RipLinesMan reviewed
5 November 2025•
Icefall plays like Event Horizon (1997) rewritten on a frozen lake, with Stefan Ruzowitzky treating the ice sheet as a white hull over a door to the pit and every crack sounding like bulkheads groaning for entry; the Indigenous game warden played by Joel Kinnaman hauls a captured poacher played by Danny Huston across this killing ground while Cara Jade Myers and Graham Greene try to hold to procedure the way a sane crew keeps the airlocks sealed, and the money beneath the surface glows like a gravity drive promising salvation that is really surrender. Paul W. S. Anderson’s Event Horizon from 1997 is a masterpiece of cosmic damnation, and its moral geometry maps cleanly here, with Laurence Fishburne’s Captain Miller standing for protocol and sealed doors and Sam Neill’s Dr. William Weir embodying rapture that mistakes pain for revelation, a dynamic Icefall translates into the clash between survival codes and greed. Ruzowitzky shoots snow and breath with clinical clarity so that each decision feels like stepping farther down a red corridor, and the performances stay flinty and human, which turns the final descent into a true reckoning rather than a twist.
RipLinesMan reviewed
5 November 2025•
Icefall plays like Event Horizon (1997) rewritten on a frozen lake, with Stefan Ruzowitzky treating the ice sheet as a white hull over a door to the pit and every crack sounding like bulkheads groaning for entry; the Indigenous game warden played by Joel Kinnaman hauls a captured poacher played by Danny Huston across this killing ground while Cara Jade Myers and Graham Greene try to hold to procedure the way a sane crew keeps the airlocks sealed, and the money beneath the surface glows like a gravity drive promising salvation that is really surrender. Paul W. S. Anderson’s Event Horizon from 1997 is a masterpiece of cosmic damnation, and its moral geometry maps cleanly here, with Laurence Fishburne’s Captain Miller standing for protocol and sealed doors and Sam Neill’s Dr. William Weir embodying rapture that mistakes pain for revelation, a dynamic Icefall translates into the clash between survival codes and greed. Ruzowitzky shoots snow and breath with clinical clarity so that each decision feels like stepping farther down a red corridor, and the performances stay flinty and human, which turns the final descent into a true reckoning rather than a twist.
