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January 27, 2012 by · Leave a Comment 

Box-office forecasters are predicting that The Grey, starring Liam Neeson, will become this weekend’s box office champ. Kyle Smith in the New York Post is not so sure. “It may be too conventional for the art-house crowd, yet too arty for the megaplex. I prefer to call it an unusually reflective blood-and-guts saga,” he writes. It concerns the survivors of an air crash in Alaska who face a new threat — a pack of wolves. “The Grey, meticulous in its choreography of fight and flight, and questionable in its depiction of wolf behavior, is notable for the thoughtfulness and sensitivity with which it addresses the thorny ethical and metaphysical matters of mortality,” writes A.O. Scott in the New York Times. “It takes death seriously, and partly as a consequence, every moment, every frame, feels alive.” Peter Howell in the Toronto Star seems relieved just to be watching a worthwhile movie again. “You don’t expect poetry at the multiplex in the year’s first month, much less a really good movie,” he remarks. “Yet The Grey delivers on both fronts, literally and metaphorically. All hail Liam Neeson for making it so.” Not all critics are so effusive. Rafer Guzmán in Newsday gives the film a so-so review. “The film’s conflicting tones never quite mesh, but some fine acting and powerful moments make The Grey watchable, if not entirely compelling,” he writes. And while some critics are hailing the film’s surprise ending, Amy Biancolli in the San Francisco Chronicle, says it “stinks.” She adds: “I won’t spoil it (though I should). Instead, I’ll just say this: Atheists should be offended. And wolves should be amused.”