Tenzing Review: Formulaic but Inspiring Mount Everest Adventure

Apple TV appears to be leaning heavily into inspirational biographical dramas for its prestige movie lineup this year. Among the two true-story films the studio and streamer presented at the 2026 Toronto International Film Festival, “Being Heumann” has understandably generated more attention. Siân Heder’s follow-up to her Best Picture Oscar winner “CODA” is an even stronger film, bolstered by a groundbreaking ensemble of disabled performers. Still, Apple’s other festival crowd-pleaser, “Tenzing,” should not be overlooked.

Directed by Jennifer Peedom and scripted by Luke Davies, “Tenzing” follows the extraordinary life of Tenzing Norgay, portrayed at different ages by Samdrup Dorje Lama, Tenzin Dalha and Genden Phuntsok. In 1953, Tenzing and Sir Edmund Hillary (Tom Hiddleston) became the first people to stand atop Mount Everest, or Chomolungma, as it is known in Tibetan. Through a flashback structure, the film moves between that historic expedition and the earlier experiences that shaped Tenzing into the climber who would attempt the world’s highest peak.

British expeditions in the Himalayas depended heavily on Sherpa guides, but Tenzing was the first local climber to receive official membership on a British team. He had already taken part in the 1952 Swiss expedition, which came closer to Everest’s summit than any previous attempt. While the British approach the mountain — and nature itself — as a challenge to be conquered, Tenzing sees his ascent of Chomolungma as something spiritual: an opportunity to commune with the mountain goddess. That worldview gives the film its emotional center. His generosity, determination and resistance to both physical hardship and social prejudice make him an immediately appealing hero.

Tenzing Norgay’s story convinced Jennifer Peedom to make her first narrative feature after years of directing acclaimed climbing documentaries, including 2014’s “Sherpa” and 2017’s “Mountain.” Willem Dafoe, who narrated the latter, appears here as British expedition leader John Hunt. Peedom’s documentary background is evident throughout, giving “Tenzing” an unusually grounded and tactile sense of realism.

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The production filmed portions of the story in Nepal, with New Zealand’s mountains standing in for other Himalayan locations. Together, those elements create an impressively transportive experience. The performers appear to endure enough genuine cold and exposure that the expedition feels convincingly dangerous. The film naturally relies on visual effects — Tom Hiddleston was not actually suspended over an icy crevasse — and some green-screen shots are less seamless than others. Even so, their slightly artificial quality fits the movie’s old-fashioned adventure-film spirit.

Given the scale and ambition of the filmmaking, it is frustrating that “Tenzing” will receive only a brief awards-qualifying theatrical run before arriving on streaming a week later. Viewers watching at home may still appreciate the story, but the film’s impact could be stronger on a large screen, particularly after its enthusiastic reception at TIFF. Festival energy can sometimes amplify a movie’s appeal, and that effect can be even more noticeable with films designed to move quickly to streaming. Apple has already demonstrated with “F1” that a crowd-pleasing adventure can perform in cinemas, making the limited rollout here feel like a missed opportunity.

Keeping the story centered on Tenzing is a defensible choice. More time devoted to his relationship with Edmund Hillary might have enriched the film, although the performances by Genden Phuntsok and Tom Hiddleston communicate the depth of their connection. Both men are outsiders in different ways: Edmund is a New Zealander among the British team — prompting the joke that even the British are still working out what a Kiwi is — while Tenzing finds himself separated not only from the white climbers but also from the Sherpas, having come from a different tribe. Willem Dafoe brings welcome comic energy and personality to John Hunt, the only other expedition member who stands out distinctly. Still, expanding the rest of the climbing team may not have added much to this focused character study.

The film’s treatment of Tenzing’s wife, Dawa (Thinley Lhamo), is more limiting. She has died by the time of the 1953 expedition, yet her memory becomes a central source of motivation for her husband’s mission. The flashbacks to their marriage offer little sense of Dawa beyond her role as a devoted and supportive wife. Giving her a fuller inner life would have made Tenzing’s journey considerably more moving. A historical drama about a male-dominated profession need not revolve around every character equally, but richer female roles would have strengthened the story.

When Tenzing practices the English sentence, “Mister, I am an amazing worker,” while seeking his first job on a climbing expedition, he accidentally introduces himself as “I am Mr. Amazing.” By the time he reaches the summit of Chomolungma, he has earned the title in every sense. The film named after him does not quite reach that same extraordinary height. “Tenzing” makes few serious missteps, but it never finds the final spark that might have made it outstanding. Even so, this is a sturdy, accessible historical adventure with a remarkable hero at its center — and a film audiences of many ages can enjoy.

“Tenzing” premiered at the 2026 Telluride Film Festival, and Looper screened the film at the 2026 Toronto International Film Festival. It arrives in select theaters on October 9 before beginning to stream on Apple TV on October 16.