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How is a movie based on a video game more soulless than the game itself? The knock against the world of gaming has long been that they lack a human element, but Ruben Fleischer ’s “Uncharted” feels emptier than the award-winning franchise on which it’s based. Dominated by green screen special effects and thin treasure-hunt plotting, “Uncharted” fundamentally lacks the sense of adventure that turned the Sony games into some of the most beloved of all time. What’s most startling is how much the games themselves feel more cinematic in terms of world building, character, and narrative than the actual movie. It’s not quite as disastrous as some video game adaptations, and it’s at least light enough on its feet to never insult the intelligence of its fan base as so many of these movies tend to do. However, “Uncharted” seems to want to ride the goodwill of the video game adventures of Nathan Drake more than create any of its own; it takes no risks and feels like a bare minimum effort in terms of storytelling. Roger famously said that video games can never be art . The ones on which this movie is based are certainly more artistic.

Nathan Drake ( Tom Holland ) was conceived as a throwback to Indiana Jones and the serial adventure films that inspired him. He should be a smooth-talking treasure hunter, someone who exists in a slightly gray moral area wherein stealing priceless artifacts is warranted because no one else can really appreciate them like Drake. Holland has the agility but quite simply lacks the weight and world-weariness needed for a character like Drake, who was raised in an orphanage and is willing to steal to make ends meet. If Indiana was typically the smartest person in a room, Drake needs to be the one with the sharpest instincts, someone who sees the puzzles of history from a place of expertise and courage. Holland is a smart actor, but he’s just wrong here, always looking a little bit like a kid dressing up as his favorite video game character.

While working at a bar and stealing jewelry from his patrons, Drake is approached by Victor Sullivan aka Sully ( Mark Wahlberg ), who tells him that he got close to one of the most famous lost treasures in history with Nathan’s brother Sam. They stole the diary of the famous explorer Juan Sebastian Elcano, which will guide them to treasure that was hidden by the Magellan expedition. They quickly cross paths with Santiago Moncada (an Antonio Banderas so underutilized that one has to believe half his part was cut), the heir to the family that funded the original expedition. Moncada’s will is enforced by the tough Jo Braddock ( Tati Gabrielle ) and the boys reunite with an old colleague of Sully’s in Barcelona named Chloe Frazier ( Sophia Ali , who pretty much steals the movie).

“Uncharted” bounces these characters off each other on a journey to Spain and the Philippines, but nothing has any weight to it. It’s green screen performing that ignores how much setting can matter in a film like this one. Design never once feels like a consideration, whether Nathan and Chloe are crawling through a nondescript tunnel to hidden treasure or Sully is getting into one of the few fight scenes in an actual Papa John’s. A film like “Uncharted” needs to transport audiences. We need to go on the journey, not just watch actors pretend to fall out of planes. The “Uncharted” games take players around the world. You’ll never once get that feeling during this cold, distant adventure film.

If anything saves “Uncharted” from the depths of the worst video game adaptations, it’s the relative charm of the cast. Holland may be miscast, but he’s just an incredibly likable movie star, and I hope he can find parts that better utilize his charms. Wahlberg creates a nice balance between his charisma and the exhausted tone of a treasure hunter who has seen and done enough, and just wants that final gig that can set him up for life. Banderas is wasted and Gabrielle is inconsistent, but Ali is arguably the one performer who gets that “Uncharted” should be fun. She gives the film some much-needed energy and unpredictability when she's on-screen.

“Uncharted” is another one of those projects that has been through so many potential production teams over the years that it lost its identity. There are reports going back to 2008 about different filmmakers trying to get this movie made and David O. Russell , Neil Burger , Joe Carnahan , Shawn Levy , Dan Trachtenberg , and Travis Knight were all rumored or even attached at different points. When a project goes through so many iterations over the years, it can often lead to a final film that feels like a compromise, a watered-down version that took the most common, most basic elements of everything that had been suggested over the years. “Uncharted” checks boxes for fans and newbies but does so in such a predictable manner that it lacks any edge or spark. I’ve played through some of the “Uncharted” games from beginning to end more than once, a multiple-hour commitment. It may only take two to watch it, but I’ll probably never see this movie again.

Opens in theaters on Friday, February 18 th .

Brian Tallerico

Brian Tallerico is the Managing Editor of RogerEbert.com, and also covers television, film, Blu-ray, and video games. He is also a writer for Vulture, The Playlist, The New York Times, and GQ, and the President of the Chicago Film Critics Association.

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Uncharted (2022)

Rated PG-13 for violence/action and language.

116 minutes

Tom Holland as Nathan Drake

Mark Wahlberg as Victor 'Sully' Sullivan

Antonio Banderas as Santiago Moncada

Sophia Ali as Chloe Frazer

Tati Gabrielle as Braddock

Steven Waddington as The Scotsman

Pingi Moli as Hugo

• Ruben Fleischer

Writer (story)

• Rafe Judkins
• Jon Hanley Rosenberg
• Mark D. Walker
• Matt Holloway

Cinematographer

• Chung-hoon Chung
• Chris Lebenzon
• Richard Pearson
• Ramin Djawadi

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‘Uncharted’ Review: Tom Holland and Mark Wahlberg in a Video-Game Movie That’s Better Than Most of Them (but That’s Not Saying Much)

It's watchable in a thin "Raiders of the Lost National Treasure of the Fast & Furious Caribbean" way.

By Owen Gleiberman

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I try to go into every movie with open eyes and an open mind, but I confess that this Buddhist goal can be seriously tested by the prospect of sitting through a video-game movie. Sorry, but I’ve been burned too often — by “Super Mario Bros.” (the first one out of the gate, back in 1993), by “Street Fighter” and “Mortal Kombat” and their sequels, by the 637 “Resident Evil” films, by the operatic death-plunge bombast of “Assassins’ Creed,” which looked like it was adapted from the 100 greatest prog-rock album covers. Are there good video-game movies? I enjoyed the 2018 reboot of “Tomb Raider.” The audiences for these films, who tend to be steeped in the games, would say that any number of them are good. But for those like me, who are looking at the movies as movies rather than live-action adjuncts, there can be a sludgy sameness to them: the kinetic fight-club visuals, the skeletal scripts, the “world-building” that starts to look like a series of digital-production-design show reels.

But “ Uncharted ,” based on the Naughty Dog game whose first installment dropped on PlayStation in 2007, is at least trying for something. It’s built around an appealing pair of actors: Tom Holland , who I think registers more vividly as he grows less boyish (he’s in a more rough-and-tumble mode here), and Mark Wahlberg , who knows how to play a hard-ass who is also a trickster. (It’s no insult to Wahlberg to say that his intelligence is his secret weapon.) Holland is Nate Drake, the valiant but naïve adventurer hero, and Wahlberg is Victor Sullivan, who becomes Nate’s mentor by recruiting him to go on a mission to find the legendary stash of gold, which is essentially pirate booty, that was discovered 500 years ago during the around-the-world expedition of Ferdinand Magellan. Can you say “Raiders of the Lost National Treasure of the Fast & Furious Caribbean”?

“Uncharted” opens on one of those leap-ahead-to-the-middle-of-the-story moments, so that the film can entice us with its most astonishing sequence: an unintentional airplane escape, with Nate, having fallen out of the plane, shimmying across a roped chain of bulky oversize packing cubes, each equipped with a parachute — a sequence that may sound standard, but the technology for this kind of thing has advanced, so that it’s done in a seemingly all-in-one-shot breathless way, until you could swear that Tom Holland is actually thousands of feet up in the air, hanging on with one finger. It’s the kind of sequence that makes the video-game-movie skeptic in me sit back and say, “Okay, cool, I’ll go with this.”

Back on the ground, before all that happened, Nate is a New York bartender who’s also a pickpocket and a loner, because he grew up in the St. Francis Boys Orphanage with his older brother, Sam (Rudy Pankow), who got kicked out, leaving the 10-year-old Nate to fend for himself. When Wahlberg’s Sully shows up out of the blue, it’s not really a coincidence — all the connections in the movie trace back to Nate’s vanished sibling — but these two are still thrown together as if they’d been assigned to the same cop car. “Uncharted” is a buddy movie that takes place in the air, on the water, and in tombs with mechanical puzzle entrances tucked away in the catacombs of Barcelona.

In a fun early sequence, Nate and Sully infiltrate an auction so they can steal its prize antique: a dripped-gold ruby-studded key that looks like an ornate cross. There are two of the keys out there, and for them to work you need both. The pair’s rival in all this is Santiago Moncada, whose ancestors funded the Magellan mission; he’s played by Antonio Banderas , who glowers in one-dimensional villain mode. “Uncharted” is essentially an action thriller about two lethally competing scavenger-hunt teams.

Directed by Ruben Fleischer, who made “Venom” and the “Zombieland” films, the movie is less obviously video-game-ish than most entries in the genre. Yet after the initial fireworks, you begin to see the design of the thing. “Uncharted” must have looked like a natural movie to make, because the game it’s based on is so “cinematic.” But what that means, in practice, is that the game crossbreeds legendary movie tropes in an abstract way, and when they’re adapted back to the big screen the abstraction is still there. “Uncharted” is a lively but thinly scripted and overlong mad-dash caper movie, propelled by actors you wish, after a while, had more interesting things to say and do.

In a scene that takes place in a bedroom between Nate and Chloe (Sophia Ali), who has the other golden cross, I was struck by how the movie makes a point of showing off the very buff Holland, but what would have been a romance a decade ago is now…not a romance. (Maybe it’s set to become one?) I’m not saying the film needed a cliché love story to snuggle up against its other clichés, but at least it would have been an additional element. The vibe of “Uncharted” is breathless and a bit neutral. I chuckled at the Scottish hooligan (Steven Waddington) with a brogue so thick that Nate has to ask him to repeat his threats just so he can understand them, and I enjoyed the playful way Wahlberg suggests that his character might be a scoundrel. The climax, in which Magellan’s ancient ships are hoisted into the Philippines by bottomless helicopters, is both absurd and spectacular — a nice combo. But if you sit through the credits, you get not one but two separate preview sequences, the second one hidden like an Easter Egg. I don’t know if I’d call that presumptuous, but I’d definitely call it optimism.

Reviewed at AMC Lincoln Square, Feb. 14, 2022. MPAA Rating: PG-13. Running time: 116 MIN.

