Review by Christopher Coleman
Seeing the name "EMMERICH" tied to a film generally brings me some measure of dread. With the exception of THE PATRIOT this dread usually turns out to be pretty well founded and the trailers for his most recent project 10,000 B.C. evoked no different response from me. It came as little surprise to see the name of HARALD KLOSER tied to the film ... given their relatively successful pairing for THE DAY AFTER TOMORROW. So now, with 10,000 B.C., Roland Emmerich and crew turn from the topic of civilization's end to its beginnings.
With a bit of an uneasy grin, I have to say that 10,000 B.C. wasn't as dreadful as I had given it room to be, but it was still far from anything people will be talking about nine months from now...or even nine weeks. As it has been described elsewhere - 10,000 B.C. is an odd mashup of APOCLYPTO and ICE AGE, only nowhere as intense or intentionally humorous as either of those two films. The film has even managed to drum up some racial controversies and perhaps that is what will keep anyone discussing the film for those nine weeks. The simplified story of a persecuted people, a prophesied savior, and a destined-love form the backbone of a story which goes on to incorporate shades of so many other previous films that no one review could recount them all. Originally, the marketing of 10,000 B.C. left some to wonder if there was any dialogue at all in the film a la the classic, QUEST FOR FIRE. Unfortunately, indeed there was dialogue and it sadly matched the overall flatness of the film. As disappointing as the the movie may have been, there is always a possible silver-lining for the film music community, which is the film's score. The question is, "Are Harald Kloser and Thomas Wander able to rescue 10,000 B.C. from the lethal fangs of poor writing, acting and inconsistent CGI?"