Nokkuð hefur bæst í hóp umsagna um Everest Baltasars Kormáks, bæði í gær og í dag. Meirihlutinn er í jákvæðari kantinum.
Brian Viner hjá Daily Mail er afar ánægður og gefur myndinni fullt hús:
As fine as the cast is (with Knightley turning in a small but genuinely affecting performance), the film’s stand-out star is right there in the title. Truly, I think that this year’s version of the world’s oldest film festival might have peaked early, thanks to the world’s highest mountain.
Dave Calhoun hjá Time Out er einnig afar sáttur:
Baltasar Kormákur’s disaster movie is a physical experience that will leave you breathless—and possibly suffering vertigo. Everest is an unrelenting real-life disaster movie that strands you near the top of the world’s tallest mountain and dares you to imagine what it must be like to be part of an expedition to the top going horribly, horribly wrong. Its screenwriters, William Nicholson and Simon Beaufoy, respectively have Gladiator and 127 Hours to their names, andEverest combines the muscular, sometimes sentimental force of the former with the sense of being party to an extreme physical endurance that made the latter so successful.
Eric Kohn hjá Indiewire er líka hrifinn:
Equal parts spectacle and harrowing survival tale, “Everest” also serves as a kind of bid for the survival of the ever-imperiled moviegoing experience, with the 3D IMAX-enhanced thrills masterfully engineered to bring its mountain-climbing fears to horrific light. Released in the same window of time as the documentary “Meru,” another depiction of climbers struggling through the vertical Himalayan landscape, “Everest” may not be the foremost realistic portrait of such a high stakes undertaking. However, Kormákur — aided by an unnerving and largely unsentimental screenplay by William Nicholson and Simon Beaufoy — has undeniably magnified the visceral qualities of the trepidatious climb to great effect.
Jessica Kiang hjá The Playlist blogginu á IndieWire er beggja blands:
Who doesn’t thrill to vertiginous helicopter shots of icy slopes, who doesn’t love queasy 3D sequences where we swoop over and under spindly ladder bridges, who doesn’t appreciate the spectacle value of a roiling storm that blots out the blue sky with the force and speed of a megaton bomb? The mountain summons such imagery immediately and has a hold on the collective imagination, just by being there, that makes the whole project feel like a no-brainer. And on those visceral levels, Baltasar Kormákur’s “Everest” certainly delivers. But as a functional adventure-cum-disaster flick it works hard not to let the grandeur of its setting become obscured by anything as extraneous as plot or human connection: “Everest” boasts drama so high it’s Himalayan, but the characterization is thinner than the air up there.
Alonso Duralde hjá The Wrap er ekki sáttur:
This is one of those cases where fictionalizing a true event, or at least fusing two or three real people into one composite character, might have resulted in tighter storytelling. As it is, the film feels like what happens when a studio exec barks, “Get me a ‘Gravity!'” That Oscar-winner — like “127 Hours,” “Into the Wild” and “The Grey” before it — falls into a new category we might call the Intimate Disaster Epic. Whereas those movies all focused on one person caught up in extraordinary circumstances and fighting for survival, “Everest” tries and fails to spin too many plates, with more than a dozen characters desperate to make it down from one of the world’s most treacherous slopes. Each of those real-life climbers no doubt had an interesting story to tell, but when shoved together like this they’re all reduced to types rather than people.