• Production: A Sony Pictures Releasing release of a Columbia Pictures, Arad Productions, Atlas Entertainment, PlayStaytion Productions production. Producers: Charles Roven, Avi Arad, Alex Gartner, Ari Arad. Executive producers: Ruben Fleischer, Robert J. Dohrmann, David Bernad, Tom Holland, Asad Qizilbash, Carter Swan, Neil Druckman, Evan Wells, Art Marcum, Matt Holloway.
• Crew: Director: Ruben Fleischer. Screenplay: Rafe Lee Judkins, Jon Hanley Rosenberg, Mark. D. Walker. Camera: Chung-hoon Chung. Editors: Chris Lebenzon, Richard Pearson. Music: Ramin Djawadi.
• With: Tom Holland, Mark Wahlberg, Sophia All, Tati Gabrielle, Antonio Banderas.

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Tom holland and mark wahlberg in ‘uncharted’: film review.

Holland takes a breather from web-spinning to play treasure hunter Nathan Drake in this cinematic adaptation of the hugely popular PlayStation video game series.

By Frank Scheck

Frank Scheck

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This weekend, you’ll be able to go to theaters and see a highly entertaining thrill ride of a movie, featuring Tom Holland performing death-defying stunts and spending a good portion of the film’s running time engaging in witty banter and flying through the air.

I’m talking, of course, about Spider-Man: No Way Home .

Release date: Friday, Feb. 18

Cast: Tom Holland, Mark Wahlberg, Sophia Ali, Tati Gabrielle, Antonio Banderas

Director: Ruben Fleischer

Screenwriters: Rafe Lee Judkins, Art Marcum, Matt Holloway

Oh, there’s also Uncharted , the feature film version of the hit PlayStation video game series, starring Holland as globe-trotting, history-obsessed treasure hunter Nathan Drake and Mark Wahlberg as Victor “Sully” Sullivan, Nathan’s shady mentor. The film deviates from the video games in a number of ways, being an origin story featuring younger versions of the beloved characters. And if you’re thinking that Wahlberg once would have been a great choice to play Nathan himself, you’re not alone. The film has been in development for so many years that he was formerly attached to play the role until he eventually aged out of it.

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Resembling the love child of Tomb Raider , Raiders of the Lost Ark and National Treasure , Uncharted definitely feels like a video game adaptation, so rapidly segueing from one elaborate action set piece to another that your fingers may start twitching while watching it.  Director Ruben Fleischer knows his way around this sort of material, having previously helmed such movies as Venom and Zombieland , and he understands that the target audience isn’t particularly interested in deep characterizations or sophisticated dialogue.

Still, it would have been nice if screenwriters Rafe Lee Judkins, Art Marcum and Matt Holloway had come up with something more interesting than this generic adventure in which Nate and Sully team up to first commit a robbery at a high-end auction house and then head to exotic locales in search of Ferdinand Magellan’s lost treasure of gold. Or more interesting villains than the ruthless Santiago Moncada, played by Antonio Banderas in a performance that can best be described as detached. Or wittier exchanges than Sully constantly teasing Nate about his gum-chewing and Nate responding in kind about Sully’s habit of leaving too many open apps on his cell phone.

More problematically, Nate and Sully, mutually supportive in the games, here come across like a bickering couple on the verge of divorce. Wahlberg’s Sully looks and behaves disgruntled so much of the time that you begin to wonder how these two went on to form a long-running partnership. (Or maybe the actor was just annoyed at disappearing from the story for long stretches of time.)

This star vehicle doesn’t exactly feel like a stretch for Holland, since his Nate, an expert pickpocket, is basically a more larcenous Peter Parker minus the web-spinning — at one point, he apologizes to a bad guy he’s just sent plummeting to his death, which is exactly what Peter would do. As made evident by his many shirtless scenes, the actor clearly buffed up for the role, the better to perform the numerous high-octane stunts that include falling out of an airplane and a lengthy parkour-style foot chase.

The film features plenty of photogenic real-life locations and some genuinely exciting action sequences, including the aforementioned airplane scene — which opens the film and is reprised later on — and a breathless battle involving airborne 16 th -century sailing ships.

Refreshingly, it’s the female characters who are the most badass. Sully’s longtime treasure hunting associate Chloe Frazer (a charismatic Sophie Ali) more than keeps up with the guys when it comes to physical derring-do, and Moncado’s blade-wielding henchwoman Braddock (Tati Gabrielle, fearsome) is a homicidal villainess who could give James Bond a run for his money.

You can’t say that the makers of Uncharted lack confidence, since the film ends with the sort of cliffhanger that basically promises a sequel. It’s a bold move, considering the number of video game film adaptations that have crashed and burned, but with the charismatic Holland as its star, it just may pay off.

Full credits

Production companies: Arad Productions, Atlas Entertainment, PlayStation Productions Distributor: Columbia Pictures Cast: Tom Holland, Mark Wahlberg, Sophia Ali, Tati Gabrielle, Antonio Banderas Director: Ruben Fleischer Screenwriters: Rafe Lee Judkins, Art Marcum, Matt Holloway Producers: Charles Roven, Avi Arad, Alex Gartner, Ari Arad Executive producers: Ruben Fleischer, Robert J. Dohrmann, David Bernad, Tom Holland, Asad Qizilbash, Carter Swan, Neil Druckmann, Evan Wells, Art Marcum, Matt Holloway Director of photography: Chung-hoon Chung Production designer: Shepherd Frankel Editors: Chris Lebenzon, Richard Pearson Costume designer: Marlene Stewart Composer: Ramin Djawadi Casting: Priscilla John, Orla Maxwell, Yael Moreno, John Papsidera, Anna-Lena Slater

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The Uncharted movie double-crosses video game fans yet again

Tom Holland and Mark Wahlberg take on the Nathan Drake and Sully roles in a film with none of the games’ stakes

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Uncharted game series protagonist Nathan Drake owns a ring he claims came from his forebear , explorer Sir Francis Drake. It’s engraved “Sic Parvis Magna,” or “Greatness from small beginnings.” The game series reflected that motto, with the modest first installment spawning three direct sequels, each better than the last.

But that greatness isn’t reflected in the movie version of Uncharted . It’s a small beginning for a possible Sony film franchise, but yet another dud of a video game adaptation. A glimmer of sequel potential is stowed away in a second post-credits scene, where a sudden burst of chemistry in the riffraff banter between treasure-hunting pals Nathan Drake (Tom Holland) and Victor Sullivan (Mark Wahlberg) is sure to make people wonder where such lively line deliveries have been for the last two hours. For one minute, everything about the characters feels right, but it comes far too late.

Throughout the film, Zombieland and Venom helmer Ruben Fleischer and screenwriters Rafe Judkins, Art Marcum, and Matt Holloway ping-pong between as many game franchise characters and new additions as they can possibly cram into one origin story. In the game series, the characterization is more compact and robust. The Drake-and-Sully duo function as the thieving core in the first installment, before the designers expand their roster and flesh out their backstory in subsequent entries. The series’ villains have never been interesting, but there’s some personality behind motives like seeking the Tree of Life to gain eternal youth, or magicians attempting to fracture Nathan and Sully’s deeply established friendship. That verve is missing in the film version as well.

The film version feels like the writers were assigned different aspects of adapting the Uncharted formula: puzzle-solving, sneaking around, parkour, and larger-than-life action. The fragmented story makes it even more difficult for them to introduce and alternate between so many different characters. But even without the burden of introducing so many characters, the choices propelling Uncharted still lack stakes, genuine peril, fascinating twists on history, or adrenaline-pumping adventure.

Some of the action sequences are lifted straight from the games, most recognizably the much-advertised cargo-plane fight from Uncharted 3: Drake’s Deception , where Nathan free falls to what seems like certain death. Fleischer and the writers find convenient ways to initiate the set piece — which in the games builds from a car chase in which the player jumps into the plane as it’s taking off on the runway — but in live-action it’s done with a blockbuster kitchen-sink method that can’t escalate the tension with so many characters in the mix. It’s admirable that they want to shake up the familiar elements, but there’s no weight or emotional gravitas to anything that happens. (Also, anyone who’s played these games knows nothing should come easy or convenient for Nathan Drake.)

The Uncharted games have never focused on realistic action, but some moments in the film adaptation still stretch the fantasy a bit too far. (There’s some business with a sports car that would make Dominic Toretto blush with embarrassment.) It’s as if no one bothered to consider how cartoonish chaos would come across in the context of a two-hour movie that veers between serious and lighthearted. There’s no room for any spectacle to stand out, or for the characters to develop a rapport organically. Various fight sequences are choppily and rapidly edited together, surrounded by obvious green screens. That’s a particular disappointment, considering the four mainline Uncharted games consistently pushed the boundaries of what the PlayStation 3 and PlayStation 4 could achieve graphically.

Worst of all, the central characters lack even a trace of dimension. In defense of Tom Holland, his basic movements — punching combos, climbing, and positioning behind objects when sneaking — are so carefully calibrated to his video game counterpart that when no one is speaking, and there is a moment of coherence in the action, it’s briefly thrilling to see Drake brought to life so efficiently on the silver screen. Even the way Nathan Drake and Sully disperse upon entering a Barcelona church to look for clues feels like it’s modeled after the games, with the audience in the action, searching alongside the characters.

But from the moment Sully walks into a New York bar where Nathan is serving up drinks, being a know-it-all wise-ass, and pickpocketing patrons, the line readings feel forced in a manner that suggests neither of these performers has fully cracked how these characters bounce off each other. The script rarely gives them anything funny to say, which doesn’t help. Mark Wahlberg doesn’t even seem to be trying to replicate Sully, which makes it even stranger when he changes up his accent for one line to sound like him. The game’s version of the character is more of a sarcastic Bruce Campbell type than Marky Mark’s motormouth effusion. Even when Holland occasionally seems like a decent version of Nathan Drake, Wahlberg is usually in the same frame to obliterate the illusion.

Actors stepping into a video game adaptation don’t need to look or sound exactly like their digital counterparts. At the end of the day, all that matters is whether Uncharted the movie crackles as a quest for gold with likable characters. The problem is that it doesn’t. The version of Sully here is a much more selfish and greedy man who recruits Nathan to locate lost gold from a doomed Ferdinand Magellan expedition. Nathan is uninterested, until Sully mentions that he was trying to uncover the mystery with Nathan’s brother Sam, whom Nathan hasn’t seen since Sam ran away from the orphanage where they lived as children.

