Gerard Butler’s Greenland 2: Migration
Gerard Butler has appeared in numerous sequels, but few have as intriguing a premise as Greenland 2: Migration. The first Greenland wasn’t a conventional success; it premiered in late 2020 when many theaters were closed due to the COVID-19 pandemic. However, it gained recognition for its serious and contemplative take on apocalyptic themes, particularly in contrast to Butler’s previous work in films like Geostorm. Since Greenland focused on surviving a global catastrophe rather than preventing one, the sequel needed to explore uncharted territory with a significantly altered backdrop.
Greenland 2 initially follows this path but also retracts some of the optimism that concluded the first movie. The narrative resumes with engineer John Garrity (Gerard Butler), his wife Allison (Morena Baccarin), and their teenage son Nathan (now portrayed by Roman Griffin Davis), who are living in a bunker in Greenland. They were fortunate to be selected by the government to enter when Earth became mostly uninhabitable due to comet fragments five years prior. However, the family grapples with the constraints of their confined existence and the difficult choices imposed by life underground among hundreds of others.
The group remains in the bunker because the “cleared air” mentioned at the end of the initial film isn’t as prevalent as hoped. John frequently ventures outside, equipped for foraging, while worrying about Nathan’s desire to explore the unfamiliar world beyond. This tension escalates when a series of earthquakes finally obliterates the bunker. Consequently, a small group of survivors, including the Garrity family, embark on a journey to locate a rumored crater in France that is said to contain breathable air. In this case, the allure of new territory seems better than the suffocating environment they currently endure.
This international quest provides Greenland 2 with a broader scope compared to its predecessor, echoing John Garrity’s struggle to carve out a sustainable path to safety for his family. The urgency is somewhat lessened, as the major comet impact has already occurred, yet smaller fragments, radiation storms, and sporadic tidal waves persist as threats. Additionally, new health issues arise, somewhat compensating for the reduced immediacy of danger.
Director Ric Roman Waugh, who has collaborated with Butler on several films, keeps the narrative pace brisk, albeit not always riveting. Some of the most tense scenes are also the most ludicrous, such as when the family crosses a desiccated English Channel only to find themselves struggling with frail, precarious bridges. The film’s budget limitations become evident when wide shots depict harsh post-apocalyptic landscapes, but closer views are often confined to wobbly ladders or low-light shootouts.
Moreover, this sequel amplifies its predecessor’s emotional weight, alternating between brutally eliminating side characters and then becoming overly sentimental about its own brutality. While a post-apocalyptic narrative is inherently steeped in sorrow, Waugh’s approach to human drama is often awkward, which doesn’t benefit Butler’s performance. Butler has settled into a reliable middle-aged persona, particularly when showcasing his Scottish roots, yet he risks slipping into overly sentimental territory here.
Waugh and Butler appear determined to transform this 98-minute film into a recurring lament, all while sidestepping any uncomfortable reflections of our reality. Initially, Greenland 2 recalls aspects of the original as a COVID-related narrative with its themes of protective gear and justified fears of exposure to radiation. However, this connection fails to develop, with only a radiation detector confirming that masks are unnecessary as the story progresses. Ultimately, Greenland 2: Migration takes itself seriously, yet misses the mark by distancing from real-world connections while asking viewers to mourn fictitious losses.
