So, the credits scene sees Lara buy the iconic twin guns from the video game, determined to carry on her father's work to stop Trinity. Ana Miller, the business partner of Lara's father, is the head of Patna, and Lara figures out that Ana was working with Vogel and Trinity throughout their whole scheme. However, she soon discovered that Trinity - the group that wanted to release the virus - was directly tied to Croft Holdings through Trinity's parent company Patna. Still, on the off chance it won't be a total reboot, here's what we expected from the sequel.Īfter Lara saved the world and stopped the deadly virus from escaping the tomb, she returned to London and accepted her place in her father's company. However, if it's a total reboot for Lara's next movie, then you can ignore all of this. Tomb Raider 2 plot: What will Tomb Raider 2 be about?Įverything that follows is based on the original idea that the sequel would follow up on the events of the first movie. With the latest news, though, it seems Green is no longer attached either, but maybe she'll be brought in for the reboot. In May 2021, she confirmed she had finished the first draft for the sequel with the title Tomb Raider: Obsidian. The first three Tomb Raider games are coming to console and PC in early 2024 with upgraded visuals in one package. Sometimes the best way to adapt a video game is to do just that: adapt.Behind the scenes, Misha Green was set to write and direct the sequel. These are simple statements that build a complex character - one that rewrites cinema’s understanding of Croft and creates a faithful representation of the rebooted game’s heroine - all without saying a word. This is a Lara who will always be running, biking or climbing while always thinking of the next move. It uses this constant motion to characterize this onscreen Lara as someone who is always pushing forward, always the underdog, and always fighting back. The bike race isn’t just the first taste of action outside of an opening-moments sparring match. Croft doesn’t quite get away with the “fox hunt” thanks to a few careless motorists, but the scene completely gets away with its divergence from the game’s plot. The tongue-in-cheek endlessness of the peril makes the audience tired right alongside our heroine, so that her victories feel even more earned once they finally arrive. This relentless action refuses to let Vikander catch her breath, always asking her to exude a hustle reminiscent of Daniel Craig’s exhausting-looking parkour in Casino Royale or Charlize Theron’s ass-whooping in Atomic Blonde. She leaps back off, ready to win, when she’s again in danger of being caught and must flee. She hops on the back of a car, gaining both distance and cover from the bike-bourne hounds. This becomes a tutorial-like exposition of skills that we’ll see put to use later in the adventure, as she quickly finds herself feeling the pressure and turning to stealth. That’s the kind of fallible, Indiana Jones coolness that forms when a protagonist’s toughness is shown through superhuman perseverance rather than superhuman feats.Ĭroft takes off and away from the hunters - in a men-chasing-woman dynamic that becomes increasingly important as the film goes on - at first outmaneuvering them through speed and finesse. Here, Uthaug takes the opportunity to show the character’s clever turn away from overt badassery (like Lara shooting someone with two big guns and a smirk) to a more humanizing, put-upon kind of badassery (Lara overcomes incredible odds through inner strength). She’s sure that she can outrace and outsmart a gaggle of cyclist bros. Formerly owned by Eidos Interactive, then by Square Enix Europe after Square Enix's acquisition of Eidos in 2009, the franchise focuses on the fictional. She enters because she’s a broke bike courier who’s rejected her inheritance (she doesn’t believe her father, played by Dominic West, is dead). Tomb Raider, known as Lara Croft: Tomb Raider from 2001 to 2008, is a media franchise that originated with an action-adventure video game series created by British gaming company Core Design. This is a scene that assures us that this Croft is savvy, tough and nothing like the expectations of male internet trolls. The scene is expertly directed by Roar Uthaug, who manages to incorporate plenty of story beats and character moments into the action while still giving the chase adrenaline-pumping logic and tempo. If she gets away, she takes the whole pot. If they snag the foxtail attached to the back of her bicycle, she loses and the catcher takes a share of the prize. Lara enters as the “fox” and is chased on a “hunt” by a horde of (seemingly all-male) pursuers who paid an entry fee. It centers on an illegal bike race, conjured up by screenwriters Geneva Robertson-Dworet and Alastair Siddons and based on real races of their type in New York and London. 'Tomb Raider' Film in the Works as Amazon Makes Rich Rights Deal for Marvel-Like Franchise (Exclusive)
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