“Apex” follows a grieving woman who is suddenly ensnared in a deadly game with a ruthless predator while testing her limits in the Australian wilderness.
A Brutal Opening
The film immediately provides the audience with a relationship to root for, only to rip it away. The opening of “Apex” is intense, featuring a rock-climbing sequence that is full of heavy snowfall and gusty winds. Within only a few minutes, tragedy occurs, which propels the movie into its central narrative — taking place in the Australian outback.
It’s a by-the-numbers opening that sets up a by-the-numbers lead character. However, it’s also one that establishes the tone for what is to follow.
Performances That Elevate
Despite the initial lack of originality, “Apex” manages to subvert expectations. Because it’s not a “ruthless predator” like a bear or crocodile hunting down Charlize Theron (Sasha) here. No… it’s Taron Edgerton (Ben).
At first glance, Edgerton’s character is charismatic and likable. Things quickly change, however, as he unleashes his wild side. Edgerton is able to blend the dual personalities well, creating an identity that is psychotic, but also hard not to be enamored by. It’s comparable to the equally impressive performance of Jai Courtney in 2025’s “Dangerous Animals.” With every crooked smile, sarcastic laugh or demented screech that Edgerton delivers, he manages to creep just a little further underneath your skin.
It’s Theron who is the star, though. While much more subdued than Edgerton, Theron is the definition of “badass.” She matches his craziness with toughness. By the end, she likely doesn’t even deliver as many lines as Edgerton. But more often than not, her face says it all.
A Film Torn Between Tones
The biggest problem with “Apex” is that it can’t commit to its identity. Do you think it forgets about its opening scene? Well… of course not. Amidst the violence and fight for survival, it interjects dialogue about grief. This doesn’t fit in with the tone that the film ultimately goes for. And in the process, these emotionally driven moments act as distractions rather than anything meaningful.
It’s also in these sequences that the movie is at its most generic. Had “Apex” cut the opening and a few brief scenes of dialogue or remembrance, it could have functioned as a fast-paced, 85-minute survival thriller. There are 10 extra minutes of “fluff” in the final cut, however — and they make all the difference. Sure, they end up fulfilling an emotional arc for the protagonist. But is this a necessity? Rather than being a unique entry in the genre, this causes Jeremy Robbins’ script to fall in line with many others. A much better film would have resulted had it fully committed to the “kill or be killed” scenario.
Director of photography Lawrence Sher does capture the landscape well. The movie utilizes its environment to the fullest, with raging rapids, mountainous terrain, canyons and deep forests. The camera isn’t always still either. In moments of action, it follows the characters’ movements, which heightens the tension. There is some noticeable CGI utilized in the film, however. This proves to be slightly distracting in key moments, but nonetheless, the set pieces are effective.
For those who came for thrills, there are plenty. “Apex” puts the characters inside these environments; pushing them to their limits in the process. Director Baltasar Kormákur knows what the audience wants to see, and he largely delivers. Because, more often than not, the movie feels old-school.
There’s fun to be had in the cat-and-mouse chase between Edgerton and Theron — full of thrills and chills (plus some unnecessary heart). It’s an easily digestible popcorn flick that is elevated by its stars.
Rating: 3 out of 5
