The Grey

Not rated yet!
Director
Joe Carnahan
Runtime
1 h 57 min
Release Date
26 January 2012
Genres
Action, Drama, Thriller
Overview
An oil drilling team struggles to survive after a plane crash strands them in the wilds of Alaska. Hunting them is a pack of wolves that sees them as intruders.
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The American Conservative Staff
The American Conservative



(Reviewers' Site/Bio)

  • "The Gray": A Man's Movie
    Film “The Gray” is about oil workers surviving a crashed plane in Alaska. They crash in a wolf pack’s territory. The survivors try to make their way out.  As someone who hikes and climbs in Alaska and loves it, I found the movie gripping and philosophical — it reminded me also of another wonderful movie, “The Way Back,” about concentration camp prisoners walking their way out of Siberia. In that film the starving men chase the wolves off their prey. In this one the wolves are the attackers.  Admittedly, the plot exaggerates a bit: wolves don’t fight one on one in the real world. This is a man’s (not a teenager’s) movie. No happy ending, but about men under stress, the way life used to be. If you love the outdoors — and challenge — and have been around in life, you’ll like this film. Would one really rather die wasted in a wheelchair or old age home, drugged, cut up by myriad operations, and slowly, the American way? Great photography, a real story. I don’t think women would like it. But the characters in this film are certainly real men, a welcome change from the adolescents in most movies. ]]>
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    (Review Source)

PJ Media Staff
PJ Media



(Reviewers' Site/Bio)