Nathan has some stashed-away postcards Sam sent him over the years, suggesting that he does still care about Nathan. (Besides, it wouldn’t be an Uncharted story without crumpled handwritten visual clues.) According to Sully, the final clue is hidden in them, and following the clues could let the brothers reunite. With his hunger for the gold and Nathan’s for reconciliation intertwined, they join forces.

Nathan comes into their first DIY field mission as a rookie who fumbles his plans and hasn’t gotten down the basics of jumping and swinging yet. That sequence — inspired by Uncharted 4: A Thief’s End — stands out slightly, given the sense that Nathan is actually in danger. But his flaws, and the life-or-death stakes, disappear in the blink of an eye. If the movie needs him to be good at something, he suddenly is.

Among the other game characters the film introduces, Sophia Ali manages the film’s best game-character mimicry as Sully’s partner in crime Chloe Frazer. Uncharted 2: Among Thieves implies Chloe and Nathan had a romantic past, but the movie doesn’t fill in any intriguing gaps, beyond how they met and how Nathan crushed on her. Instead, Uncharted uses all these characters and clues to set up a story about trust. Backstabbing takes center stage, but only as a mechanism to keep the plot going. None of these thieves can trust each other, which is par for the course in an Uncharted narrative, but there might be more double-crosses and betrayals here in two hours than there are in any one of the 12-to-15-hour games.

Hot on Drake and Sully’s tail is Antonio Banderas’ Santiago Moncada, the son of a wealthy businessman and descendent of the original Magellan expedition. Santiago sees himself as heir to the spoils and will stop at nothing to retrieve the fortune, especially since his father has no intentions of passing the family’s riches down to him. In a move that might be more unbelievable than all the action sequences combined, Santiago’s father is thinking about giving that wealth to the people as a means of taking accountability for the family’s tainted lineage. So the race is on for Santiago to beat the heroes to the treasure, and he enlists mercenary Jo Braddock (Tati Gabrielle, turning in a physically imposing performance) to get a leg up on Drake and Sully.

The filmmakers have the right idea of what makes an Uncharted action set piece, whether they’re molding a sequence after something from the games, or inventing something entirely new that would fit within one of them, like a bit involving characters battling inside pirate ships hoisted into the air by airplanes. But the execution is flat, inconsequential, and boring. Not even a remix of the Uncharted theme during a climactic shootout, padded up to that point by generic action muzak, brings joy.

One of the only laughs in the movie comes when Nathan Drake notices that even the bad guys are turning on one another. “Seems like it’s hard to keep a partner for long in this business,” he quips. It feels like something his game counterpart would say. Maybe someday, film adaptations of video games will stop betraying us by putting in minimal effort to acknowledge what fans enjoy about the source material, then failing to translate that vague understanding into onscreen excitement. Practically everyone here but Wahlberg is trying to ignite some sort of fire, but just as with the running gag about Nathan failing to properly use his trusty lighter, the spark keeps dying. Some things just aren’t destined for greatness.

Uncharted opens in theaters on Feb. 18.

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Uncharted review – Tom Holland game adaptation is action-movie by committee

Holland gives his all as rogueish treasure hunter Nathan Drake in a by-the-numbers PlayStation adaptation that’s heavy on spectacle but light on heart

W ith laser-guided precision, with the exactitude of a Nobel-winning rocket scientist or a world-class neurosurgeon, this film measures right up to what you’d expect from a movie based on a PlayStation video game . It’s a huge greenscreen action-adventure with a reasonable bang-buck ratio, but a box office algorithm where its heart is supposed to be. It’s all about a couple of ripped guys on the trail of some lost 16th-century gold belonging to legendary explorer Ferdinand Magellan; the film cheerfully rips off Indiana Jones , the National Treasure films with Nicolas Cage, and there’s a touch of The Goonies in there somewhere.

Tom Holland has been doing some serious work with his personal trainer for his role as Nathan Drake, a tough kid with serious abs and a talent for parkour that looks like it is only partly faked with a stunt double. He is now making a few bucks as a cocktail waiter but he’s also a pickpocket, ripping off rich people in the bar – and dreaming of finding Magellan’s loot, which his adored older brother once told him about before mysteriously going missing.

It’s then that Sully Sullivan (played by a detached Mark Wahlberg , who is maybe not entirely engaged with a second fiddle role) comes up to the light-fingered Nate in his bar with a proposition: a scene pinched from George Clooney meeting Matt Damon for the first time in Ocean’s Eleven. They can team up to search for the gold, and maybe find Nate’s brother, too. But in doing so, they come across some tough customers: gold hunter Chloe (Sophia Ali) and ice-cold martial arts warrior Braddock (Tati Gabrielle) who is in the pay of the smooth-voiced bad guy Moncada (Antonio Banderas).

The lovable rogues bop around from glamorous location to glamorous location and the whole thing runs smoothly enough, with some spectacular touches. Holland gives it his all, but the rest of the cast look a little less committed. An efficient, soulless hologram of a film.

• Action and adventure films
• Tom Holland
• Mark Wahlberg
• Antonio Banderas
• PlayStation

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Uncharted Reviews

If this movie has taught me anything it’s that video game movie adaptations will never be a sustainable avenue for Hollywood.

Full Review | Original Score: D+ | Sep 23, 2023

What will be most frustrating for fans of the video game franchise and distributors Sony is that the film fails to deliver the same level of quality as its source material, though newcomers might find more to enjoy.

Full Review | Aug 8, 2023

Tom is a solid Nathan Drake Sophia is a great Chloe Mark was Mark…. Nothing against him but he was nothing like Sully. As a long time fan of this gaming series I wanted more & left frustrated even with the fun glimmers that were throughout the film

Full Review | Jul 25, 2023

What started as a video game produced by Play Station became a movie that just doesn’t hit all the notes it desperately tries to.

Uncharted is an action-adventure flick, but despite a more entertaining last act, it fails to break the curse of videogame film adaptations due precisely to the lack of said action and adventure.

Full Review | Original Score: C- | Jul 25, 2023

With a predictable plot, rudimentary puzzles, and strawman characters, Uncharted never manages to find its narrative bearings.

Full Review | Original Score: 2/5 | Jul 25, 2023

Uncharted fails to provide the most basic principles of an adventure movie. It is underwhelming and overloaded, without the charm of its clearly Spielberg-ian roots.

Uncharted heads into familiar action-adventure territory making for a forgettable video game adaptation.

Full Review | Original Score: C | Dec 4, 2022

While Uncharted rarely veers away from the charted territory, the film has enough fun with itself for an enjoyable ride.

Full Review | Original Score: 3/5 | Nov 5, 2022

If you squint hard enough, you'll see what makes Holland great—charm, charisma, aw-shucks levels of approachability—but none of it saves the flick from being utterly forgettable.

Full Review | Oct 12, 2022

Uncharted seems fresh in the era of superhero blockbusters. Saying it’s not as great as one of the best video game series ever shouldn’t be a massive indictment as it’s a fun ride with a clear respect for the source material.

Full Review | Original Score: 8/10 | Sep 10, 2022

A globe-hopping adventure that manages to be visually boring and charm-sucking.

Full Review | Aug 26, 2022

It’s a fun ride, and there’s a cool cameo for gamers to enjoy, but it is not quite the film I had hoped it would be.

Full Review | Aug 23, 2022

“Uncharted” really leans on its star power, especially Holland who plays a very Holland-like character – charismatic, boyishly charming, a bit daffy, and with an unshakable innocence (even when he tries to talk tough).

Full Review | Original Score: 3/5 | Aug 16, 2022

The film's secret weapon is Tom Holland's natural athleticism.

Full Review | Original Score: 3/5 | Aug 10, 2022

If you are after a relatively generic action-adventure, Uncharted probably fits the bill – although a Marvel-like reliance on digital effects does let down its larger action sequences.

Full Review | Original Score: 6/10 | Aug 9, 2022

Amidst the lukewarm broth of deepfakes and green screen that make for the main entertainment of this film, there are very few fun, memorable moments except for the most stupid ones, and we'd rather forget about those. [Full review in Spanish]

Full Review | Original Score: 5/10 | Jul 11, 2022

There's just enough that gleams here to be watchable. It's a film with a few shiny coins in its bag, rather than a whole bar, cavern or ship of riches.

Full Review | Jun 25, 2022

Uncharted plays out like a very middle-of-the-road treasure hunt movie which emulates the likes of Indiana Jones and National Treasure and comes off as an uninventive re-tread.

Full Review | Original Score: 2/5 | Jun 10, 2022

There have been worse movies this year. Maybe even this month. But I'm not sure those are more unnecessary than this one.

Full Review | Original Score: B- | Jun 9, 2022

Uncharted Review

11 Feb 2022

Back in 2011, in a commercial made for the Japanese market but which has since appeared online, Harrison Ford sat down in front of a TV to play the third video game in the Uncharted series. “Fantastic. Oh, incredible,” said the star, as he hammered the X button with his thumb. “So cinematic.” It was a publicity coup — the actual Indiana Jones stepping into the pixelly shoes of his gaming equivalent, Nathan Drake. It was yet more evidence that Uncharted — a brilliantly executed PlayStation adventure franchise which is, yes, cinematic as hell — was destined to become a film series too. But the ad also hinted strongly at the biggest problem facing anyone daring to take Drake to the big screen: the shadow of Spielberg’s Indy films, the gold standard for movies about treasure-hunters dodging dusty booby-traps and falling out of planes.

After roughly 15 years of development, Uncharted the movie is finally here. Dusty booby-traps and plummets from planes are present and correct. Alas, despite the promise and all that time expended, it’s disappointingly weak sauce. For die-hard fans of the games, there’s little that lives up to their ingeniously unfolding action set-pieces, such as the train sequence in Uncharted 2 which builds and builds in intensity until a cliffhanger that involves actual cliff-hanging, or the wild horseback gun-battle in part 3. Non-Drakeheads, meanwhile, are likely to wonder what all the fuss was about. What’s on screen is amiable enough, a hunt for $4 billion of pirate booty that involves a lot of double-crossing (plus, thanks to the film’s twin MacGuffin, a pair of crucifixes, a literal double-cross). But while it clearly aims for Raiders Of The Lost Ark — “When did you decide to become Indiana Jones?” someone says at one point, while our heroes’ trek is depicted by a red dotted line on a map, Indy-style — it lands somewhere around National Treasure 2 instead.

