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Criticism of ‘Uncharted’, the last film by Tom Holland

For adventurers of yesterday and today.

Direction: Reuben Fleischer Distribution: Tom Holland, Mark Wahlberg, Sophia Ali, Antonio Banderas, Tati Gabrielle, Steven Waddington Original title: Uncharted Country: USA Year: 2022 Release date: 11–02-2022 Gender: Adventure, Action Script: Rafe Judkins, Art Marcum, Matt Holloway Photography: hung Chung-hoon Synopsis: Cunning thief Nathan Drake (Tom Holland) is recruited by veteran treasure hunter Victor “Sully” Sullivan (Mark Wahlberg) to recover a vast fortune amassed by Ferdinand Magellan 500 years ago and lost to the House of Moncada. What at first was for both a robbery plan, turns into a heart attack race around the world to get the loot before the ruthless Santiago Moncada (Antonio Banderas) does it, who claims that he and his family are the true heirs. If Nate and Sully can decipher the clues and solve one of the world’s oldest mysteries, they’ll be in a position to find five billion dollars worth of treasure and maybe even Nate’s long-missing brother…but only they will succeed if they learn to work together.

The best: the fun chemistry that develops between Tom Holland and Mark Wahlberg.

The worst: that the winks to the video game of its scenes after the credits are not understood beyond this one.

One of the virtues of this return, without complexes, perhaps without originality and without any claim beyond that of (almost nothing) entertaining, to the most classic adventure cinema is that it is not obsessed with being a succession of winks to fans. of the video game series from which it takes its name, characters and scheme, but simply (almost nothing) tells one of those treasure hunts that from Robert Louis Stevenson to Steven Spielberg have made generations dream. Uncharted It won’t disappoint those who have spent hours or days in front of a PlayStation either (and the two post-credits scenes are a gift for them in that sense), but that’s not what the writers and an increasingly comfortable Ruben Fleischer as a craftsman consider. your main goal. An adventure like the ones from before, filmed like the ones from before but in a world that is already something without secret places, exotic destinations and spoils of conquerors waiting to be discovered. An adventure film like the ones from before in a current cinema that has sacrificed the capacity for surprise for the ostentatiousness of its sequences, isolated illustrations without any mystery. Uncharted manages to bring back a lot of that mystery, that feeling that under your city (neither here nor less than Barcelona, ​​which for those of us from there is twice as much pleasure as the sadly disappeared author of The wind’s shadow, Carlos Ruiz Zafón would have loved it) there are secret chambers, relief maps, catacombs, trap-fountains and churches with enigmas. It is not something new, of course (the shadow of Indiana Jones and the Last Crusade is elongated), but the energy with which the film makes us believe in the gold of Magellan and his crew is. Energy that never wanes in his most spectacular set pieces, the aerial one and the one with helicopters and galleons, where Fleischer pays homage to one of his cult references: Rowing, unarmed and dangerous (Guy Hamilton, 1985) or in those that seem not so, but are delicious (the robbery at the auction, worthy of the analogous sequence with Cary Grant in With death on his heels).

With that obvious debt to Indiana Jones (who is expressly cited) or Nicolas Cage from The search of Jon Turteltaub (another director proud to be a craftsman and not an author) and a clear and grateful rejection of the cinematographic Lara Croft, Uncharted it really is a tintin cartoon (The secret of the Unicorn Y Red Rackham’s Treasure, not by chance in the plot of the adaptation directed by… Steven Spielberg) set in the 21st century, perhaps in an oasis of innocent optimism within this pessimistic age we live in. Now that is a treasure.

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Source: Fotogramas

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