The 33

The perilous entrapment and subsequent rescue of 33 workers in a Chilean mine drew worldwide media attention in 2010, and so perhaps a movie was inevitable. However, The 33 isn’t the cinematic tribute they deserve.

This well-intentioned salute to courage and resilience generates some tension within the claustrophobic depths of the mine, where its occupants wonder if they’ll ever again see the light of day, yet it’s fraught with cosmetic problems regardless of its heartfelt intentions.

Some viewers might recall the basics behind the collapse of a gold and copper mine in rural Chile, where 33 miners remained trapped for 69 grueling days while their families stood watch and some government officials scrambled to devise a rescue plan.

Specifically, the film focuses on a few of the characters both on the inside and outside of the mountain. Mario (Antonio Banderas) is a respected miner who tries to keep things calm while emotions run high. Lucho (Lou Diamond Phillips) is the safety inspector who saw cracks in the rock but didn’t sound the warning in time. Laurence (Rodrigo Santoro) is the Chilean minister of mining who is charged with hiring an engineer (Gabriel Byrne) to begin drilling a hole to save the trapped men, and save the country’s reputation in the process.

The film portrays the miners as a fraternity of sorts, bonded by the risks and danger inherent in their everyday jobs, and their camaraderie rings true. The performances convey a harrowing sense of desperation as the protagonists stay remarkably resourceful and optimistic under the circumstances.

But the straightforward screenplay by a trio of writers is amateurish, hampered by stereotypical characters and wooden conversations. “There is a huge rock blocking our only way out of here,” Mario states rather obviously to one of his colleagues. Plus, the decision to have the bulk of the dialogue in broken English instead of Spanish is puzzling and borderline tasteless.

As directed by Patricia Riggen (Girl in Progress), the collapse sequence is suitably chaotic but not convincing. It’s further compromised by an overbearing score by the late James Horner and some bizarre inclusions in a cast that features several Europeans in Chilean roles.

The 33 works better in its quieter, character-driven moments, and the rescue finale achieves some genuine poignancy. Yet in its effort to tap into universal emotions, the result remains buried in heavy-handed sentimentality.

Rated PG-13, 127 minutes.