Some movies are messy but contained enough that their chaos can be forgiven if it’s for the sake of the story. Other times, the mess is more haphazard. It makes some sense in its own bizarre way, but it’s also reaching in its efforts to say something meaningful. Romain Gavras’ Sacrifice falls somewhere in between.

Sacrifice begins at a gala highlighting a new technology from Braken (Vincent Cᴀssel), a billionaire who was inspired to save the world’s climate change crisis because of his wife’s (Salma Hayek’s) love of puffer fish. Mike Tyler (Chris Evans), a washed-up actor who hasn’t lived down his humiliation after a viral video of him screaming about him not being a hero and tearing off his suit ruined his career, is in attendance in the hopes of making a comeback. Charli XCX even sings at this ridiculously opulent event (and she sadly doesn’t appear long enough).

Outside the gala, held inside a mine near a volcano, which has erupted and thrown off the geological dynamic of Earth, an armed group, led by Anya Taylor-Joy’s Joan, believes they need three sacrifices to stop an extinction event in two days, interrupts the fundraiser to do as the earth commands. Naturally, chaos ensues.

Sacrifice Is All Over The Place

The film starts strong — an intriguing indictment of celebrity culture, the emptiness of billionaire climate efforts, and the beginning of a debate about technology vs science vs simply listening to the earth. For a while, and as things escalate to an outrageous degree, this works, and Sacrifice coasts on this commentary and absurdity. It’s very much a satire and the laughs, primarily thanks to Evans’ comedic timing and physical humor, as well as the sheer mayhem, come quickly and often at first.

But as the film goes on, the laughs taper off. The plot slows down in the final third of the movie, proving Gavras and co-writer Will Arbery’s script can’t sustain the momentum. After Mike, Barken, and Katie (a sorely underused Ambika Mod of Netflix’s One Day) are taken captive, the film instantly loses steam and doesn’t fully regain it. There’s so much going on, and it struggles to keep focus and maintain balance between all of its moving parts.

The pacing is inconsistent as well. It initially moves at a good speed before taking a dip, coming back, and then slowing down again. It’s nearly a slog as it nears its end, dragging so much that it was hard to maintain my interest by that point. That’s a shame, too, because Sacrifice can be quite weird in the best of ways at times. Its themes speak to a larger conversation about climate change, nature, and technology. Unfortunately, the film’s message is drowned out by spectacle that loses its way on the path to its conclusion.

Sacrifice is elevated by a fantastic cast, but even they’re not enough to make the film a memorable watch. Chris Evans is wildly funny as a flailing actor who’s not the brightest, and his scenes, especially at first, are the most entertaining. Anya Taylor-Joy is solid throughout, though her story could’ve used some further development.

Vincent Cᴀssel is deliciously smug and obnoxious as Braken, but Salma Hayek doesn’t get much to do as his adoring, worried wife. John Malkovich, who plays Joan’s father, is also in the film, but he’s not around long enough to be effective, especially since he appears as the plot is ready to burst at the seams.

Sacrifice has all the parts to make it intriguing, but it gets in its own way. Messy, strange, and somewhat baffling, Gavras’ film is chaos personified. For this sometimes funny film, I wish that were a good thing.

Sacrifice had its premiere at the 2025 Toronto International Film Festival.