Antonio Banderas makes for a colourless villain, with monologues about “diversified investments” so inert that even his goons look bored.

Over the years, the search to fill the two lead roles — Drake and his grizzled mentor Sully — cycled through pretty much every actor in Hollywood with a gym membership card. It finally landed on Tom Holland and Mark Wahlberg , two actors who can be charming and funny individually, but who struggle to muster up much in the way of comic chemistry here. It doesn’t help that the dialogue they’re given is significantly lamer than that uttered by their video-game counterparts; as they bicker in catacombs over ancient riddles (Wahlberg was at least well-cast in the sense that his resting expression suggests he is perpetually trying to crack an ancient riddle), scenes start to feel like cutscenes that you wish you could skip. Antonio Banderas , likewise, makes for a colourless villain, with monologues about “diversified investments” so inert that even his goons look bored.

There are moments when it jolts into life: a well-executed, lengthy single shot tracking Drake as he freefalls from an aircraft; some Goonies -esque underground map-syncing. But only the final 20 minutes, with a pirate-ship battle that takes to the skies, lives up to the giddy, inventive spectacle of the source material. Otherwise, Uncharted plods around an all-too-familiar map.

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• Entertainment /
• Movie Review

Uncharted’s road to gold is plagued by its bros

Drake and his dad in the club meets tomb raider.

By Charles Pulliam-Moore , a reporter focusing on film, TV, and pop culture. Before The Verge, he wrote about comic books, labor, race, and more at io9 and Gizmodo for almost five years.

Share this story

Columbia Pictures’ new Uncharted movie from Venom director Ruben Fleischer is a testament to the idea that the longer much-buzzed-about adaptations of beloved franchises linger in development hell, the more likely they are to emerge from it — that is if they ever do — as warped misfires that might have been better kept in the drafts. Uncharted isn’t the first movie this is true of. But unlike so many other adaptations in this class, which tend to feel hamstrung by a lack of understanding of what people like about the source material, you do get the sense watching Uncharted that everyone involved vaguely “gets” what all the fuss is meant to be about. Uncharted knows what it’s supposed to be — the problem’s that it is profoundly uninterested in being that thing.

Uncharted draws upon elements from multiple Uncharted games in order to build a story around a younger, more inexperienced Nathan Drake (Tom Holland) who’s sucked into the jet setting, tomb raiding lifestyle after a not-so-chance encounter with conman / treasure hunter Victor “Sully” Sullivan (Mark Wahlberg). Though Nathan, a lonesome bartender with a troubled past and no close family in the present day, knows better than to trust smooth-talking strangers who pick pockets better than he does, Sully’s able to earn the younger man’s trust and recruit him onto a big job by playing up his connections and similarities to Nathan’s long-lost brother, Sam. 

Technically, Uncharted opens on one of its surprisingly few major set pieces that take place towards the end of the movie before jumping back in time to focus on Nathan and Sully’s meeting. But Nathan’s path to lost treasure actually begins back in his adolescence when he (Tiernan Jones in flashbacks) and Sam (Rudy Pankow) were just two wayward boys sneaking out of their orphanage to steal valuable pieces of history from museums, as children are wont to do. What Uncharted attempts to do in its opening scenes is convey to you how Nathan and Sam’s love for treasure hunting and their being ripped away from each other in their youth laid the groundwork for the adult Nathan to become the sort of person to be won over by Sully’s charms. But what Uncharted inadvertently ends up doing instead is drawing attention to its own indecision about who its main character is and what kind of people they are.

Uncharted can’t decide who its main character is

Watching Holland and Wahlberg try to play off of one another in basically any of the movie’s comedic scenes is like gazing into a sharp crystallization of just how fraught Uncharted ’s journey to the big screen was. Long before it shifts fully into action mode, Uncharted tries to sell you on the idea of itself as a buddy adventure flick. But the bulk of Nathan and Sully’s banter falls flat due to an unfortunate blend of questionable chemistry and hackneyed dialogue that makes even the dullest of video game cutscenes shine by comparison. 

Wahlberg, who was one of the frontrunners to play Drake over a decade ago, neither seems particularly excited about nor down on the idea of playing Sully — he just looms like a reminder of the Uncharted movie that could have been. Holland’s Nathan is, by comparison, the more engaging of the two characters, but the degree to which Uncharted attempts to rely on Holland’s boyish charm to carry it ends up hurting the film in a way that becomes progressively more noticeable as it goes on and more characters are introduced. This might not be such a glaring issue if Nathan and Sully’s brotherly camaraderie wasn’t meant to be Uncharted ’s beating heart, and if the film had the wherewithal to at least try to make some of its supporting characters feel like people instead of walking, talking callbacks to the games.

By the time that Nathan and Sully set out on their mission to track down a lost treasure hidden by Magellan’s crew, there’s still plenty of Uncharted to get through, but because the film can’t commit to a focus or a tone, it continues to feel much longer than it actually is all throughout.

The Uncharted franchise isn’t just Tomb Raider for Men™, but this movie is

Uncharted doesn’t really want you to think about why Sully and other hunters like Chloe Frazer (Sophia Ali) and Jo Braddock (Tati Gabrielle) are only able to finally start getting leads once Nathan shows up even though they’ve all been hunting for this specific treasure for ages. The movie also doesn’t especially want you to notice the fact that none of the puzzle solving or clue hunting that Nathan himself does appear to be very difficult or clever. What Uncharted does want, though, is to give you the feeling of being whisked away to gorgeous, foreign locales, where no one takes much of an issue with folks showing up to hack away at valuable pieces of history.

The Uncharted franchise has its merits and isn’t just Tomb Raider for Men™, but that’s definitely the impression one could take away from this film for a variety of reasons, including, but not limited to, its apparent allergy to developing female characters beyond being quippy prizes for its male leads to lust after. Uncharted ’s greatest sin, however, is the sureness with which it presents you with the potential for future installments — installments this movie’s ending neither earns nor warrants.

Uncharted also stars Antonio Banderas, Steven Waddington, and Pingi Moli and hits theaters on February 18th.

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• DVD & Streaming
• Action/Adventure

Content Caution

In Theaters

• February 18, 2022
• Tom Holland as Nathan Drake; Mark Wahlberg as Victor Sullivan; Antonio Banderas as Santiago Moncada; Sophia Ali as Chloe Frazer; Tati Gabrielle as Braddock; Steven Waddington as The Scotsman; Pingi Moli as Hugo

Home Release Date

• May 10, 2022
• Ruben Fleischer

Distributor

• Columbia Pictures

Movie Review

When Sam and Nathan Drake were young, they always dreamed of becoming treasure hunters. It was in their blood, Sam told his little brother, because they were descended from pirates .

Unfortunately, Nathan never got to go on some wild adventure seeking a priceless fortune because Sam ran off without him to avoid juvenile detention.

But that all changes when Victor Sullivan, aka “Sully,” shows up seeking Nathan’s help.

See, unlike Nathan, Sully’s actually seen Sam here and there these past 10 years—worked with him, in fact—tracking down the lost gold of Ferdinand Magellan (the explorer credited with completing the first circumnavigation of the globe in 1522).

For Sully, it’s just a paycheck, a way to get rich quick. But for Nathan, it means finding his lost brother and fulfilling their family legacy.

Positive Elements

Sully uses Nathan as a means to an end. In his line of work, you can’t trust anybody . And he basically admits he left a previous partner to die when things got hairy. However, Nathan’s goodness rubs off on the older man, spurring him to make some redemptive and sacrificial choices later in the story.

Sam abandons Nathan when they’re just kids, but he makes a vow to come back eventually for his little brother. Unfortunately, he never does anything more than send postcards to Nathan, and this creates a feeling of bitterness in Nathan towards his big bro.

However, Nathan eventually learns that there were extenuating circumstances that prevented Sam from returning—and that Sam may have even been protecting his kin by staying away. And this fosters a spirit of hope for reconciliation in the younger sibling.

Spiritual Elements

Sam and Nathan grow up in a Catholic orphanage. As adults, neither are churchgoers, but Nathan feels extra guilty when breaking into a church—though, admittedly, this may be due more to his fear of punishment by the nuns than his fear of God.

Many of the clues to the Magellan treasure are linked to religious icons. Two keys are made in the shape of a cross. There are references to heaven and hell. Several clues are hidden in a church (and Nathan and Sully have to mildly desecrate it to find them). Nathan is nearly killed when he ignores a symbol called “the Eye of Providence.”

Someone sarcastically quotes “thou shalt not steal” from the Ten Commandments. A street performer is dressed as a devil-angel type character.

A man says he has faith in God (and crosses himself) but not in his son.

Sexual Content

An exercise montage shows a shirtless Nathan. Some women wear revealing outfits and bikini tops. One woman’s formfitting top leaves little to the imagination. Innuendo suggests that two characters previously had a sexual relationship. People dance in a nightclub. Someone jokes about the drink “Sex on a Beach.”

Nathan and fellow treasure hunter Chloe share a bedroom one night. We never see them in bed together, and there’s nothing to suggest they did anything besides sleep. But Nathan harbors a crush on Chloe, so the fact that they shared the same bed could send some questionable messages to younger viewers. (Nathan is also shirtless when he wakes the following morning.)

Violent Content

Treasure hunters often get into fistfights, gunfights—and sometimes even sword fights. And you can imagine that they all sustain a number of injuries during these scuffles. (One woman is thrown through a glass wall, and Nathan bleeds after getting knocked unconscious with the butt of a gun.)

Several people hurtle through the air to their deaths after falling out the back of a cargo plane without parachutes. (More die later in a similar manner after being thrown from a boat carried by a helicopter.) Nathan accidentally kicks one or two enemy goons off the plane himself, shouting apologies for what he calls “totally reactive” actions.

To be fair, these men were firing guns and trying to kill him, but it’s still jarring when cargo crates smack into people, sending them to their deaths, if not killing them on impact. Nathan later unapologetically shoots a helicopter from the air with a cannonball, sending its occupants to their fiery deaths.