  • 1 - As I Was Saying ... More On The Arts
    Klavan On The Culture It seems almost belligerently contrarian to put up my usual late-in-the-week post about cultural matters after a day of such immediate political consequence. So let's get started.I was delighted with and interested by the brief but spirited response to my post about my post about The Grey. To recap, I noted that PJMedia readers did not comment as actively about cultural matters as they did about political ones, and a number of readers offered explanations or responses. See the comments at the link. Commenter Pinky began her or his comment with "I wonder how much of this is the old Breitbart thing, that conservatives don’t engage with the culture." And yes, that's exactly what I was wondering as well.Here's a story to the point. As an artistic solitary, I was more or less shocked and confounded when I first started receiving invitations to speak. One of my earliest efforts was before a largish group of conservative college students at an event for the Reagan Ranch's Young America's Foundation. Well, they were college kids, so I figured they'd be interested in liberal arts stuff and I delivered a learned disquisition on the development of the idea of the individual in western culture. About halfway through, I looked up and saw a sea of glazed eyes and blank faces and realized, much to my dismay, I was dying the death. Afterward, a small handful of admiring students followed me out of the room to praise my talk. I was gratified, but asked them why I had bombed so terribly with the rest of the audience. They responded, "These are conservative college students! Except for us, they're all business majors!"Depressed by the experience, I went home and called a friend — the then more-or-less obscure internet curmudgeon Andrew Breitbart."I just tried to talk culture to a group of conservatives!" I wailed.Andrew laughed wryly and said, "Welcome to my world." class="pages"> https://pjmedia.com/andrewklavan/2012/6/29/as-i-was-saying-more-on-the-arts/ previous Page 1 of 2 next   ]]>
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    (Review Source)
  • 2 - About Stories and Their "Messages:" A Response to comments on "The Grey"
    Klavan On The Culture I can't help but notice that, here at PJMedia, it's easier to elicit political comments from readers than cultural ones. Readers are generally eager to chime in on a discussion about, say, Fast and Furious, but when I review a movie or book...  not so much. Which I'm sorry about, because I really like hearing from folks about these things. I have a professional interest in readers' opinions on the arts, plus I just think it's healthier for the minds of humans and other featherless bipeds to ponder works of the imagination at least as much as works of the legislature.For instance, I was very much taken with the responses to my review of The Grey (just below). I admitted in the review that it was my kind of picture — men against the elements, macho bromides galore and so forth — and confessed that, with pictures like this, if it makes internal sense and isn't PC, I'm pretty much gonna sign on. (My wife, on the other hand, walked out after ten minutes because of the gore. I was going to tease her about being a girly-girl but then I remembered, oh yeah, that's why I married her!) But for that very reason, I was interested in those who took issue with my praise for the film.One commenter — religious, I assume due to the monkish moniker Sherab Zangpo — objected to the film's message, which he read as "fighting is useless." Now I disagree that that's the film's message, which I thought was more along the lines of, "Yikes!  Wolves!" or maybe something more Hemingwayan like "A man must stand nobly against Death, even if Death always wins in the end." But more importantly: Do we have to agree with a story's outlook on life to enjoy it?One of my favorite novelists working today is Scott Smith, author of A Simple Plan and The Ruins. (These became a so-so and awful movie respectively, but both books are excellent.) I don't know Smith but, as far as I can make out, he's a nihilist who believes that man is corrupt trash and nature is a devouring beast and everything else is illusion. Now I disagree with that point of view — but I also understand you can tell honest stories from that perspective, stories that are recognizably human, pose important questions and harrow the soul. This is untrue of far prettier points of view like "life is a bed of roses," or "man is inherently good," or "Oskar Schindler was an important part of the holocaust," which are pure nonsense and likely to produce sentimental crap no matter how talented the artist at work.In any case, if a story is truly honest and good, the "message," if there is one, may turn out to be not at all what the author intended. In the case of The Grey, I suspect the real message was probably, "Stay with the plane, you idiot!" which, like commenter J. Lambie, I only barely refrained from yelling at the screen... though I was thinking it. Wouldn't have been much of a story if they'd listened to me though. I'm with commenter Tim Powell on this: In the end, it's only a movie.   class="pages"> https://pjmedia.com/andrewklavan/2012/6/22/about-stories-and-their-messages-a-response-to-comments-on-the-grey/ ]]>
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    (Review Source)
  • 3 - DVD Review: "The Grey"
    Klavan On The Culture A group of tough guys led by Liam Neeson plane-crash in the frozen wastes of Alaska and have to try to make their way back to civilization while being harried by a pack of vicious wolves. Let me be honest, there's virtually no way they could make this movie so I wouldn't enjoy it. They would have had to do something utterly childish, despicable and self-destructive like, I don't know, include a shot of George W. Bush's severed head on a pike, to alienate me from a story that — as a lefty friend said to me, rolling his eyes — "sounds right up your alley!"But hurrah, they didn't ruin it. The film is everything it oughta be and more. It's tough, exciting and full of the sort of macho wisdom about struggle, strength, leadership, life and death that Hollywood seems to have all but forgotten. There're no women who unrealistically prove themselves to be as tough as the men. There are no speeches about how wolves are really nice and only harm you if you drill for oil. There are no sub-plots about tolerance. In fact, there's no tolerance at all — these are men, after all! There's just gritty, exciting, bloody action punctuated by more or less realistic reflections on what matters in life.Neeson is his usual great self, but kudos especially to director Joe Carnahan who has been going after the testosterone-fueled set with fun but not-quite efforts like Pride and Glory and Smokin' Aces. This time he hits the target. Makes me look forward to his upcoming adaptation of Mark Bowden's excellent book Killing Pablo. class="pages"> https://pjmedia.com/andrewklavan/2012/6/20/dvd-review-the-grey/ ]]>
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    (Review Source)
  • 4 - Liam Neeson is Badass in The Grey
    Lifestyle A group of tough guys led by Liam Neeson plane-crash in the frozen wastes of Alaska and have to try to make their way back to civilization while being harried by a pack of vicious wolves. Let me be honest, there's virtually no way they could make this movie so I wouldn't enjoy it. They would have had to do something utterly childish, despicable and self-destructive like, I don't know, include a shot of George W. Bush's severed head on a pike, to alienate me from a story that — as a lefty friend said to me, rolling his eyes — "sounds right up your alley!"But hurrah, they didn't ruin it. The film is everything it oughta be and more. It's tough, exciting and full of the sort of macho wisdom about struggle, strength, leadership, life and death that Hollywood seems to have all but forgotten. There're no women who unrealistically prove themselves to be as tough as the men. There are no speeches about how wolves are really nice and only harm you if you drill for oil. There are no sub-plots about tolerance. In fact, there's no tolerance at all — these are men, after all! There's just gritty, exciting, bloody action punctuated by more or less realistic reflections on what matters in life.Neeson is his usual great self, but kudos especially to director Joe Carnahan who has been going after the testosterone-fueled set with fun but not-quite efforts like Pride and Glory and Smokin' Aces. This time he hits the target. Makes me look forward to his upcoming adaptation of Mark Bowden's excellent book Killing Pablo. var dataLayer = window.dataLayer = window.dataLayer || []; dataLayer.push({ 'videoName': 'The Grey Trailer Official 2012 [HD] - Liam Neeson, Dermot Mulroney', 'videoType': 'Curated' }); Cross-Posted from Klavan on the Culture class="pages"> https://pjmedia.com/lifestyle/2012/6/20/liam-neeson-is-badass-in-the-grey/ ]]>
    ...
    (Review Source)

