We open with ominous title cards explaining that Kiruna's foundation is subject to "rock explosions" that undermine the city's stability, and we're already pausing Wikipedia's "rock explosions" to see if that's how are they really called, or if it's just Netflix with another shitty foreign language to English translation.
It turns out that “rock explosions” are a totally legitimate phenomenon that differentiates mining-related geological activity from naturally occurring earthquakes, and now we can move on. Some teenagers are partying in a wooded area and one of them walks away to look for water.
Director: Richard Holm
Writers: Richard Holm, Robin Sherlock Holm, Nicola Sinclair
Stars: Tuva Novotny, Kardo Razzazi, Felicia Maxime
He passes through a fence with a warning sign that says RIFT ZONE and, as he goes into a crevice, he sees a couple of friends suddenly disappear. Strange. And then before you know it, he too disappears, as if EATEN by the EARTH. My God, I say. Egades.
We now meet Frigga (Tuva Novotny), who is the head of security for the mining operation. What are they mining? Mineral. What type of mineral? I don't know, does it matter? Stop asking me these questions, I'm trying to summarize the damn movie! Frigga has a no-nonsense personality and lives her entire life in Kiruna, a small town where the mine employs almost everyone. Her father worked for the mine and now so does she. It's that kind of place. From time to time, the ground beneath Kiruna rumbles and Frigga checks her phone to see where it registers on the Richter scale. She receives a call: it is Dabir (Kardo Razzazi), her boyfriend. He's just getting off the train. He's in town early for his surprise visit, which is nice, because they get back to his house and relieve the sexual tension, but it's also not nice, because no one knows he'll be there, sitting on the couch in his underwear. which makes it awkward when his daughter Mica (Felicia Maxime) and her almost ex-husband Tage (Peter Franzen) arrive to make things really awkward. Poor Dabir.
That's not the only reason Dabir should have stayed in Uppsala. The tremors are more frequent. The neighborhood dogs bark like crazy. Bands of big, ugly bugs scurry out of the ground. And Simon, Frigga and Tage's teenage son, is missing. Frigga's family gets into a fight and Dabir tries not to get involved, but Tage keeps confronting him like a complete jerk. A major shakeup occurs, so Frigga and Tage head to the mine to assess the situation while Mica tries to find her brother and Dabir visits the fire station that offered him a job.
Frigga and Tage put helmets on their heads and venture down the mine with a couple of potentially expendable characters, because this is the kind of movie that eventually needs to drop a rock on someone. It turns out that this is the most important one. Kiruna is about to fall. Frigga orders an evacuation, but what about Simon? I can't leave without him. Now, how many hardships will our protagonists endure before reaching safety? Perhaps most importantly, how many times will we yell at the screen because they keep pausing to work out their interpersonal nonsense while the world literally falls apart around them? Oh really. Family therapy can wait, idiots!
It is very possible that this movie is not entirely stable. The Abyss does its due diligence on the mental health of its characters, who often stop in the middle of the melee to argue and fight or hug and whisper tender apologies to each other. The thing is, one's mental health is totally dependent on physical survival no matter the situation, and in this particular situation, physical survival is not a given and is quite urgent. If it seems plausible to you that two men would stop by a hospital full of concussed and dismembered people to fight over an engagement ring, then don't let this movie drive you crazy.
If you can get past the banality of these domestic commotions and a series of contrived dangling-by-your-pinky-finger-on-an-extension-style situations, you'll find that The Abyss is mostly believable in its depiction of rather small characters. disaster on a scale. Most of the visual effects are practical, no otherworldly hellish creatures leap out of dark underground expanses, and the inevitable butt-squeezing scene through a small tunnel is truly horrifying for claustrophobics. There's enough shaving here to make The Rock raise an eyebrow in concern, but the heroics are earthy and unspectacular, which I found refreshing. I've seen too many movies of this type that try to convince us that the laws of physics can be transformed into pretzels for entertainment.
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