Roses Have Thoughts

The Edge, directed by Lee Tamahori and written by David Mamet, is a unique blend of survival thriller and psychological battle. Set against the stark backdrop of the Alaskan wilderness, the film thrusts two very different men, one driven by intellect, the other by instinct, into a life-or-death struggle not just against fearsome Kodiak bears but also against their demons. It weaves between moments of intense suspense and deeper philosophical themes, sometimes hitting the mark and other times missing it.

Anthony Hopkins delivers a powerful performance as Charles Morse, a wealthy businessman with an incredible wealth of knowledge. Alec Baldwin plays Bob, a stylish photographer who may have ulterior motives regarding Charles’s beautiful young wife (Macpherson). After their plane crashes in this desolate land, the two men are forced to cooperate to stay alive, although there’s a constant undercurrent of mistrust between them.

Hopkins brings an impressive, almost Shakespearean meets Lord of the Flies depth to his character, delivering lines like “What one man can do, another can do” as if he were having a moment of profound realisation. Baldwin, on the other hand, leans into Bob’s cocky persona, but his character arc feels somewhat unearned. Their dynamic fluctuates between engaging and overly dramatic, likely a result of Mamet’s dialogue, which often feels more suited for the stage than for the screen.

The real standout, however, is Bart the Bear, who provides a genuinely frightening performance as the predatory bear. Tamahori captures Bart’s presence with a blend of respect and realism, steering clear of portraying him as a mindless villain and instead highlighting the raw indifference of nature. The film shines during the moments when physical danger is at its peak, allowing the tension to build as the dialogue takes a back seat.

That said, The Edge struggles to fully integrate its themes of class, trust, and betrayal with its wilderness adventure. Mamet’s script does have some insightful moments, but it often feels overly complicated for a narrative that calls for a more straightforward approach to its primal themes.

Additionally, The Edge falters in its attempt to marry wilderness adventure with meditations on class, trust, and betrayal. Mamet’s script has its moments of insight but too often feels overwritten for a story that cries out for primal simplicity, and the less said about the lack of closure, the better.

Visually arresting and, at times, genuinely suspenseful, The Edge is an uneven but intriguing effort. It never quite escapes the weight of its pretensions, but it’s worth watching for Hopkins’s stoic performance and the rare, unsettling tension of being hunted by both beast and man.

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