Kyle Smith
National Review



(Reviewers' Site/Bio)

  • Review: "The Grey"
    I liked the Liam Neeson adventure “The Grey,” although it isn’t as good as “The Edge” or “Runaway Train.” My review is up.]]>
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    (Review Source)

Michael Medved



(Reviewers' Site/Bio)

  • The Grey
    ...
    (Review Source)

Plugged In
Focus on the Family



(Reviewers' Site/Bio)

  • The Grey
    DramaAction/AdventureHorror We hope this review was both interesting and useful. Please share it with family and friends who would benefit from it as well.Movie ReviewJohn Ottway kills wolves for a living. They're not endangered here, in the frozen forests where Ottway works. They're not environmentally threatened. It's they who do the threatening in these Alaskan oilfields. While roughnecks toil in the snow and cold, Ottway keeps watch. If he sees a wolf bounding toward the men, he aims his rifle and pulls the trigger. Crack! One less wolf. And then, suddenly, the tables are turned. It's a routine plane ride to Anchorage that never makes it there. Ottway's onboard. Miraculously, he survives the crash, and he quickly exhorts the other survivors to not wait for rescue: No one is going to mount a spare-no-expense operation for a handful of roughnecks, he says. Not up here. If they're going to escape, they're going to have to do it themselves. It's not going to be easy—not with the weather so cold, the landscape so forbidding. It'd be so easy to slip into a river or fall off a cliff. And then there are the wolves. Their senses have already been primed by the crash. "There's blood in the air," Ottway warns. "There's death." The wolves will sense fear, they'll see weakness. They'll try to take down the survivors one by one. Snap. One less human.Positive ElementsWhen we're under duress, do we descend into our basest, most beastly core? Or can we hold true to our better, more humane—more godly—inclinations? The Grey asks this question and, in this area at least, it gives us at least a halfway encouraging answer. Humanity here is literally under attack. The wolves are relentless in their pursuit, and it'd be easy for the crash survivors to degenerate into a dysfunctional pack that'd end up preying upon itself. But thanks in part to Ottway's leadership, most of the men retain both their will to live and their commitment to see each other through this incredibly difficult time. After the crash, a survivor named Diaz begins to root around the corpses, looking for money and valuables. Ottway puts a stop to this, but after reconsidering, he too begins to pick up wallets—asking his mates to do the same. His goal isn't to pocket extra cash, but rather to bring the wallets back to the men's families. Ottway plots out strategies and finds places of relative shelter to survive the frigid nights. He wills himself to survive, and his desire rubs off on the rest of the crew. If one falls, the others flock to try to save him. When they have a rare moment to stop for a while, the men talk about the wives and children they've left behind for their job—the people they can't wait to get back to, the things they'd most miss if they died out here. All of them know that their predicament is dire. But they face the danger together, sometimes even smiling along the way.Spiritual Content"You're gonna die," Ottway says gently to a man who's bleeding out. "That's what's happening." Then he guides his panicked comrade gently through the process, telling him to let go, asking him who he loves. When he answers, Ottway says, "Let her take you, then." Death haunts The Grey with a tangible presence. Each man knows he might not survive. So maybe it's not too surprising that they all ruminate over the nature of faith and God and the afterlife. Whether through hallucinations or supernatural means, relatives long gone come to retrieve their loved ones, and a beloved daughter tells her father one last time how much she loves him. "We're all being stalked by time," director Joe Carnahan says in a press release. "The 'survival story' became infused with far more existential questions as the rewriting proceeded. I wanted something that had deeper meaning, something that questioned nature and life and God. The wolves are part of that." Two of the party's most sympathetic characters are men of faith. Hendrick refuses to leave the crash site without saying a short prayer for those who died there, and when he's about to make a harrowing leap off a cliff, we see him mutter words—another apparent prayer—under his breath. Talget tells his fellow survivors that faith is important, even as he himself seems to despair of ever making it out of the frigid woods alive. Others are more skeptical of any divine help. "The Almighty?!" Diaz snorts. "That f‑‑‑ing fairy tale?" When others speculate over where those who didn't survive are right now, Diaz says, "I'll tell you where they are. They're not." Ottway shares Diaz's skepticism. But while Diaz simply laughs off faith, Ottway seems to have let it go with a sense of regret. He wishes he could believe … but he can't. Near the end, he seems ready to try again. When a friend is trapped in a rushing river, slowly drowning, Ottway attempts a rescue, pleading, "Jesus, don't do this!"