Although well shot in front of gorgeous vistas, on location in New Zealand, Namibia, and South Africa, 10,000 BC is just another loud, dumb, and eminently pointless CGI adventure from the tactless, talentless, hacky direction of Roland Emmerich.There’s a plot, believe it or not, something about the true love between some tribesman and a hot chick, set in the very distant past, and these rampaging marauders attack their peaceful prehistoric-era tribe and carry off the womenfolk, so our hero spends the next two hours of movie time trying to get her back.
But who cares, right? No one in his right mind would watch a Roland Emmerich movie for the plot. The man brought us Godzilla, Independence Day, and The Day after Tomorrow, after all. No, your focus here is supposed to be on the prehistoric-ness of the thing, like the wild, carnivorous birds, or the mastodons, or the sabre-tooth tigers. Oh, and the smoldering hotness of lurve that Our Hero and His Love can barely contain.
Your first clue that this won’t be much more than a silly bore is the simple fact that our noble hunters speak perfect, inflectionless English. No idea why. I’m not the biggest fan of subtitles, granted, but I think here they at least would have made sense. Instead, we have these perfectly coiffed young people with gleaming white teeth - as any prehistoric hunter would have - speaking the Queen’s English to each other. It’s bizarre and off-putting. These cool kids look like they fell out of a Gap commercial; they’d be dead in minutes if they actually had to fend for themselves on a tundra or in the jungle. They’re as believable as Ed Begley, Jr. at a biker rally. Which is not very believable.
And it’s not as if they get clever, intelligent dialog to mouth. D’Leh (heh, sounds like Delay) tells a vicious, trapped sabre-tooth tiger, “Do not eat me when I set you free!” See, because he doesn’t want to be eaten, and he figures that reasoning with the beast will do the trick. D’Leh, played by newcomer Steven Strait, is sort of a poor man’s Colin Farrell, complete with otherworldly eyebrows. He wants you to think he’s earnest and sincere, but instead you think he’s vapid and vain. Crazy! (”Do not eat me when I set you free!” That’s hilarious right there. Why, it’s right up there with “Throw me the whip, and I’ll throw you the idol!”) Besides, this whole pursuing-the-savages-who-stole-our-people thing was done much better only a few years ago in Mel Gibson’s Apocalpyto. Now, you might not buy into the notion of using an ancient Mayan dialect in a movie, but at least it made some sense. Using that dialect, with subtitles, there was a real sense of adventure and tragedy; here, the fluid English feels woefully inept and completely anachronistic.
Unlike Apocalypto, there’s scant fighting and mayhem here. The tribe (like that in Apocalypto) is a hunting tribe, so that explains why for much of the movie they run and hide and duck and cover. I will find you! What’s his name cries. And then he finds her and then loses her again, and he says, I’ll come back! And then he spends the next hour or so trying to find her. His One True Love is like a set of pretty car keys.
Back to that tiger, which makes a couple of appearances. Now, I like CGI as much as the next guy. It can very easily enhance a scene, make the unrealistic seem obvious and believable. But this tiger reminded me of the cyclops and other fantastical creatures you’d see in those old fifties Greek-epic movies, the ones featuring the work of the great Ray Harryhausen - basically, essentially, stop-motion animation. And that looks crappy here in good ol’ 2008.
10,000 BC isn’t meant to be a historical epic - the year 10,000 BC is used here merely to connote a Long Time Ago - which is fine in and of itself, but really isn’t anything compelling about it other than its setting. It’s predictable pap without much of a heart, instilling no compassion or feeling from its audience.
But who cares, right? No one in his right mind would watch a Roland Emmerich movie for the plot. The man brought us Godzilla, Independence Day, and The Day after Tomorrow, after all. No, your focus here is supposed to be on the prehistoric-ness of the thing, like the wild, carnivorous birds, or the mastodons, or the sabre-tooth tigers. Oh, and the smoldering hotness of lurve that Our Hero and His Love can barely contain.
Your first clue that this won’t be much more than a silly bore is the simple fact that our noble hunters speak perfect, inflectionless English. No idea why. I’m not the biggest fan of subtitles, granted, but I think here they at least would have made sense. Instead, we have these perfectly coiffed young people with gleaming white teeth - as any prehistoric hunter would have - speaking the Queen’s English to each other. It’s bizarre and off-putting. These cool kids look like they fell out of a Gap commercial; they’d be dead in minutes if they actually had to fend for themselves on a tundra or in the jungle. They’re as believable as Ed Begley, Jr. at a biker rally. Which is not very believable.
And it’s not as if they get clever, intelligent dialog to mouth. D’Leh (heh, sounds like Delay) tells a vicious, trapped sabre-tooth tiger, “Do not eat me when I set you free!” See, because he doesn’t want to be eaten, and he figures that reasoning with the beast will do the trick. D’Leh, played by newcomer Steven Strait, is sort of a poor man’s Colin Farrell, complete with otherworldly eyebrows. He wants you to think he’s earnest and sincere, but instead you think he’s vapid and vain. Crazy! (”Do not eat me when I set you free!” That’s hilarious right there. Why, it’s right up there with “Throw me the whip, and I’ll throw you the idol!”) Besides, this whole pursuing-the-savages-who-stole-our-people thing was done much better only a few years ago in Mel Gibson’s Apocalpyto. Now, you might not buy into the notion of using an ancient Mayan dialect in a movie, but at least it made some sense. Using that dialect, with subtitles, there was a real sense of adventure and tragedy; here, the fluid English feels woefully inept and completely anachronistic.
Unlike Apocalypto, there’s scant fighting and mayhem here. The tribe (like that in Apocalypto) is a hunting tribe, so that explains why for much of the movie they run and hide and duck and cover. I will find you! What’s his name cries. And then he finds her and then loses her again, and he says, I’ll come back! And then he spends the next hour or so trying to find her. His One True Love is like a set of pretty car keys.
Back to that tiger, which makes a couple of appearances. Now, I like CGI as much as the next guy. It can very easily enhance a scene, make the unrealistic seem obvious and believable. But this tiger reminded me of the cyclops and other fantastical creatures you’d see in those old fifties Greek-epic movies, the ones featuring the work of the great Ray Harryhausen - basically, essentially, stop-motion animation. And that looks crappy here in good ol’ 2008.
10,000 BC isn’t meant to be a historical epic - the year 10,000 BC is used here merely to connote a Long Time Ago - which is fine in and of itself, but really isn’t anything compelling about it other than its setting. It’s predictable pap without much of a heart, instilling no compassion or feeling from its audience.