Someone is crushed by a falling boat. A woman slits the throats of several colleagues. A man commits patricide to stop his father from giving away their family fortune. We hear that a man was left for dead after he was shot. Death threats are exchanged.

Two people are nearly shot by arrows and drowned by booby traps. A boy is saved from falling off a balcony by his brother.

Crude or Profane Language

Nearly 30 uses of the s-word. We also hear frequent uses of “a–,” “b–tard,” “b–ch,” “d–n,” “h—” and “p-ss.” There’s an incomplete “What the—.” God’s name is abused 10 times, and Jesus’ name is abused twice.

Drug and Alcohol Content

People drink alcohol. Nathan drinks a 500-year-old bottle of rum that he finds on a pirate ship. Nathan works as a bartender before Sully recruits him, and he displays his mixologist skills throughout the film. A girl smokes a cigarette. A man steals a cigar.

Other Negative Elements

People lie, steal, pickpocket and double-cross each other. Someone says that money changes people, making them greedy and selfish.

Sam is nearly sent to juvenile detention for stealing from a museum (as it’s his third strike); but he runs away, avoiding capture. We hear that another man was discharged from the military for looting artifacts.

As a child, Nathan tries to imagine that he isn’t an orphan and that his parents are just missing, but Sam harshly tells him this isn’t true. Later, we hear that Chloe’s dad sold the first artifact she ever discovered as a child (rather than donate it to a museum) and that she never saw him again after that.

Nathan tells Sully that Magellan’s expedition was never about exploration but about money. And since Magellan’s crew hid the gold after his untimely death, his patrons never saw a single nugget.

Uncharted is based on the popular video game franchise , and it’s a pretty even mix of Tomb Raider and The Goonies .

Language is the most obvious issue here, with the s-word count reaching well into double digits. There’s also quite a bit of violence, with one character slitting throats as casually as she would use a letter opener.

However, it’s the totally pointless and seemingly random workout montage that caught me off guard with its obvious objectification of the lead actor. Maybe it’s because I’m so used to thinking of Tom Holland as Peter Parker, a high schooler , but his shirtless workout scenes felt icky —like I was watching a younger brother.

The film’s creators have unashamedly cashed in on Holland’s appeal to young, female audiences. And while this isn’t anything new in Hollywood, it’s definitely a subject worth discussing with your teens.

Because it’s easy to say “no” to a movie that has sex scenes or nudity. What’s harder to moderate are films that simply suggest someone’s desirability. It grooms audiences to think of that person in an adult mindset, further suggesting that it’s OK to objectify them and possibly others as well.

And all of this is really quite a shame since the film didn’t need any of those content problems to be entertaining.

Emily Tsiao

Emily studied film and writing when she was in college. And when she isn’t being way too competitive while playing board games, she enjoys food, sleep, and geeking out with her husband indulging in their “nerdoms,” which is the collective fan cultures of everything they love, such as Star Wars, Star Trek, Stargate and Lord of the Rings.

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Common sense media reviewers.

Violence, language in too long game-based adventure.

A Lot or a Little?

What you will—and won't—find in this movie.

Like in the game, the movie takes place in a world

Central character Nate is intended to be seen as p

The two top-billed stars are White men. Within the

Frequent action violence, with many set pieces in

Flirting. A male character looks suggestively at a

Language and cursing includes "s--t," "son of a bi

Characters are pursuing a trove of gold from a los

Several scenes take place at bars, with characters

Parents need to know that Uncharted is a treasure hunt action-adventure movie that's based on the popular video game series featuring hero Nathan Drake (Tom Holland). Expect lots of largely bloodless action violence, much of it in the form of set pieces in which the main characters have to fight faceless,…

Positive Messages

Like in the game, the movie takes place in a world where people have few scruples and angle after ill-gotten gains (in this case, a missing treasure). Never considers what the Spanish treasure ship and the explorers who crewed it did to the land and people they plundered, nor whether finding and keeping the gold is worth the toll it ultimately takes.

Positive Role Models

Central character Nate is intended to be seen as principled compared to his fellow adventurers, who don't hesitate to double-cross each other. And he is indeed loyal to those he considers his friends, but he also kills dozens in his pursuit of wealth and never seems to question it. Sully and Chloe are even less principled, betraying each other at almost every turn, as well as killing conveniently anonymous villains.

Diverse Representations

The two top-billed stars are White men. Within the central quintet of tough, brave characters, two are young women of color; everyone else is male. An antagonist is a man of unspecified Latino heritage who frequently speaks Spanish. Female characters are sexualized with bare, clingy costumes.

Did we miss something on diversity? Suggest an update.

Violence & Scariness

Frequent action violence, with many set pieces in which the main characters must fight their way into or out of situations. Characters are often in mortal danger -- e.g., a scene in which they're trapped in an underground chamber filling with water. Two people are accidentally ejected from an aircraft and fall through the air while taking out villains. Deaths take place on-screen, including scenes in which throats are slit, characters are stabbed, and people fall off of planes and helicopters; blood is infrequent, and only one dead body is visible at length. Guns are used/brandished. Most of the opposition that main characters face is of the anonymous-henchperson type, with assailants seen quickly and dehumanized by shots that hide their faces.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

Flirting. A male character looks suggestively at a woman's body as she walks away; he's warned off by another character. References to characters being "together," and a scene in which characters are seen asleep in bed with the implication that they slept together. Female characters, particularly one antagonist, wear costumes that are impractically tight and bare; male characters are frequently seen shirtless.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Language and cursing includes "s--t," "son of a bitch," "hell," "bastards," "ass," "crap," "oh my God," and "Jesus" (as an exclamation). Characters frequently say something "sucks."

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Products & Purchases

Characters are pursuing a trove of gold from a lost Spanish sailing foray; it's said to be worth billions.

Drinking, Drugs & Smoking

Several scenes take place at bars, with characters ordering cocktails by name (martini, negroni) and a bartender showily twirling bottles. In another scene, characters bond by drinking wine; by night's end, all look bleary and exhausted, and the room is littered with perhaps 10 bottles (for three people). A character holds, but does not smoke, a cigarette.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that Uncharted is a treasure hunt action-adventure movie that's based on the popular video game series featuring hero Nathan Drake ( Tom Holland ). Expect lots of largely bloodless action violence, much of it in the form of set pieces in which the main characters have to fight faceless, dehumanized minions to get into or out of a location. Characters are frequently in mortal danger, including dangling from a flying plane and being trapped in an underground cavern that's filling with water. Guns are used, and people are killed by being hurled off of vehicles and falling great distances; one has his throat slit, and viewers see some blood and his dead body. Sexual content is limited to flirting, suggestive looks, and a scene that shows people in bed, implying that they slept together. While two of the main characters are women who are depicted as just as strong and brave as the men, they also wear clingy and sometimes unrealistically bare costumes that would be difficult to fight in, including spiked heels. Language includes "s--t," "son of a bitch," "hell," "oh my God," and more. Characters drink frequently; in one scene, three people share at least 10 bottles of wine and appear bleary and sloppy afterward. One character holds a cigarette and tries to light it but doesn't succeed. Drake is depicted as more heroic than the other characters because he doesn't betray his fellow adventurers, yet, like them, he pursues the lost Spanish gold at seemingly any cost, without concern for death and injury. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

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Based on 20 parent reviews

More curse words than I thought

What's the story.

Based on the popular action-adventure video game series that started with Uncharted: Drake's Fortune , UNCHARTED focuses on the game's main protagonist: treasure hunter Nathan Drake ( Tom Holland ). Claiming that he and his long-lost brother, Sam (played as a teen by Rudy Pankow), are descended from renowned explorer Sir Francis Drake, Nathan is recruited by seasoned treasure hunter Victor "Sully" Sullivan ( Mark Wahlberg ) to search for the lost riches of Ferdinand Magellan, with the grudging accompaniment of their associate Chloe ( Sophia Ali ). But they aren't the only team on the hunt: Nathan and Sully's globe-trotting forays are closely followed by the ruthless and well-funded Moncada ( Antonio Banderas ) and his hired gun, Braddock (Tati Gabrielle).

Is It Any Good?

Beautiful to look at and crammed with heart-stopping adventure sequences set in picturesque foreign lands, this video game adaptation is thrilling, if overly long and morally iffy. What Uncharted mainly has going for it is adept adventure set piece directing and star Holland, who's an affable, even charming, lead. Nate is relatably anxious in the midst of mortal danger yet both game and good-humored, a fantastic foil for Wahlberg's Sully, who leans toward blank-faced derring-do. Holland's easygoing vibe makes viewers want to root for Nate on his quest in beautiful places and through immeasurable danger.

But that quest is more enjoyable if you switch off your brain before watching. It can't be denied that the only difference between Nate and Sully and the better-funded Moncada team that opposes them is that we're told the Moncada family is involved in criminal enterprises. Real bad stuff, the film tells us in a few throwaway lines, and then, poof!, Sully and Nate are seemingly cleared to kill as many people as they want in horrible ways in pursuit of treasure. That doesn't sound like a particularly heroic quest, but the film treats it as such (none of the characters questions whether this is a worthy goal, even when lives lost in the hunt mount into the dozens), which certainly detracts from the messages viewers might otherwise take away. Fans of the video games may not care: Scenes in which Nate and Sully leap through midair from planes and helicopters and ancient Spanish galleons are certainly exciting, and the Holland-and-Wahlberg buddy team is pleasant enough to anchor the movie if you don't think too hard about it.

Talk to Your Kids About ...

Families can talk about whether you need to have played any of the Uncharted games to appreciate this movie. Does knowing the game(s) help sharpen your enjoyment, or is the comparison distracting? Do video games typically make good fodder for movie adaptations? Why, or why not?

Many games have lots of deadly violence, with enemies killed in great numbers as the main character pursues their goal. How does the impact of that compare to what you see here?

How does Uncharted dehumanize the characters who die so that viewers don't consider their deaths important and it doesn't detract from the movie's flow? Is that OK?

How do you think viewers are meant to feel about Sully and Nate? About Chloe? Braddock? How do movies tell you who to root for and who to dislike? Consider that villains and heroes in this movie use the same ends to attain their means -- i.e., physical violence and trickery. With that in mind, what makes the heroes different from the villains?

