Elevation (2024) Review

George Nolfi’s Elevation is the latest in a long line of post-apocalyptic survival thrillers, following in the well-worn footsteps of A Quiet Place and Bird Box, where humanity has been pushed to the brink by an unstoppable force. This time, it’s not sound-sensitive extraterrestrials or unseen psychological horrors, but towering, insectoid creatures known as Reapers that have driven humans to extinction-level crisis. Their one weakness is that they inexplicably don’t, or won’t, venture above 8,000 feet.

It’s an interesting idea, and one that offers a fresh variation on the genre’s usual rules of survival. Instead of keeping quiet or avoiding eye contact, the last remnants of humankind have taken refuge in the mountains, forming isolated pockets of society in places like Lost Gulch Refuge, a Colorado settlement perched high above the danger zone. It’s here we meet Will (Anthony Mackie), a father trying to provide for his young son, Hunter (Danny Boyd Jr.), whose chronic lung condition means he relies on oxygen filters that are rapidly running out. When the last of his supply is gone, Will has no choice but to make the perilous descent into Boulder, venturing below the safety of the line to retrieve medical supplies.

He’s not alone on this journey. Joining him is Nina (Morena Baccarin), a scientist with a tragic connection to Will’s past, and Katie (Maddie Hasson), a fellow survivor with a vested interest in their mission. Together, they navigate the treacherous terrain, evading the Reaper attacks while uncovering the creatures’ terrifying physiology.

There’s an inevitable sense of déjà vu running through the film. A Quiet Place looms largest, with its relentless, seemingly invulnerable monsters and the ever-present threat of exposure. The notion of an apocalyptic journey to retrieve vital medical supplies recalls The Last of Us, and even the concept of safe zones above the devastation brings to mind Snowpiercer‘s class-based survivalism. But while Elevation doesn’t bring much new to the table, it does at least serve up the familiar with confidence and style.

Mackie is excellent as the film’s reluctant hero, grounding Will’s journey in a mix of paternal devotion and quiet desperation. His chemistry with Baccarin is strong, particularly in their more confrontational moments, as Nina’s scientific pragmatism clashes with Will’s emotional urgency. Danny Boyd Jr. also impresses as Hunter, though the father-son relationship, so crucial to the film’s emotional core, feels a little underdeveloped in the early stages. The supporting cast is good, if underutilised, with Maddie Hasson providing a solid, if somewhat underwritten, presence as Katie. Her third-wheeling involvement fast-tracked to relevance on the short trip.

Visually, Elevation makes the most of its real-world locations, capturing the grandeur of the Rocky Mountains with some breathtaking cinematography from Shelly Johnson. The use of natural light and open landscapes provides a welcome contrast to the usual shadowy, claustrophobic aesthetic of post-apocalyptic horror. And while the film’s budget may be relatively modest, it doesn’t look it. The Reapers themselves are convincingly realised through a combination of practical effects and CGI. Their design – a grotesque fusion of grasshopper, mantis, and something altogether more alien – menacing, and Nolfi wisely keeps them in the periphery for much of the film, allowing the tension to build rather than relying on constant action.

Elevation is ultimately let down by its predictability. The narrative beats are all too familiar, and the film’s attempts at deeper thematic resonance – questions of scientific ethics, the balance between self-preservation and altruism – are only lightly touched upon. The decision to hold back key revelations about the Reapers for a potential sequel is also frustrating; the mystery surrounding their behaviour is intriguing, but it feels like the filmmakers are keeping their powder dry for a follow-up rather than delivering a fully satisfying standalone experience. A mid-credits tease hints at further exploration of the creatures’ origins, but whether audiences will be clamouring for Elevation 2 remains to be seen. At one point late in the adventure, Will asks “Why 8,000 feet?” to which Nina responds “I have no idea”. It’s a sentiment echoed by the audience when the film concludes.

As a piece of popcorn entertainment, Elevation is watchable. It moves at a brisk pace, delivers some effective set-pieces, including a nail-biting ski lift sequence, and makes excellent use of its cast and setting. But for all its competence, it lacks that extra spark to set it apart from the pack. Unlike A Quiet Place, which felt like a reinvigoration of the monster horror genre, Elevation feels more like a solid cover version of an already familiar tune. Engaging, well-acted, and visually impressive, but unlikely to linger in the memory.

Movie Rating:

Elevation trailer