Underwater: Neon NZ Film Review
Cast: Kristen Stewart, Vincent Cassel, TJ Miller, Jessica Henwick
Director: William Eubank
You've seen Underwater before.
Whether it's the mix of The Meg's terror, or the barely disguised Alien rip off baby creature, or in the seabase under threat mentality of various episodes of Doctor Who, there's a sense of deja vu from the moment this murkily executed, frustratingly workmanlike film begins.
Stewart is Norah, a close-cropped techie type who's spent so long under the sea working on the drilling operation that she's no longer sure what day it is, or if she's awake or dreaming.
However, her tenuous grip on reality is rudely awoken when large sections of the miles-deep rig begin to fail and she's forced to run for her life. Siding with a handful of other survivors, including the rig's Captain (Cassel, largely wasted), it becomes a desperate run for life as it transpires something outside the walls, potentially shaken out from the company's deep-sea drilling, is hunting them - and won't leave anyone alive.
Underwater's production values are stunning.
While the CGI creatures are a massive let down, the visualisation of the suits, the grimy walls and subterranean corridors is a claustrophobe's nightmare.
Director William Eubank makes great fist of the encroaching walls and the creaks and jolts of the underwater rig falling in around our ears. Using tightly shot close ups, or images from within the helmets, he gives the film a sense of terror, of urgency and of uncertainty which is largely lacking from a lot of the rest of the script.
Inconsistencies of the creature's behaviour, a desire to give Stewart's Norah a line worthy of Ripley and some truly average CGI work drags Underwater into the sea murk, which is a shame, as there's a kernel of a good thriller horror lurking here, a ticking time bomb of man versus nature mixed in with an "God what did we do" ethos and paranoia that's worthy of any film.
But by showing the creatures, the film squanders any good will, and despite a more muted, racked by tics Stewart showing she's never a one dimensional actor, there was truly some real potential here to uphold the despair and the fight for survival.
Underwater is serviceable enough - just frustratingly, it feels underwritten and its potential lost at sea.
Underwater's production values are stunning.
While the CGI creatures are a massive let down, the visualisation of the suits, the grimy walls and subterranean corridors is a claustrophobe's nightmare.
Director William Eubank makes great fist of the encroaching walls and the creaks and jolts of the underwater rig falling in around our ears. Using tightly shot close ups, or images from within the helmets, he gives the film a sense of terror, of urgency and of uncertainty which is largely lacking from a lot of the rest of the script.
Inconsistencies of the creature's behaviour, a desire to give Stewart's Norah a line worthy of Ripley and some truly average CGI work drags Underwater into the sea murk, which is a shame, as there's a kernel of a good thriller horror lurking here, a ticking time bomb of man versus nature mixed in with an "God what did we do" ethos and paranoia that's worthy of any film.
But by showing the creatures, the film squanders any good will, and despite a more muted, racked by tics Stewart showing she's never a one dimensional actor, there was truly some real potential here to uphold the despair and the fight for survival.
Underwater is serviceable enough - just frustratingly, it feels underwritten and its potential lost at sea.
%20&%20Edith%20Poor%20(Lizzie%20Moyle)_%C2%A9BBCS%20&%20Bunya%20Entertainment.jpg)
No comments:
Post a Comment