Apocalypto

by Ari

There’s really nothing to Apocalypto, Mel Gibson’s latest historical epic that spends more time with violence and bloodshed than it does an actual plot or thematic idea. When it comes down to it, Apocalypto is fairly harmless; focused entirely on the notion of constructing an exciting and invigorating chase movie, pumping up the audience, and presenting an entertaining show. There’s nothing remotely deep or complex about this film, nor terribly horrendous or inflammatory. The film contains sequences of brutal violence, but not unlike anything you’ve seen in countless historical epics or horror films. The violence is about as realistic as the bloodshed in Kill Bill, exaggerated and stylized for dramatic and intense effect. Basically, everything you see is completely ludicrous, like the mayhem you can find in films like Hard Target or Predator. I mention those two films specifically because Apocalypto is essentially the same thing, only with Mayans instead of Jean Claude Van Damme or Arnold Schwarzenegger. Bottom line is that this is nothing new or visionary or controversial, but just another routine, formulaic adventure thriller made with skill and energy.

This film is not a dissertation of the Mayan civilization, nor does it provide any significant insight into who they were or why their civilization crumbled. A few characters mention the gods at one point, which is about as much information about the Maya as Gibson explores. To put it gently, I’d be very surprised if Gibson did any research outside of his fascination with their blood sacrifices. His screenplay is about creating intensity and suspense, something he adroitly realizes with precise, powerful filmmaking. It’s a well made film, constructed with an innate understanding of the genre - which should come as no surprise considering Gibson would’ve starred in a film like this during the 80’s and 90’s. Apocalypto is easily the best of his directed films - far more engaging and powerful than his overrated Braveheart and obviously more appealing than his tedious, exaggerated torture film about Jesus and the evil, cackling cartoon Jews who wanted him crucified. This is simple entertainment aimed at audiences who enjoy entertaining adventures with lots of stunts, practical effects, and fight sequences. Gibson certainly has a strange fascination with suffering, destruction, and death, but what he presents here is nothing but ambitious adventure filmmaking. For the most part - it works.

Jaguar Paw (Rudy Youngblood) is a young father who lives with his pregnant wife and son in a small village in the forest. The film opens with its worst sequence, a wild hunt that allows Gibson to inject his bizarre, confounding sense of humor. One thing is made abundantly clear: Gibson is not a funny man. His idea of humor is having a character eat the testicles of a tapir. Yeah, it’s really not amusing in any way. A bit creepy? Check. So after the hunt, Jaguar returns to his village with his father and friends, where another joke involving testicles is treated as a symbol of the fun and innocent times the villagers are enjoying. The next morning their camp is attacked by angry, vicious warriors who slaughter with pleasure, rape the women, and capture several of the men as prisoners. Before Jaguar is found, he hides his wife and son in a deep pit, promising to return and rescue them. The second act is the strongest. The warriors take their prisoners on a perilous journey through the jungle and mountains to their highly advanced, enormous city. This section presents the most effective recreation of the period - taking the viewer to an ancient, foreign world. The costumes are extravagant, the sets are huge in scope and meticulously crafted, and the cinematography is colorful and sweeping.

Gibson increases the tension as he makes his way towards the major set-piece involving the blood sacrifice of the prisoners. This sequence is particularly brutal and gory, and Gibson lovingly displays the carnage in full force. In comparison to most American films containing violence, Apocalypto is extreme, but compared to several films made in Asia, the violence is restrained. This is hardly as gruesome as something truly repulsive and foul like The Devil’s Rejects (an American film), nor is it as non-stop or visceral as Miike’s Izo. Again, Predator is the most appropriate comparison. Before Jaguar meets his fate, an eclipse stuns the spectators of the sacrifice. The executioner decides the gods have been pleased by their offerings, and Jaguar and his friends are sent to be quietly killed where no one will see or care. Jaguar then escapes, and the rest of the film is a wild hunt through the forest, allowing Gibson to wallow in expertly choreographed mayhem. Thankfully Apocalypto isn’t filmed, written, or performed with an intense artistic seriousness. The last half is quite entertaining, with one inventive set-piece after another. Jaguar uses poisonous frogs, carefully set traps, and other surroundings to fight off his enemies, while evading an actual jaguar at one point and narrowly surviving other incredible adversities. It’s outrageous and occasionally silly, but never bland or tedious. The actors are excellent across the board, especially Rudy Youngblood as the lead.

Apocalypto is basically an edgier summer entertainment done right. Empty, but a ride worth taking.