Movie Details

• In theaters : February 18, 2022
• On DVD or streaming : May 10, 2022
• Cast : Tom Holland , Mark Wahlberg , Sophia Ali
• Director : Ruben Fleischer
• Inclusion Information : Female actors, Middle Eastern/North African actors
• Studio : Columbia Pictures
• Genre : Action/Adventure
• Topics : Adventures
• Run time : 116 minutes
• MPAA rating : PG-13
• MPAA explanation : violence/action and language
• Last updated : January 27, 2024

Did we miss something on diversity?

Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

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‘Uncharted’ boldly goes nowhere

Yet another forgettable video game adaptation..

There are worse movies than Uncharted , especially when it comes to the seemingly cursed genre of video game adaptations. But as I struggled to stay awake through the finale — yet another weightless action sequence where our heroes quip, defy physics and never feel like they're in any genuine danger — I couldn't help but wonder why the film was so aggressively average.

The PlayStation franchise started out as a Tomb Raider clone starring a dude who wasn't Indiana Jones. But, starting with Uncharted 2: Among Thieves , the games tapped into the language of action movies to put you in the center of innovative set pieces. They were cinematic in ways that few titles were in the early 2010s. But going in the opposite direction — bringing aspects of those games into a movie — doesn't work nearly as well.

Director Ruben Fleischer ( Zombieland , Venom ), along with screenwriters Rafe Lee Judkins, Art Marcum and Matt Holloway, have crafted an origin story for the treasure hunter Nathan Drake (Tom Holland). It hits the notes you're expecting — his childhood as an orphan, his first team-up with his partner Victor "Sully" Sullivan (Mark Wahlberg), and a globe-trotting treasure hunt that defies logic — but it's all just a Cliff's Notes version of what we've seen in the games. And for a franchise that was already a watered-down version of Indiana Jones , a movie adaptation just highlights all of its inherent flaws. Watching Uncharted made me long for the basic pleasures of Nicholas Cage's National Treasure – at least that Indy clone had personality.

Even the iconic action scenes don’t hit as hard. The film opens mid free-fall, as Drake realizes he just fell out of a plane. Discerning viewers will instantly recognize the sequence from Uncharted 3. We watch as he hops across falling cargo (and wonder if that’s even possible while everything is falling), but the entire scene feels like Tom Holland is going on the world’s most extreme Disney World ride. Without the rumble of the Dualshock 3 controller in my hand, and my responsibility over Drake’s impending death, there just aren’t any stakes. It’s particularly unexciting compared to what we’ve seen in the recent Mission Impossible movies. Tom Cruise (and skydiving camera man Craig O'Brien) jumped out of an actual plane several times for our entertainment!

Still, it's somewhat surprising that this adaptation exists at all. Sony has been trying to develop an Uncharted film since 2008, starting with a loftier iteration by arthouse auteur David O. Russell. That version was going to star Wahlberg as an older Nathan Drake, as we see him in the games, and focus on the idea of family. But the project ended up changing hands several times over the last decade. By the time it was actually gearing up for production in 2020, Wahlberg had aged out of the starring role and into the older sidekick spot. (Sorry, Super Cool Mack Daddy , it happens to all of us.)

After we've seen so many video game films completely miss the mark, like Resident Evil: Welcome to Racoon City and Assassin's Creed , I'm starting to wonder if there's some sort of secret to making a good adaptation. Different audiences want different things, after all. Game fans typically want to see the characters and sequences they love so much legitimized on film. Discerning movie geeks may be comparing adaptations to other, usually better, films. And studio executives just want existing intellectual property that they can churn out to an undiscerning public.

There are a handful of memorable video game films, but they mostly seem like flukes. The original Mortal Kombat was iconic because of its killer soundtrack and (at the time) cutting-edge special effects. Werewolves Within doesn't have much to do with the VR title it's based on, aside from its name. And Sonic the Hedgehog was a blast, but that was mostly due to its lead performances.

As an avid gamer and cinephile, I'll never give up on hoping for successful adaptations. But it could just be that the two mediums are a bit incompatible. A film can never capture the interactive magic and freedom you get from a game. And when you're playing something, heavy-handed cut scenes and direction can often take you out of the experience (unless you’re Hideo Kojima , in which case gamers will argue it’s all a work of genius).

With its cinematic roots, Uncharted had a better shot at a decent adaptation than most games. It’s just a shame that, for a series that’s about exploring new lands and discovering forgotten treasure, it offers nothing new.

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Stream It Or Skip It: ‘Uncharted’ on Netflix, a High-Flying Treasure Hunt That Turns Tom Holland Into Peter Parkour

Where to stream:.

• tom holland

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Now on Netflix, Uncharted currently stands as a Top 10 theatrical box office performer of 2022 , thanks in part to three things: One, star Tom Holland, AKA Spider-Man No. 3. Two, well-established source material (namely, a 40-plus-million-selling video game series about an intrepid young adventurer and treasure hunter). And three, escapism, probably? During more than a decade of development, the movie adaptation cycled through a half-dozen directors before landing on Zombieland and Venom guy Ruben Fleischer; Mark Wahlberg, Antonio Banderas, Sophia Ali and Tati Gabrielle round out the cast, who spent all kinds of time jumping and shooting and whatever in front of green screens for a movie that turns the guy best known as Peter Parker into Peter Parkour (which, frankly, isn’t much of a leap, apologies for the pun). Now, to borrow and decontextualize a Wahlberg line from this movie, “Let’s see what this shitcan can do!”

UNCHARTED : STREAM IT OR SKIP IT?

The Gist: Nathan Drake (Holland) awakens in freefall, god knows how many thousand feet above the Earth’s surface. His foot is caught in the strap of a string of cargo dangling from an airplane, and to make matters inconvenient, some bad guys are also shooting at him. This is not exactly an ideal way to emerge from naptime, but maybe that goes without saying. How did he get in this predicament? Well, this being one of those movies that starts with something exciting under the assumption that it’s one twitch of a mosquito’s proboscis away from audience boredom, we have to flash back to find out, then work our way back to this harrowing scene. How far do we have to flash back? To Nathan’s childhood, of course, duh, when he and his older brother Sam (Rudy Pankow) lived in an orphanage and were such history nerds, they broke into a museum to steal the first map of the whole world ever drawn. This got them in trouble, prompting Sam to run away and never be seen again.

Subtitle: NEW YORK, PRESENT DAY, which is a lie, because we know the actual present day is the day in which Nathan is falling out of an airplane, so this particular moment actually occurs at least a few days before the present day. (Sloppy-ass movies are slowly killing me, I tell you.) Nathan bartends at a fancy spot called Kitty Got Wet (yeesh), where he flips and tosses bottles like Cruise in Cocktail and pickpockets valuables from well-moneyed marks like Oliver Twist. Then he goes home to a teensy, crummy apartment where he works out without wearing a shirt. One day, Victor “Sully” Sullivan (Wahlberg) parks himself at Kitty Got Wet (yeesh) and reveals that he knows all about Nathan – his sheisty maneuvers, and his interest in the fabled lost gold of famed Spanish explorer Magellan. Sully knew Sam, working together to find the treasure. But Sam’s now lost or dead maybe; Nathan agrees to help Sully, hoping to find his beloved brother, and end up with a chunk of the legendary multi-billion-dollar booty, which may not exist because no one over the centuries has ever located it. But I’ve got a good feeling about this, because if Nathan and Sully weren’t smarter than everyone else who ever lived since the 1520s, there wouldn’t be a ridiculous movie about them – and this certainly doesn’t seem to be the type of story that ponders upon failure as a key contributor to personal psychological growth.

So off they go, Indiana Da Vinci Code Jonesing around Barcelona and the Philippines, following clues and finding artifacts, and picking up a third partner, Chloe Frazer (Ali), to help out with the wheres and whatfors. They’re not the only ones on the gold trail – nasty-nasty, old- old -money billionaire Santiago Moncada (Banderas), whose family privately bankrolled Magellan himself (I told you it was old money), wants the living shit out of it, and employs a cold-blooded, mean-as-hell damn killer, Braddock (Gabrielle), to do his dirty, dirty work. The “funny” thing here is, Sully and Chloe are such slippery backstabbing eels, each keeps telling Nathan not to trust the other, so he’s the earnest kid caught between two seasoned swindlers, relatively speaking anyway. Fists, bullets and banter fly, but ARE WE NOT ENTERTAINED?

What Movies Will It Remind You Of?: National Treasure meets Cocktail meets Raiders of the Lost Ark meets The Da Vinci Code meets Mission: Impossible meets The Goonies meets Cutthroat Island .

Performance Worth Watching: Holland shows more go-get-’em gusto here than in any of his non- Spider-Man outings. He has oodles of charisma and an eager capability to carry glossy, action-driven entertainment with flimsy characters and barely a sneeze in the direction of subtext. Is that a backhanded compliment? Yes – and no! It’s a long way of saying I’d love to see him take a creative step forward and continue the Mission: Impossible franchise after Tom Cruise retires.

Memorable Dialogue: The script here ranges from:

Chloe: Sully doesn’t have any friends. I should know – I’m one of them.

Nathan: What does that look like to you?

Chloe: A keyhole.

Sex and Skin: None. A hotel-room scene in which Holland is shirtless and Ali’s terrycloth robe hangs off her shoulder is frustratingly fruitless. So, TBFOOBMALADWTOTOTF: Too Busy Fussing Over Old Maps And Legends And Devising Ways To Outsmart The Others To F—.

Our Take: Uncharted is the type of movie that makes you want to keep pointing out that it’s the type of movie that does this cliched thing and that other cliched thing. Therefore, it’s the type of movie in which our protagonists can just rampage through an ancient historic church with a pair of bolt cutters and not only never see a single security guard, but barely get a scrunched-brow glance from an old nun. The type of movie in which booby traps were OBVIOUSLY designed to murder sluggish, untoned 16th-century softbodies, not ultra-quick keto-parkour-pilates-HIIT-whatever 21st-century hardbodies like Holland and Ali’s. The type of movie that will set a key sequence inside a popular ketchup-on-cardboard pizza chain (which one? By far the worst one!) and be utterly shameless about it. The type of movie that believes “Some kind of Roman antechamber” is not only a complete sentence, but a good, solid piece of dialogue. The type of movie with several is-she-outta-bullets/she’s- never -outta-bullets action sequences. The type of movie with great scads and wads of cheap crummy CGI visual effects, because they’re surely expensive even if they’re not particularly convincing. The type of movie that takes stuff from 20 other movies and makes bland porridge out of it.

