Vertical Limit is a series of action sequences interrupted by insipid dialogue, which unfortunately does nothing more than make one yearn for the next action sequence. It certainly isnt crucial to the story that much speaking occurs at all. As a matter of fact, in movies like this, speaking is detrimental, or at least thats how its makers treat words. Director Martin Campbell is obviously accomplished at filming action scenes, as evidenced by the opening desert sequence and the many precarious hanging-by-a-rope situations in Vertical Limit, but not much thought is given to what these snowy daredevils have to say to each other.
The movie opens with Annie (Robin Tunney), Peter (Chris ODonnell), and father Garrett scaling a rock wall. All is lighthearted and good-natured joking when tragedy suddenly strikes. An unspecified amount of time later, Annie and Peter meet up at base camp on K2, billed as the most difficult mountain in the world. Annie has a grudge, and Peter has something to prove. Theres a billionaire mogul jerk (Bill Paxton) who wants to climb K2 and wave to the inaugural flight of his new airline, and theres a wizened man of the mountain (Scott Glenn) with a chip on his shoulder. There are other characters straight out of the movie-o-matic: Monique, the beautiful, spunky, and experienced climber with perfect lip-gloss, the wacky Australian brothers, and the introspective, eternally at peace turban-wearing Sherpa. K2 is the craggy stage upon which everyones vindicating drama plays itself out. When the heroes get trapped in a snow cave, you know its serious because a random female character cries. While were on the subject of melodrama (and we were, dammit), why is it that Annie, supposedly among the elite mountain climbers of the world, whimpers and whines like a child while waiting to be rescued by her brother? Female character in distress? Yawn.
With one exception, youve already seen the best effects in the previews. Vertical Limit is just the latest in a string of expensive action movies (Gone In 60 Seconds, Hollow Man, The Sixth Day) with laughable dialogue. The visual effects are impressive, but its difficult to sit through what passes as plot, supposedly advancing the dramatic tension. I was just waiting for that part when Chris O’Donnell throws himself and his pick-axes across the huge crevasse.
+ David Kern
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