Apex (2026) Movie Review: A Thriller That’s Modest to the Point of Inertia

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The best that can be said about “Apex” is that it does feature better filmmaking than a majority of the original action films released directly to Netflix, a service that is bafflingly able to produce cutting-edge genre television, yet consistently misses the mark when it comes to feature-length endeavors. Unlike botched international quasi-blockbusters like “The Union” or “The Gray Man,” “Apex” is at least tight in its focus, and does understand that a 95-minute survival thriller can be self-contained, even if it’s fronted by A-list stars.

However, it’s the bare-boned approach to the narrative and characterization that makes “Apex” feel like such a half-hearted effort, especially when the visceral qualities that a film with this area of focus should entertain. While it might be unfair to dump all of these broader critiques onto a film that seemingly has humble intentions, it’s yet another reminder that Netflix rewards passive viewing amongst audiences who are seeking a second-screen experience.

“Apex” introduces the couple Sasha (Charlize Theron) and Tommy (Eric Bana), who have bonded as a result of their mutual interest in rock climbing. It’s after losing her confidence and her husband that Sasha is forced to rethink her approach to what used to be her passion, leading her to take a solo trip to the Wandarra National Park in Australia.

The warnings given to Sasha by local rangers about a series of disappearances don’t concern her at all, as she has struggled to communicate her trauma. However, a friendly conversation with the local Ben (Taron Egerton) forces her to engage in a legitimate conversation. As it turns out, Ben is the mysterious killer who is responsible for the disappearances, as he has been luring travelers into the National Park to hunt them down and kill them.

The appeal of “Apex” is undoubtedly the rock climbing sequences, which are certainly a compelling conceit given the inherent suspense they imply. Yet, there is such a focus on the danger that the process of the actual climbing is rushed, given that any mistakes made by Sasha are intended to prompt some sort of reaction on a consistent basis. Netflix’s films commonly employ this technique, as the desire is to keep viewers engaged with something drastic occurring like clockwork. The result is a portrayal of a unique sporting event that has no suspense because it doesn’t feel lived-in.

Perhaps the two most famous rock climbing films are Clint Eastwood’s “The Eiger Sanction” and Renny Harlin’s “Cliffhanger,” both of which complicated their stories with larger ensembles and more incisive reasons for their characters to be engaging with a difficult activity. Neither film can be considered “great,” but they do spend enough time showing the perseverance and mental clarity required to engage in an activity that often flirts with death. The rare instances in “Apex” that show that sort of serenity on Sasha’s part are so awkwardly inserted that they feel stolen from an unrelated inspirational video.

Theron is a fascinating actress because she had already been established as one of the great cinematic chameleons of her generation when she took a late-career pivot into action, starting with her monumental performance in “Mad Max: Fury Road.” While not every action film was going to be crafted with the genius of George Miller, Theron has lost sight of why Furiosa was such a compelling character. She was a complex hero whose physical skill informed the strength of her resolution.

There was novelty in seeing someone of Theron’s talent bringing her dramatic chops to an action role, but now it feels as if she has taken on setpiece-heavy films simply because of the spectacle involved. While her performance in “Apex” isn’t as laughably cheesy as her part in the “Fast & Furious” sequels or as dull as “The Old Guard,” Theron doesn’t provide any integrity to Sasha beyond the fact that she has become sullen and detached. This is a particular challenge in the film’s final act, in which Sasha’s fight for survival is transformed into a heroic quest for justice.

On the polar opposite is Egerton, an actor who has been fearless in selecting roles that require complete transformations and unusual performance choices. Egerton is one of the many inherently charismatic stars who could be described as a “character actor in a leading man’s body,” and he’s by far the most interesting thing in “Apex.” Ben is a character who is clearly psychopathic from the moment he is introduced, a fact that is almost hilariously obvious through his failed attempts to show empathy or mundanity.

“Apex” often defies logic, but Egerton portrays Ben as someone who has thought through the nuances of his plan in a manner that requires deep intelligence, even if he is insane. What a villain does is less interesting than how they do it, and Egerton is able to bring as much nuance as he can to a character who is evil for the sake of it. He also appears to be having a lot of fun, which is more than anyone in the rest of the film can say.

Baltasar Kormákur may be more of a “journeyman” than an auteur, but he’s a filmmaker who has shown interest in the survival genre with his underrated climbing thriller “Everest,” his African adventure “Beast,” and even the more fluid genre flicks “Contraband” and “2 Guns,” which put a bit more effort into their action scenes than they would had another director been behind them.

Kormákur feels at odds with material that simply isn’t designed to be on the big screen, as “Apex” is missing the sense of scale that would require any degree of patience. There’s also little to be said about the characters that couldn’t be applied to an action thriller with a different gimmick. “Apex” is by no means unwatchable, and there’s even a chunk in the middle that is genuinely quite entertaining in a pulpy way.

That being said, it’s hard not to feel as if it was a film oriented towards being a tile on Netflix’s homepage. Then, an actor of Bana’s talent is wasted in such an inconsequential role, basically feels like an advertisement for “Untamed,” the Netflix survival series that is also set in a National Park. Given the pedigree involved, it’s a disappointment that “Apex” is so disposable.