—a simultaneous petition and accusation. And when he's at the end of his strength, he asks for supernatural intervention. "Do something!" Ottway screams to the heavens. "Show me something! I need it now! Not later! Now! … I'm calling on You! I'm calling on You!" The sky is silent, the treetops framing an endless expanse of gray. "F‑‑‑ it," Ottway says. "I'll do it myself. I'll do it myself."Sexual ContentDiaz says the one thing driving him forward is the chance to have sex one more time: The last time he had it, he says, it was with a 53-year-old, 260-pound prostitute who gave him a venereal disease. In flashback, Ottway and his wife are seen cuddling on a bed; she's wearing a somewhat revealing nightgown.Violent ContentWhen wolves attack, the screen fills with quick-cut, frantic images of blood and hair and teeth; speakers blast out screams and growls. We feel the struggle as much as we see it. As such, the impact is in some ways actually greater than if we saw more explicit images of the carnage. Films that assail us with clearer, more clinical views of these kinds of horrors sometimes make us marvel at the special effects or even smile at the over-the-top outlandishness. The Grey doesn't go for that. Which isn't to say it throttles back on gore. A man bleeds to death in the plane, and we see blood burble darkly out of his fatal wound. Another man is attacked outside the plane, wolves leaving a bloody trail as they drag him away. When his corpse is recovered, the mutilation is obvious and horrible. The camera lingers on a paw print in the snow as it slowly fills from underneath with blood. One man meets his end after falling off a cliff, smashing through the limbs of a tree and smacking bloodily onto the frozen ground. Wolves pull and tear at his body. Another man dies in a river, his face just inches from the surface. Yet another suffers from altitude sickness, eventually freezing to death during a snowstorm. And still another spits up droplets of blood and, after being injured by a wolf, eventually just gives up, sitting beside the river for the inevitable end to come. (The wolves get him before the cold does.) The survivors kill a wolf with a knife, then stab it several more times after it's dead (and then kicking it and punching it for good measure). They skin and cook the beast after one man vengefully decapitates it. Ottway shoots a wolf, and we see it bleed from its mouth as it dies. The plane crash gets visceral, full-screen treatment. In the aftermath, corpses are strewn everywhere. A note about Ottway's fierce drive to live after the crash: It's given context, either ironic or not, by the fact that he nearly kills himself near the film's opening. He walks out of the roughneck canteen, leans down in the snow, puts the barrel of his rifle in his mouth and almost decides to pull the trigger.Crude or Profane LanguageMore than 150 f-words. Close to 50 s-words. God's name is misused at least a dozen times, with and without "d‑‑n." Jesus' name is abused another 10 times. We also hear "a‑‑," "b‑‑ch," "b‑‑tard," "h‑‑‑" and "f-g."Drug and Alcohol ContentWorkers drink all sorts of alcoholic beverages at the canteen. After the crash, survivors break out the booze and drink quite a lot that first night. And Diaz tries to pressure his fellows to drink on subsequent nights too—to forget about their trouble through a haze of the hard stuff.Other Negative ElementsA man relieves himself by the side of the plane—and gets killed by wolves in the process.ConclusionThe title The Grey, I think, means more than just the color of the wolves. There's a metaphorical component too. It refers to the space between life and death. It points to that slate of clouds Ottway impotently cries out to. It also reflects the ethos of the movie itself. This is, indeed, a movie made of colorless shades and muddled messages. Before the survivors begin their cold odyssey, Hendrick says a prayer for those they're leaving behind—and asks for mercy for those who've survived. "Thank you for sparing us and helping us," he says. "Oh, and keep that up if you can." Some are amazed that anyone survived at all, calling it a miracle. And then we watch as the wolves and the wilds do their worst. It's a hard thing to see … men who miraculously survive one calamity to be devoured by the next. And The Grey can be fairly seen as a bitter repudiation of faith of any kind. "This is what's real," Ottway says, dismissing the idea of a caring God. "The cold." But God is never absent, not even in a film such as this. And The Grey therefore feels paradoxically spiritual. An example: When Diaz, played by Frank Grillo, decides he can go no farther and waits instead for death to come and claim him, the scene could be read in one of two ways: a man giving up, or a man suddenly seeing a more transcendental truth than the life he's lived to this point. "I grew up with a heavy influence of Christ in my life but got away from it," Grillo says. "It wasn't that I didn't believe in God, it's just that I didn't think He believed in me. I went through some beautiful moments in making this film. To prepare for my final scene, Joe [Carnahan] and I talked about our lives and what we believed in, and we wept. It was a monumental thing to do this movie. It got me thinking about my faith again." According to a companion guide, "The Grey gets to man's ultimate powerlessness and need for God." And I suppose, if you squint really hard while watching, you'll be able to see that. The questions The Grey raises with its horror are real. And while they're very difficult for the faithful, they're not completely unfair. But they're punctuated by the main character finally turning his back on God. And they're all but drowned out by a torrent of f-words, muffled by growls and screams, buried underneath the weight of blood and fur.Pro-social ContentObjectionable ContentSummary AdvisoryPlot SummaryChristian BeliefsOther Belief SystemsAuthority RolesProfanity/ViolenceKissing/Sex/HomosexualityDiscussion TopicsAdditional Comments/NotesEpisode Reviews]]>
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    (Review Source)

