THE STORY – At an elite fundraising gala, celebrities and socialites find themselves in danger when armed activists storm the venue in pursuit of a legendary relic that could unlock supernatural powers.
THE CAST – Chris Evans, Anya Taylor-Joy, Vincent Cassel, Salma Hayek Pinault, John Malkovich, Sam Richardson, Ambika Mod, Charli xcx, & Young Lean
THE TEAM – Romain Gavras (Writer/Director) & Will Abrbery
THE RUNNING TIME – 103 Minutes
Greek filmmaker Romain Gavras’ last feature, “Athena,” was a technically marvelous protest thriller that, even with its muddled messaging, shows that he has plenty on his mind. The opening sequence of that film alone remains to this day one of the most impressive things captured recently in film, and it only reinforces the idea that Garvras has the capability of making a great film one day. His new film “Sacrifice” is not that film. Even though his commentary may not always be the sharpest, Gavras awkwardly swaps politically charged potency in exchange for an unmemorable satirical take-down of those contributing to our planet’s ongoing environmental destruction.
“The old ways are to be put to ash for the new ones to be born.” These words, said by Anya-Taylor Joy’s Joan, are what fuel her mission to save the planet from its impending apocalypse at the behest of an erupting volcano. The only way to put an end to it is to offer Mother Earth an offering, three of them, to be exact: The King, the Purest Love, and last but not least, the Hero. That’s where Chris Evans’s Hollywood pariah, Mike Tyler, comes into the equation. The A-list actor is in the middle of an existential crisis that has burned plenty of bridges in his career. Gavras’s on-the-nose casting of Evans somewhat gives Mike a bit of self-referential layering, but Evans’s prowess as an actor dials up the narcissism to an eleven. Mike is a blowhard so despondent that he’s overly focused on his beaming insecurities, which, at the moment, is his fresh hair transplant from Turkey.
It’s why he needs a higher calling, a rebrand, as one would call it. That’s where philanthropy comes knocking, mainly in the lane of environmentalism in the vein of someone like Leonardo DiCaprio. His appearance at an environmental conference hosted by Vincent Cassel’s tech billionaire Braken is the perfect launching pad to reveal the new Mike Tyler and fuel the indulgent behavior that will somehow heal the emptiness in his heart. Of course, nothing ever goes as planned, especially when this conference makes the perfect location for Joan and her tribe of sibling zealots to find targets for their sacrifice. Gavras’ direction, while far less elaborate in its execution, is still somewhat grand. It’s mostly noticeable when he captures the palatial nature of the marble mine, where these characters are taken hostage by these cult-like eco-terrorists.
“Sacrifice” first and foremost falls apart due to its screenplay, where Gavras and co-writer Will Arbery offer nothing substantial to overcome the onslaught of underwritten characters and uneven humor. Evans, who perfectly taps into the moronic actor-brain nature of Mike, rises to the occasion, delivering consistent laughs as his airhead-like reactions to the hostage situation unfolding never fail to elicit a chuckle. It is a joke worn thin, but it does transfer into some of the film’s more thematically intriguing aspects, as Mike’s Stockholm Syndrome-infused dynamic with Joan leads to a cathartic journey of sorts about the type of person he wishes to become. With that said, “Sacrifice’s” attempt at satire doesn’t work, making the films of someone like Ruben Östlund seem more subtle. In Gavras’ defense, at least from a technical perspective, there’s far more interesting work going on here with “Sacrifice.” Yet whenever a sign with “Make Earth Cool Again” appears, or Charli xcx and Ambika Mod portray versions of Earth as they perform a pop ballad, it’s impossible not to roll one’s eyes. The film wears its ideas on its sleeve, only getting lost the closer these selected captives are led towards the volcano. The central conceit that these celebrities and billionaires in Hollywood are self-righteous hypocrites is something that not only is obvious but redundant, especially when told in a manner unable to sustain audiences’ attention.
While Evans is delivering a solid performance with exceptional comedic timing, he’s undoubtedly the best of the bunch, which says something considering how massive the ensemble is. Mod has some comical line deliveries, but everyone else is wasted. Salma Hayek, who plays Mrs. Braken, is more of a glorified cameo, as with Cassel, who does little as well. John Malkovich adds another performance to fit alongside “Opus” as a baffling use of his time this year. What the most disappointing was that Taylor-Joy was barely serviceable, delivering what may be her least magnetic performance in some time. The surprise of “Sacrifice” is actually Young Lean, who plays Jade, the brother of Joan and an accomplice in this suicide mission to save the planet. His performance brings a much-needed emotional current that helps keep Gavras’ signature propulsivity flowing throughout the film, even if it’s at a much slower rate. There are moments where he’s fully letting go of the reins, especially when there are drug-induced trips featuring cake and blading Evans, which show Gavras is capable of letting loose. “Sacrifice” is far less serious than “Athena,” which honestly is not the worst decision to make such a creative shift like this in his career. It’s just that, while there are things on his mind, what comes out has either been hammered into death or creates a story that doesn’t amount to much.
