The Grey

A plane crashes in the sub-arctic Alaskan wilderness and its survivors find themselves hunted by a pack of blood thirsty wolves. Who knows why this particular pack decides to suddenly start attacking Liam Neeson (Ottway) and his co-workers (Neeson theorizes that they have crashed too close to their den) but they uncharacteristically do and Joe Carnahan's The Grey unreels in their pursuit.

Thinking they'll be safer in the woods and that a rescue team will never find them, this group of rugged drifters and loners leaves the crash sight and struggles to make their way across a barren stretch of frozen ground amidst brutal winds and freezing temperatures, one of them devoured en route.

After the rest of them make it, the wolves continue to circle and prey and in between confrontations we learn more about their troubled lives. They continue to move forward with the pack at their backs, arguing and conversing along the way.

In the end only one remains, having shockingly persevered longer than his fallen brethren.

Ready to battle the alpha.

Ignoring the logistics of everything that actually takes place in The Grey and focusing on how it recklessly pits a wild and brazen group of freewheeling hard-living workers up against their grizzled natural counterparts in a ludicrous unforgiving clash of human versus animal kind, may make the film more digestible.

In terms of the absurd.

Figuring that Neeson would be given the majority of the lines, I was interested in seeing whether or not his dramatic flexibility was still capable of motivating an entire film, from beginning to end. But my calculations were incorrect and the supporting cast is given plenty of room to manoeuvre, giving Neeson time to sit back and carefully structure his lines with shrewd deliberate nuances whose intermittent interjections and patient intonations carefully unify the supporting cast's dynamics in a thoughtful cohesive heterogeneity.

While the wolves constantly disrupt their unity.

Some of the lines seem like they came straight from an oil rig as well which gives them an endearing authentic quality.

In terms of what to do should your plane crash in a remote location, The Grey offers little practical advice.

Unless wolves begin to insatiably stalk you.

But as far as films celebrating derelict itinerant dispositions go, The Grey's not that bad, and perhaps by making its subject matter foolish, Carnahan tries to lure us into the narrative unconsciously, by harnessing the helpless qualities of our disbelief, thereby making us feel more like the characters in his film.