when Croft washes up on his island, he has exactly what he needs in Richard's notebooks - but Croft won't give them up without a fight.

Where most video-game adaptations seemingly indulge in the most is in their over-the-top CGI laden nonsense - with efforts such as DOOM and RESIDENT EVIL being the prime examples. Here, however, there seems to be an underlying message to the madness on screen- one which subtly moves past the normal underwritten bilge. Croft’s perilous journey may give her the opportunity to jump from a soon-to-be shipwrecked vessel during a unforgiving storm - one of the more forgettable actions sequences - yet the ongoing narrative suggests that her abilities are less to do with physical abilities and more in-line with a cunning intellect. A hand-to-hand combat sequence seems to suggest our central fighter has a conscience which is expertly handled from the director of “THE WAVE”, and her impressive attributes with an bow and arrow are one of the more interesting additions to the 21st century revamp.

The continuing madness ensues in similar fashion and is less forgettable than some would believe: a decrepit plane-toppling down a waterfall sequence -with Croft hanging on for dear life - is visually arresting and will garner a wincing response from those who see it in it’s intended IMAX form. The stock shoot-em-ups here are also of note, with a tracking shot from behind Croft as she picks off Vogel’s goons with her trusty bow-and-arrow may appear to hark back to the video game aesthetic, has a enjoyable nihilism in it's make-up which makes for enjoyable viewing.

As the jungle action starts to become more prevalent - our tomb-dwelling carnage is perhaps less engaging the more delicate moments, yet are handled with an impressive amount of pan-ash and aren’t perfunctory in their existence. Thankfully, also, there isn’t a risibly abhorrent thread of fetishization around Croft’s appearance; gone are the days of viewing our daredevil as a sex-symbol who can pack a punch and is on-screen to be leered at - this time around she’s a well-rounded young woman with immense bravery and an ability to outwit her male counterparts.

Though this new incarnation merely exists because bank managers behind the new game’s success believe it has to, this is character driven piece taken from a source material usually dependent on forgettable CGI and uninspiring storytelling. As we reach our final moments, the broad plot twists are so transparently focused on the eventual sequels - whether or not they materialize is down to it’s financial recoup - they’re less distressing than usually seen in the genre. But it all comes down to the characterization, which screenwriters Geneva Robertson-Dworet, Alastair Siddons and Evan Daugherty blend evocatively to a script which isn’t afraid of dwelling on the sentimental aspects of our characters journey, and when it needs to have Vikander kick a whole lot of butt - predominantly of the male persuasion - and in the current climate, there's fun to be had in the milieu. It's doubtless to do as well and who knows whether it will recoup it's hefty budget, but in the current political climate a gritty, no-holds barred femme-fatale who takes no prisoners do well with me.

Rating 3/5