John Nolte
Daily Wire / Breitbart



(Reviewers' Site/Bio)

  • 1 - ‘Everest’ Review: Well-Crafted Fatalistic Death Porn
    (”The Grey” is briefly mentioned in this.)
    Director Baltasar Kormákur’s docudrama is competently produced and tense enough to hold your interest, but so is a forced death march, which is what the “Everest” experience feels like at the end. The story is a true one. The year was 1996, and because they can, a disparate group of climbers from all walks of life and from all over the world paid Rob Hall (Jason Clarke) $65,000 to get them to the top of Mt. Everest. A mixture of poor planning, overcrowding, and a freak storm ultimately dooms the expedition. There was no malice at work, no corporate malfeasance, no greed or anyone taking shortcuts. There is a little bravado from Scott Fischer (Jake Gyllenhaal), but nothing at the expense of anyone else. Selfishness isn’t even a factor. When things go sideways a lot of good people risk their lives to save others, oftentimes with fatal results. You can’t describe “Everest” as a disaster movie. This is a true story. People really died. Watching them offed one-by-one is not a guilt-free pleasure, it is agonizing — the exact opposite of entertainment. Other than it being a compelling story, what was the point of telling it? The characters are thinly
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    (Review Source)
  • 2 - 'Everest' Review: Well-Crafted Fatalistic Death Porn
    (”The Grey” is briefly mentioned in this.)
    Director Baltasar Kormákur’s docudrama is competently produced and tense enough to hold your interest, but so is a forced death march, which is what the “Everest” experience feels like at the end. The story is a true one. The year was 1996, and because they can, a disparate group of climbers from all walks of life and from all over the world paid Rob Hall (Jason Clarke) $65,000 to get them to the top of Mt. Everest. A mixture of poor planning, overcrowding, and a freak storm ultimately dooms the expedition. There was no malice at work, no corporate malfeasance, no greed or anyone taking shortcuts. There is a little bravado from Scott Fischer (Jake Gyllenhaal), but nothing at the expense of anyone else. Selfishness isn’t even a factor. When things go sideways a lot of good people risk their lives to save others, oftentimes with fatal results. You can’t describe “Everest” as a disaster movie. This is a true story. People really died. Watching them offed one-by-one is not a guilt-free pleasure, it is agonizing — the exact opposite of entertainment. Other than it being a compelling story, what was the point of telling it? The characters are thinly
    ...
    (Review Source)

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