Some movies begin with a spark—an air of mystery, a setting rich with possibility, and a narrative that hints at something grander. The Gorge (2025) is one of those films. It opens with an ominous yet breathtaking natural landscape, an eerie sense of the unknown, and a setup that could lead in multiple compelling directions. For a moment, it tricks you into believing you’re in for something special. But then, just as quickly, it takes the easy way out, leaving behind its intriguing premise in favor of a rushed, undercooked romantic subplot and a second half that feels like a studio-mandated checklist.
The film, directed by Scott Derrickson (Sinister, Doctor Strange), boasts a concept that should have been a surefire hit. Two elite snipers, Levi Kane (Miles Teller) and Drasa (Anya Taylor-Joy), find themselves stationed on opposite sides of a gorge, tasked with preventing an unknown evil from emerging. The first act sets up an atmospheric tension, hinting at mysteries waiting to unravel. There’s an opportunity here for world-building, character depth, and a slow-burn thriller that keeps the audience guessing. But rather than craft a narrative that unfolds naturally through events, the film takes shortcuts—most notably in its rushed romantic development.
Months fly by, the film tells us. We’re expected to extract this from mere title cards indicating the passage of time, rather than through any meaningful evolution of the characters’ relationship. This kind of storytelling—relying on exposition instead of cinematic progression—has become frustratingly common in recent films. It’s as if filmmakers assume that because we know time has passed, they no longer have to show us how relationships deepen over time. This is a disservice to storytelling, and it cheapens what could have been a well-crafted dynamic between the leads.
Miles Teller and Anya Taylor-Joy are undeniably talented actors, both capable of delivering nuanced, compelling performances. And yet, in The Gorge, their work feels robotic—semi-cooked, as if they’re merely fulfilling an obligation. Whether this is due to a lack of belief in their characters or simply a case of treating the job like a 9-to-5, it’s hard to say. But one thing is certain: their chemistry, or lack thereof, does little to sell the film’s emotional beats.
This lack of conviction extends beyond just the performances. The film’s CGI initially teases something promising, particularly with the early glimpses of the Hollow Men. For a brief moment, you think maybe the film will lean into its unsettling visual elements. But as the second half unfolds, the CGI takes a nosedive into a generic, uninspired mess. The creatures and effects feel like a Frankenstein combination of The Last of Us, Pirates of the Caribbean: The Curse of the Black Pearl, and The Lord of the Rings—but without any of the originality or craftsmanship that made those visuals iconic.
More and more, 2024 and 2025’s films seem to be falling into a pattern: solid first halves followed by lazy, predictable conclusions. Is it a case of writers running out of steam? Are producers rushing films into production to fill streaming platform calendars? Or worse, is this what audiences actually want? That last one seems unlikely—no one prefers a film that starts strong only to fizzle out. The issue appears to stem from a mix of industry pressure and creative complacency. And The Gorge is just another casualty of this trend.
In fact, The Gorge feels like it would have made a much better video game than a movie. The premise, setting, and even its action-heavy sequences seem tailor-made for an immersive gaming experience where players could explore the mystery at their own pace. But as a film, it fails to capitalize on its strengths, opting instead for a rushed narrative that leaves little room for engagement or suspense.
Despite its promising setup, The Gorge doesn’t commit to delivering on its initial intrigue. Instead, it becomes just another film that could have been great but settles for mediocrity. If you’re looking for something to throw on while eating a fast-food meal on a lazy weekend afternoon, this movie will do the trick. But if you’re expecting something truly engaging, you’ll likely walk away disappointed.
Rating: ★★★★★☆☆☆☆☆ (5/10)