The Grey (R)

By his own admission, actor Liam Neeson threw himself into his work following the 2009 death of his wife, Natasha Richardson, following a skiing accident.  Few of his recent films have been up to the standards of some of his earlier gems, like “Schindler’s List” (1993) and “Michael Collins” (1996), or even more recent efforts like “Kinsey” (2004).  His latest is “The Grey,” a sprawling wilderness survival drama, based on a short story by Ian Mackenzie Jeffers (who also co-wrote the script with Joe Carnahan). While the film suffers from some uneven pacing, it does offer Neeson a fine vehicle for his unique brand of gravitas, and even poses some unexpectedly thought-provoking questions about the nature of mortality and the will to survive.

If you’ve only seen the trailer for “The Grey,” you might get the idea that it’s just a standard man-versus-wolf survival scenario, but it’s actually much more nuanced than that.  We open with John Ottway (Neeson), who is working for an oil company in Alaska, hunting the wolves that threaten the workers.  In the midst of drinking heavily after a shift, he begins to think about his estranged wife.  Remarking that the only people who could work in such a remote location are all running from something, he puts the barrel of his hunting rifle in his mouth in a bid to commit suicide.  He’s startled, however, by the mournful howl of a wolf.  Instead of killing himself, he writes his wife a long-overdue letter.

These early moments are intercut with a scene where Ottway shoots a wolf before it can run down some workers, and then comfortsthe animal as it takes its last few labored breaths.  Before long, we get a parallel scene.  Ottway and other workers are taking a plane over some remote wilderness on their way to Anchorage when the plane malfunctions and goes down.  The minutes leading up to the crash are quite tense and unsettling, but what happens afterward is even more jarring.  Just a handful of the passengers have survived, and Ottway must comfort one of them (just as he did with the wolf) as he slowly bleeds to death, in one of the most protracted and realistic death scenes outside of the best war films.

Already scrambling for warmth, shelter and food in a harsh sub-zero wasteland, the remaining men are set upon by a pack of gray wolves.  Ottway is wounded, and the wolves kill one of the others.  Down to just six survivors, Ottway becomes their de-facto leader, as he is the most knowledgeable about the wolves’ behavior.  When he sleeps, Ottway dreams of his wife, but rest is short-lived.  The men have to move on to find shelter, but first they collect the wallets of the dead so their IDs can bring their families closure.  Pursued by the wolves in a snowstorm, they try to make a break for a nearby line of trees for shelter and kindling.

Here is the pacing of “The Grey” begins to break down.  While the wolves are an ever-present threat for the rest of the film, events slow down as the surviving men get to know each other.  Interpersonal conflicts and overreaction to anxiety cause some friction, but they come together after fighting off the wolves again and even killing one for food.  They talk of their loved ones and their reasons for wanting to live whenever they get a moment of solace.

Some viewers will find this material hokey, but strong performances from the supporting cast (notably Frank Grillo, Dallas Roberts, and Nonso Anozie) make this character-building credible and satisfying.  Unfortunately, each time the wolves intrude and another action sequence ensues, it feels like the best parts of the film, as in the compelling internal struggles of these men as they each come to terms with their dwindling chances of survival, are being put on hold.

Those who are looking for more action are unlikely to be disappointed, however, as the film features many top-notch sequences in addition to the wolf attacks, including a vertigo-inducing trip over a chasm via makeshift rope.  The computer-animated wolves are sometimes lost in the uncanny valley with some unrealistic movements, but their constant menace is generally well-presented.  Some of the most frantic moments are dizzyingly presented with rapid cuts of shaky-cam footage, but unlike most films that overuse this technique, here it underscores the frenzy and confusion of the characters.

“The Grey” is not for everyone.  It can be quite violent and gruesome, and even those with the stomach for gore may find its unflinching approach to human frailty and mortality to be overwhelmingly downbeat.  The ambiguous ending, while perfectly in step with director Joe Carnahan’s delicate approach, might leave some viewers unsatisfied.  Those who have the patience for some well-crafted character development, however, will likely be pleased.  In one late scene, Neeson’s character shouts at the sky, demanding that god show himself and intervene, if he exists.  There are so many ways that could go wrong and garner only unintentional laughter, but Neeson’s heartfelt performance (perhaps channeling some pathos from his own personal tragedies) and the film’s careful attention to character manage to fully earn that scene.

“The Grey” is not a flawless film, but it is a memorable one, and that’s worth admiring.

– by Demian Morrisroe