What do you call a bunch of Australians tossed down a hole? A good start. I kid of course – “a mediocre movie” is more like it. And that’s precisely what you get with Alister Grierson’s Sanctum a 3D thriller in which a crew of cave divers struggle to survive after a monsoon-driven flood pins them thousands of feet underground.
Sanctum is set in Papua New Guinea but was mostly shot in the sprawling caves of South Australia. The cast is dominated by local actors many of whom will prove unrecognizable to moviegoers residing above the equator – which frankly isn’t all that much of a hindrance since the lot of them will be killed off long before the closing credits roll.
The cast’s lone non-Aussie – and the film’s most familiar face – is Welshman Ioan Gruffudd who plays Carl a gratingly cocky American industrialist whose wealth funds the whole caving (the word “spelunking” is never used much to my chagrin) expedition and whose extreme-tourist bent compels him to come along for the ride. He also brings his girlfriend Victoria (Alice Parkinson) whose strong-mindedness you just know is going to become a liability when the sh*t hits the fan.
The sh*t in the case of Sanctum is an apocalyptic storm that arrives days before it’s supposed to triggering an avalanche of boulders that effectively seals off all possible exits. With the water level rising and a near-zero chance of rescue the group’s hardened no-nonsense leader Frank (Richard Roxburgh) decrees that their best hope of survival lies in finding an alternate means of escape via an unexplored stretch of tunnels thought to lead to the ocean.
The situation grows gradually more desperate and characters succumb one by one to the hazards of the deep in fairly predictable disaster-flick order. (The aging female is first to go followed by the ethnic guy etc.) Sanctum cycles through a series of grisly fatalities – including one delightful bit in which a shock of hair caught in a climbing apparatus results in an impromptu scalping – until finally the last man standing is Frank’s son Josh (Rhys Wakefield) a moody 17-year-old who has heretofore spent most of the film acting out with childish spite toward his neglectful dad. Out of supplies exhausted but with his exquisite surfer-dude haircut thankfully still intact Josh must complete the remainder of the harrowing journey alone.
Director Grierson packs Sanctum with some truly breathtaking visuals. The underwater cinematography shot with 3D cameras Grierson spent six-plus years developing is particularly stunning. But the film’s script clearly didn’t receive as much care and attention as its cameras. The action is occasionally gripping but the story lacks suspense and its tone largely fails to evoke the gnawing claustrophobia that presumably festers in such a dark musty subterranean labyrinth. Moreover it’s littered with truly execrable dialogue made worse by ADR that sounds as if it were recorded in a cozy basement studio.
Executive producer James Cameron is featured prominently in Sanctum’s advertising campaign but the film itself bears scant evidence of his involvement save perhaps for the splendid underwater scenes. I half-suspect he viewed the project as a tool to develop and test his 3D technology in preparation for his amphibious Avatar sequel. He certainly didn’t use it to brush up on his storytelling skills.
Based on E.B. White’s enduring children’s story we meet Wilbur the Pig (Dominic Scott Kay) a runt who is saved from the axe by a little farm girl named Fern (Dakota Fanning). She raises Wilbur from infancy but eventually she has to send Wilbur over to her uncle’s neighboring farm since there’s no room for a pig in her house. There in the barn Wilbur meets the assortment of colorful animal characters: Betsy (Reba McEntire) and Bitsy (Kathy Bates) two pessimistic cows; motherly goose Gussy (Oprah Winfrey) and her henpecked hubby Golly (Cedric the Entertainer); Samuel (John Cleese) an uptight sheep; the skittish horse Ike (Robert Redford); the self-serving rat Templeton (Steve Buscemi); and of course sweet Charlotte (Julia Roberts) a spider with a heart of gold. When the naïve Wilbur finds out he might be Christmas dinner Charlotte makes a promise to her new friend that she’ll do everything in her power to make sure Wilbur sees the Christmas snow—and everyone ends up helping her out. What could be more fun than to voice a barnyard animal? Winfrey and Cedric’s geese banter is like an old married couple. Cleese gives Samuel the sheep a certain upper-crustiness. Redford is actually pretty funny as a horse who’s deathly afraid of spiders (“I’ll listen to you but I just can’t look at you”). Buscemi is a particularly nice choice as the sneaky rat Templeton who only thinks about filling his belly with food (no typecasting there we swear). For pure comic relief there are also two crows voiced by Andre Benjamin and Thomas Haden Church who just can’t quite get around the whole scarecrow thing. And as Charlotte Roberts has a truly soothing and loving tone sort of how you’d imagine it from the book. As for the human aspect Fanning continues to do what she does best playing Fern with the right amount of youthful innocence spunkiness and determination. Just wondering how we are going to handle it when this amazing little actress grows up and starts doing like adult things. Actually it is sort of a shame they couldn’t get a live-action version of Charlotte's Web made before Babe. Sure there was the 1973 animated cutesy film but a live-action adaptation of this timeless tale really should have been the standard by which all computer-generated talking farm animal movies would follow don’t you think? Instead Charlotte's Web pales ever so slightly in comparison. Oh well water under the bridge. Director Gary Winick (13 Going on 30) still manages to invoke the wonderful and uplifting spirit of the novel keeping faithful to the text in all ways. Visually the film is crisp and flawless in its execution particularly in the beauty and splendor of how Charlotte spins her webs and emotionally hearts will indeed swell and tears will flow. Charlotte's Web is the perfect family movie to inspire the next generation of young readers and viewers as well as for the rest of us who fondly remember the childhood classic.