It’s also the type of movie that isn’t half-bad as far as unapologetic timewasters go, a plausibility-be-damned, every-detail-is-a-plot-device story about an elite cadre of morally compromised, but ultimately likable big-dreamer action figures following twisty-turny dotted lines on old-timey maps to big piles of gold, spitting one-liners at each other and engaging in bloodless violence along the way. (How bloodless? So bloodless, when a character gets their throat cut, there’s, like two drips. Gotta keep that PG-13!) For sure, Fleischer knows his way around a snappy action sequence, but this is all pretty generic, high-flying/low-stakes middle-of-the-road stuff, slickly made and perfectly watchable and all the more boring for it.

Will you stream or skip the high-flying treasure hunt #UnchartedMovie on VOD? #SIOSI — Decider (@decider) April 30, 2022

Our Call: SKIP IT. Uncharted is kind of a parkour Pirates of the Caribbean , and if that sounds like it kind of sucks, you’d be right. Call me when there’s a capoeira Mission: Impossible .

John Serba is a freelance writer and film critic based in Grand Rapids, Michigan. Read more of his work at johnserbaatlarge.com .

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Botany Manor Review

A laid-back game that doesn’t ask you to do too much, simply grow strange plants and decompress..

I get an itch to put on my gardening gloves and get planting when spring comes around. While practicing patience for the right weather, I’ll read up on books and try to learn new techniques – but this year, Botany Manor has helped satiate my excitement. It’s a cozy, first-person puzzle game that puts a blank herbarium book in your hand and asks you to grow different plants until the pages are full. Botany Manor is a short and sweet story that safely sits surface-level, but its witty mysteries engaging enough to keep me happily digging for more.

Botany Manor Gameplay Screenshots

Botany Manor puts you in the boots of retired botanist Arabella Greene as she returns to her grand, and adorably stylized, English manor in 1890 Somerset. Each “puzzle” is actually a fictional plant waiting to be grown, with clever clues scattered around that help you tend each new seed type. Those can start simple, like the Fulguria needing flashes of lightning to bloom, but clues gradually increase in complexity and quantity in order to bring these whimsical plants to life. Real-world science and the time period both inspire unconventional growing methods, such as needing to play the buzzing sound of morse code for a certain seedling. Botany Manor may not teach you much about actual gardening – though I probably read the word “chloroplasts” for the first time in a very long time – but I enjoyed the surreal nature of it.

For example, picking up the first packet of seeds at the potting bench reveals an imprint of a fictional plant called Windmill Wort, with slots for three clues waiting to be found nearby. From the start, it was evident that these clues would not only help solve this puzzle, but also string together a much larger story about Arabella and the manor she lives in. Heat and wildflower charts on a chalkboard helped me figure out the right temperature to grow Windmill Wort, which then bloomed into a lovely pink flower that literally spins like a windmill to clear up smog, smartly tying into a newspaper I had found that discussed the issues of the era’s recent industrialization.

How do you prefer your puzzling?

Some information took an embarrassingly long time to decipher as I ran back and forth from one clue to another while head-scratching theories tested my memory. Chapters in the herbarium tell you what clues you've found and where to find more, but it doesn't save the more specific information from them. So, if you forget what that pamphlet in the attic said, you'll have to walk back to examine it – which makes Botany Manor feel a lot like a walking simulator. My hands were off the keyboard quite often taking physical notes on my discoveries, essentially writing up my own botany book. I also had to tirelessly retrace my steps several times to reread or flip around clues in case I may have missed something, which could get a little tedious. But it helps that icons will pop up when you walk past an item to let you know you can examine it, and musical cues acknowledge that you're on the right track.

Between solving plant mysteries, you’ll occasionally visit the front gate to pick up a key or decrypt secret locks to access a new area, which helps cut down on the otherwise repetitive nature of the roughly six-hour campaign. I looked forward to what awaited in each new section of the manor, not only because the clues became progressively more creative, but also because it was always fun to find more pamphlets, bottle labels, advertisements, and other environmental details full of vintage charm. The books about art I stumbled across made the space all the more quaint, too, and were later upstaged by a dreamy painting room that reminded me of my own canvases of houseplants.

Saniya's Favorite Puzzle Games

Botany Manor beckons you with strange ideas and picturesque scenery in every challenge, but Arabella’s story trails behind. Rather than telling her tale through characters and spoken dialogue, it opts for written notes on pretty stationary and significant items that peer into Arabella’s life to tell its overarching story. I liked Arabella, a strong-willed botanist who has suffered unjust rejection in her field, but these notes and letters fail to dig deep into her emotions. Even letters from family, friends, and groundskeepers have the potential to create intimate moments, but are instead easily forgettable in the hunt for clues. The manor is clearly not abandoned, either, as fire burns beneath the stove in the kitchen, but the space feels as if everyone left at the drop of a hat. It’s a bit odd, but it does work in that it prevents any distractions from the puzzles themselves – and after all, Arabella needs to focus to get this herbarium published and earn her rightful flowers as a woman in STEM.

Clever clues entwine with Botany Manor’s charming old English setting to make a lighthearted first-person puzzler worth tending to. Figuring out how to grow its fantastical plants kept me on my toes, and the blossoming flora painting onto the pages of my herbarium with bright colors gave me a comforting sense of achievement. I was more invested in deciphering its puzzles than I was reading the notes and letters that make up its fairly one-note story, but the variety of surreal seeds with unique traits in each new area gave an exciting cadence to the somewhat repetitive act of tracking down clues. Botany Manor is a laid-back game that doesn’t ask you to do too much, simply grow some strange plants and decompress – and sometimes that’s exactly what you need.

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Movie Reviews

'coup de chance' is a typical woody allen film — with one appalling final detail.

Justin Chang

Niels Schneider and Lou de Laâge star in Coup de Chance. GRAVIER PRODUCTIONS hide caption

Niels Schneider and Lou de Laâge star in Coup de Chance.

Once upon a time, it might have been strange to think that the arrival of a new Woody Allen movie in theaters would qualify as some kind of event. But much has changed, especially over the past decade, with renewed focus on allegations that Allen sexually abused his adopted daughter, Dylan Farrow , when she was 7 years old — accusations that the director has long denied. Amazon Studios, which had been distributing Allen's movies, cut ties with him in 2018. His two most recent movies, the critically panned A Rainy Day in New York and Rifkin's Festival, were barely shown in the U.S.

And so it came as something of a surprise when news broke weeks ago that Allen's new movie, the romantic drama-thriller Coup de Chance , would be released in American theaters. The decision probably has something to do with the movie's strong reception last fall at the Venice International Film Festival, where more than one critic called it Allen's best film in years.

Abuse Allegations Revive Woody Allen's Trial By Media

That may not be saying much, given how weak his output has been since Blue Jasmine 11 years ago. But there is indeed an assurance and a vitality to Coup de Chance that hasn't been evident in the director's work in some time. That's partly due to the change of scenery, as Allen's difficulty securing American talent and financing has led him to the more receptive climes of Europe. While he's set movies in France before, this is his first feature shot entirely in French with French actors. It may have been done out of necessity, but it lends a patina of freshness to an otherwise familiar Allen story of guilt, suspicion and inconvenient desire.

It begins with a random reunion on the streets of Paris. Fanny, played by Lou de Laâge, works at an auction house nearby; Alain, played by Niels Schneider, is a writer. (Even if his name weren't Alain, it would be pretty clear that he's the Allen avatar in this story.)

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This is the first time Fanny and Alain have seen each other since they were high-school classmates in New York years ago, during which time, Alain confesses, he had an intense crush on Fanny. There's an immediate spark between them, but alas, Fanny is now married to a wealthy businessman, Jean, played by Melvil Poupaud.

Before long, Fanny and Alain are having a full-blown affair, taking long lunch breaks in Alain's tiny apartment, which is homier and more appealing to Fanny than the spacious Parisian residence she shares with Jean. They also have a beautiful country house where she and Jean go for regular weekend getaways.

Jean often invites friends along to go hunting in the woods, and even before the rifles come out, it's clear that this romantic triangle is destined to end in violence. Many moviegoers will recognize the elements from films like Crimes and Misdemeanors and Match Point : an adulterous romance, a premeditated murder and a darkly cynical consideration of the role that luck plays in human affairs. At one point, Jean notes that he doesn't believe in luck at all — which sounds like an echo of the nihilism that has long been at the heart of Woody Allen's work.

Nothing about Coup de Chance is terribly surprising, in other words. It's a decently executed version of a movie Allen has made many times before, enlivened by Vittorio Storaro's elegant if overly burnished-looking cinematography. As you'd expect, there's a lot of jazz and a lot of loftily repetitive dialogue, the effect of which is somewhat neutralized because the actors are speaking French. They all give crisp, engaged performances, especially Valérie Lemercier as Fanny's shrewd mother, who begins to suspect that Jean is not as trustworthy as he appears.

As the story unravels, one appalling detail sticks out. In a few scenes, Jean is shown playing with a large model train set — and as others have pointed out, it seems to evoke a key detail, also involving a train set, from Dylan Farrow's testimony. Could Allen be referencing his own off-screen scandals, and to what purpose? Perhaps, suspecting that he might be done with the movies at long last, as he's hinted in interviews, he wanted to thumb his nose at his detractors with a provocative parting shot. Or maybe it's just a reminder of something that, for better or worse, has always been true about Woody Allen: For all the many, many characters he's introduced us to over the decades, his truest protagonist and subject has always been himself.

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Netflix's Ripley fails to capture the magic of the film

Andrew Scott stars as the sociopathic killer.

Despite being a darkly psychological thriller with more than one bludgeoning scene to its name, it was (and still is) a sumptuous, sparkling world to inhabit for two hours.

You could probably draw a direct line from the 1999 film to the boom in Italian tourism and the heartthrob status of lazy toff characters like One Day 's Dexter Mayhew .

Much like One Day, Patricia Highsmith's The Talented Mr Ripley novel has added a new benchmark to the bestselling-book-to-blockbuster-film pipeline: the Netflix TV adaptation .

