No matter how many neato puzzles you give Croft to solve and hidden rooms to unlock in pursuit of her presumed-dead Dad – he’d been tracking some sort of Japanese queen and possible world-destroying demon named Himiko – you can’t make a movie out of a popular globetrotting game by keeping it in Old Blighty. Savor that breakneck sequence, however, because such adrenaline rushes are about to get scarce. He doesn’t want to make another cheesy blockbuster. invigorate familiar raw material with puckish verve and extra forward momentum.
The set piece suggests that Norwegian director Roar Uthaug is going to do for the series what he did for disaster movies with 2015’s The Wave, i.e.
You wouldn’t catch Jolie’s version engaging in a “fox hunt,” tooling lightning-fast through metropolitan traffic and barely avoiding bodily harm as bikers chase after her. As played by Alicia Vikander, the Oscar-winning Swedish actor from Ex Machina, she’s a world away from Angelina Jolie’s sleek action-film supermodel from 2001’s Lara Croft: Tomb Raider and its 2003 sequel. “I’m not that kind of Croft,” she keeps repeating in reference to her missing father Lord Richard (Dominic West) – the double meaning could not be more clear-cut. Croft’s formative years – specifically, her twentysomething days in London practicing Muay Thai boxing and delivering packages on a 10-speed. This is the scrappy character we meet at the beginning of Tomb Raider, a prequel/reboot/franchise Hail-Mary pass that rewinds back to Ms. The lady is an icon that’s launched a videogame empire and inspired endless cosplay. She’s fought dinosaurs and ninjas, dodged poison darts and scaled mountains and leapt over ravines and liberated treasures from more subterranean ruins than you can count. She’s the perpetually on-the-move, preposterously curvy heroine of PlayStation RPG fame, the archaeologist with the blazing pistols and the bare midriff.
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