Our heroine seeks out her father on a remote Japanese island where he went missing seven years ago. The remake takes the more traditional (but also more satisfying) tack of centering on the father-daughter bond between Richard Croft (Dominic West) and Lara. The 2001 “Lara Croft” might be the only film in history where a missing and presumed dead father isn’t treated as a mystery but rather as a fact. Writers Geneva Robertson-Dworet, Alastair Siddons and Evan Daugherty work from a stock template, which I find acceptable for the first entry in what will hopefully be a series. Unlike Jolie’s version, this Lara is an Everywoman – at least at first. And the fact that she got completely ripped to play Lara Croft is a visual cue that this is a genuine attempt to make something worthy of the archeological adventure legacy of “Indiana Jones.” Vikander’s Lara is believable as someone who could endure the trials of this globetrotting journey, but she also has an air of vulnerability. In the new entry (now available for home viewing), the casting of Alicia Vikander – already known for her acting chops in “Ex Machina” and elsewhere – is our first hint that this is no joke.
At the turn of the century, substance-free actioners were common – and boy are those two Angelina Jolie films light on substance and heavy on silliness - but now filmgoers appreciate a veneer of seriousness. This is perhaps a reflection of what audiences want nowadays.
SAGA TOMB RAIDER FILM SERIES
“Tomb Raider,” a reboot of the film series based on the popular video games, follows the same plot structure as 2001’s “Lara Croft: Tomb Raider.” But it’s a much better film because, quite simply (that’s easy to say on paper), it takes itself more seriously.
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