The new eight-parter Ripley ages up its retelling with Andrew Scott as Tom Ripley. Playing into both his Hot Priest and Moriarty roles, it's brilliant casting for a man we're meant to be simultaneously attracted to and repelled by.

For those familiar with neither book nor film, we meet Ripley as a listless New York grifter who, by an immense stroke of luck, is pulled out of the cheque-fraud grind to travel to Italy and wrangle a shipping magnate's failson back to the States.

Enter Dickie Greenleaf (Johnny Flynn), the opposite of Ripley in every sense. Rich and charismatic, Dickie is a man Ripley wants to be just as much as he wants to be with. A tale of murder, deceit and fraud unspools after Ripley fails to make the latter happen so settles for the former.

The book has been adapted by Oscar-winning writer and director Steven Zaillian, who has a diverse and impressive list of IMDb credits including The Girl with the Dragon Tattoo, The Irishman and Schindler's List . Despite the pedigree, Zaillian has made a number of baffling stylistic choices.

Why are the episode titles in aggressive block characters? Why is the whole thing, which leans into the escapism of its lavish Italian setting, in muted black and white? Why is this wicked and psychologically probing tale so slow and – occasionally – boring ?

The original film was shot through with homoerotic subtext, which, via Netflix's blunt instruments, becomes text. Opinions may vary on whether this makes the end project queerer for the better or just less nuanced.

Part of the problem is that Ripley doesn't have a sound handle on its central character as the zeitgeist knows him. Matt Damon's Ripley brags that chief among his talents are "telling lies, forging signatures, impersonating practically anybody". Not here they aren't.

This Ripley, particularly in the beginning, is nowhere near as convincing a con artist. Ripley as smart aleck is lost in favour of Ripley as dopey chancer. It certainly makes sense why he's had "talented" stripped from his title.

He's had by tourist touts, is petrified of the winding cliff roads of rural Italy and when the only swimsuits on sale in Amalfi's Atrani are budgie smugglers, he's used for laughs.

Perhaps it's a purposeful reinvention, to norm-ify the preternaturally evil Ripley, but blimey, what a character to toy around with. Without Ripley, we likely wouldn't have Saltburn (and all the annoying discourse it spawned).

Speaking of characters who have been upended, Dickie is another rewrite. Where Law was a manic tornado who everyone wanted to get caught up in, Flynn's Dickie is just a dull, rich bloke.

Without the wistful folly of youth he's a wretched figure, chasing the glory of becoming the painter he's not good enough to be. It's sobering to think this is probably who Law's Dickie would have become a decade on from the film.

On the flipside, Dakota Fanning's Marge Sherwood is an unfriendly revelation. Her fledgling writer is understandably suspicious of Ripley from the off and more believably territorial of Dickie than Paltrow's doe-eyed, lovelorn incarnation.

In a vacuum, these shifts in characterisation and style might not be for the worse. Scott, Flynn and Fanning, as well as Eliot Sumner as Freddie, all turn in solid performances and look lovely enough under the black and white Instagram filter. But when you're watching this with the original film in mind, Ripley is denuded of not only colour, but magic.

Not to keep harping on about that film, but while it's so good , it's also terribly lopsided. The first half is sublime: moody jazz bars, gorgeous piazzas, killer costumes, Italy, beautiful stars bouncing off each other. It's a fantastic portrait of being young, wealthy and careless, and its inherent seduction is also a reminder of how dangerous the allure of those things can be.

The just desserts come in the second half. It is darker, duplicitous and significantly less fun, in large part because the raw charisma and plot engine emanating from Law's pores has been lost to the Mediterranean.

Ripley is far more even-keeled and rooted in the feel of that second half. Instead of those year-abroad thrills and tensions, we are alone with Scott for whole logistics-focused episodes dealing with the rhythms of body disposal or the long con, with no dialogue beyond what his blacker-than-black shark eyes are saying.

The Netflix show's ending suggests that the franchisification of Highsmith's serial killer saga – which the films never delivered on – could yet be coming to the House of Tudum. If so, let's hope they find some colour along the way.

Ripley and The Talented Mr Ripley are available to stream on Netflix.

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Deputy TV Editor

Previously a TV Reporter at The Mirror , Rebecca can now be found crafting expert analysis of the TV landscape for Digital Spy , when she's not talking on the BBC or Times Radio about everything from the latest season of Bridgerton or The White Lotus to whatever chaos is unfolding in the various Love Island villas. 

When she's not bingeing a box set, in-the-wild sightings of Rebecca have included stints on the National TV Awards  and BAFTAs red carpets, and post-match video explainers of the reality TV we're all watching.

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Five International Movies to Stream Now

This month’s picks include a twisty Argentine thriller, a gutting Syrian documentary, a movie about a queer club in China and more.

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By Devika Girish

‘Rest in Peace’

Stream it on Netflix.

The sleek suspense of a mob thriller and the big, dramatic swings of a telenovela combine to produce something truly unpredictable in “Rest in Peace,” by the Argentine director Sebastián Borensztein. We first meet Sergio (Joaquín Furriel), a handsome business owner and beloved husband and father, as he’s tearing up at his daughter’s lavish bat mitzvah; in moments, the mood shifts, when he spots a menacing stranger eyeing him from a corner and faints. As his wife, Estela (Griselda Siciliani), soon discovers, Sergio is drowning in debt and facing threats from a mysterious, ruthless lender. Their picture-perfect existence is on the verge of shattering — and then it does, albeit not how either of them (or the viewer) might have expected.

A tragic accident offers Sergio a way out of his predicament, though at the cost of his life with his family. The twists of the film are best left unspoiled, because Borensztein and his fine cast (Siciliani is majestic, in particular) achieve an impressive series of tonal tilts in the course of a narrative that eventually spans decades. Just when you think a cat-and-mouse game is about to begin, the film douses you in endearing romantic and familial drama; just as surprisingly, danger creeps back into the narrative. The result is a movie whose genre pleasures are undergirded by genuine emotional heft.

‘Little Palestine: Diary of a Siege’

Stream it on Ovid.

Between 2013 and 2015, in the midst of the Syrian Civil War, the Yarmouk Palestinian refugee camp in Damascus — known colloquially as “Little Palestine” — was placed under siege. Citizens were barred from entering or exiting the area, and eventually, food and water were restricted, leading to widespread starvation . Amid all this horror, Abdallah Al-Khatib, a Yarmouk resident in his 20s, picked up a video camera and started recording what he saw around him: the tremendous suffering, but also the resilience of resistance.

Edited over several years, “Little Palestine, Diary of a Siege,” which premiered at festivals in 2021 and now arrives on streaming, is a dispatch from the past with uncanny echoes of the present . Al-Khatib’s camera captures his community as they sing, paint, chant, rally, scrounge for food and try to take care of one another. His interactions with the older generation — Palestinians who have endured many displacements over decades — are poignant, underscoring the oppressive cycles of history. But it’s his conversations with the children of Yarmouk, aged far beyond their years but still not rid of hope, that have stayed with me. In one shot, a crowd of schoolboys share their dreams with the camera. Their beaming, excited smiles belie the tragedy of their words. “I dream of my brother coming back to life,” says one. “I dream of eating sugar,” says another.

‘The Last Year of Darkness’

Stream it on Mubi.

This portrait of Funky Town, an underground nightclub in Chengdu, China is a hypnotic, mutating beast; it goes seamlessly from night to day, techno to the noise of traffic, nonfiction to gently staged drama. To capture the cultural place of this beloved institution — a bastion for free expression and desire that is soon to be shut down because of a subway expansion — the director, Ben Mullinkosson, follows a few of its regulars in and out of the club: a young drag queen, a woman struggling with mental health issues, a Russian expatriate exploring his sexuality, an exuberantly gay DJ. Instead of traditional interviews and documentary scenes, the movie finds intimate moments within layered, often ironic, compositions. In one shot, two people have a deep conversation in the background while a woman vomits into a cup in the foreground; in another, a high-angle shot of a crowd on a street makes the scene look like a kind of pointillist painting. Formally and emotionally expansive, “The Last Year of Darkness” is a stirring evocation of the beauty and ephemerality of being young.

‘Merry Christmas’

Two strangers cross paths on Christmas Eve in Mumbai. He’s just returned from a trip; she’s out in the city with her young daughter, having been abandoned by her philandering husband. A chance meeting at a restaurant leads to another encounter at a movie theater, and then a walk through the city and a drink and a dance back home. Sriram Raghavan’s movie takes its time with its setup, indulging in each scene and exchange with patience and exquisite detail, never showing all of its cards.

From the very first minute to the very last, “Merry Christmas” keeps you guessing — about the motives of the characters, their fates and the type of movie this is. Rom-com? Crime thriller? Black comedy? It’s a little bit of everything, and it’s executed with impeccable yet restrained style, much like Raghavan’s prior outing, “ Andhadhun .” The stars, Katrina Kaif and Vijay Sethupathi, are at once mysterious and winningly sincere, and the film’s storybook-like rendering of a Mumbai decked out for Christmas is delightful.

Rent it on Amazon.

There’s a moment in Kamila Andini’s sensitive coming-of-age drama that will feel familiar to many women, whether or not they grew up in the rural Indonesian town where the film is set. In a grassy field, a group of high-school girls whisper about sex and desire. It’s the question of pleasuring oneself that both excites and scares them the most. Can women even do it? How does it work? They ask each other.

“Yuni” is about women’s oppression — about the social forces that constrain girls from pursuing their dreams — but its strength lies in its focus on women’s pleasure. The movie’s protagonist, the high-school senior Yuni (Arawinda Kirana), faces some tough dilemmas. She wants to go to college, but her family is already entertaining potential marriage for her. She is eager to explore her body on her own terms, but her school has instituted mandatory virginity tests for the girls in a twisted response to a case of rape.

Things are bleak, and Andini’s sobering film offers no miracle escapes, but it makes it a point to show us the defiance of Yuni and her classmates, their small yet powerful negotiations in this constricted world. Shot with tactile sensuality, as if in formal protest of the systems the movie critiques, the best scenes in “Yuni” are its moments of intimacy between women — dancing, gossiping or dreaming together, helping each other survive an unforgiving world.

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If you are overwhelmed by the endless options, don’t despair — we put together the best offerings   on Netflix , Max , Disney+ , Amazon Prime  and Hulu  to make choosing your next binge a little easier.

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