Feels like it’s been forever. Granted it has been two full weeks since I wrote a review, I also didn’t give you my friends my best and worst of 2019…might still get around to that. Usually around this time in the review, especially one early in the year, I will remind you that January is one of two things, a dump slot or Oscar bait. 1917 was released limited prior to this week so it could be the Oscar bait, literally nothing came out last week and this week we get a comedy I don’t imagine many will see and this bit of film that did not get a lot of promotion as near as I can tell. Granted, I have ad blockers, and pay for YouTubeRed so I don’t get commercials, but I truly don’t believe many know about this movie. Sadly I had to see it alone, as my two thirds of my Dark Court aren’t for horror and the other third did not think this was for them.
So is this a dump slot movie?
To me yes, in so much as that the studio wasn’t sure what to do with it or how to market it.
Example: The trailer
I Really don’t expect the average studio to look at some finished projects and know what they have and don’t have, especially on something like this; and this movie being a 20th century fox property prior to the buy out makes it more of a “well lets drop it and see if we can make something” move from the Mouse House. That said, you have a story by Brian Duffield (The Babysitter, Insurgent), with screenplay credit also going to Duffield. Adam Cozad (Legend of Tarzan), also receives a screenplay credit. I like what they do here. This is not a dialogue rich movie, but it is a dialogue appropriate one. What do I mean by that? Well despite most trends where this could have been exposition heavy to explain this thing or that thing or THAT thing, they don’t do it. Sure there’s some exposition, but it’s just enough to let you hear it and either follow along or don’t. The rest of the dialogue, with the exception of one character who I will get to in a bit, all feels natural given the circumstances and very directional to the story driving it, or the characters forward in a refreshingly honest way. The movie this reminds me most of, and I have a feeling this is Duffield coming through, is Alien. Imagine that crew, but underwater. The staging is different, the threat is different, but its that feel of character that is there and I was honestly riveted.
Credit has to go to director William Eubank (The Signal) for that as well. He makes beautiful use of Production designer Naaman Marshall’s (Art Director: The Dark Knight, PD: Don’t Breathe) work to create a both infinitely huge and claustrophobic space. The terms and conditions of being that far down are set up early and the movie reminds you of them frequently enough to make you worry, but not frequently enough to make you go “get on with it.” The Darkness and the depth of being nearly seven miles down on the Ocean floor have their own weight and menace to them, as much as open space did in well.. Space. To paraphrase, from a cheesy, but albeit really enjoyable movie, The Core – “Space, space is easy. There’s nothing there. When you go down, you have tons and tons of pressure.” That, in this case is both figurative and literal.
While not a cast of one, like Moon, the cast is small, with only 7 credited characters. Kristen Stewart gets top billing as Norah, a mechanical engineer on the deep mining rig and carries much of the movie on adept shoulders. This is not, nor are any of them, a deep character, but that means in a film like this the work is even harder. Stewart not only has to make you care about her characters fate, but that of the others, and doesn’t get a lot of dialogue to do it. This relies on her abilities as an actress to use body language and expression; you know that thing everyone picks on her about, to sell the movie and she does. Jessica Henwick (Nymeria Sand on Game of Thrones, and Colleen Wing on The Defenders), plays Emily a research assistant in the wrong place at the wrong time and here again has to deliver and I find that she does. French Actor Vincent Cassel (Black Swan, Brotherhood of the Wolf) as the Captain brings weight to the movie, while John Gallagher Jr. (Peppermint, 10 Cloverfield Lane) brings some humanity. I am really starting to like this actor. The one stand out however, is TJ Miller. He adds nothing to the movie other than wasting the oxygen of the rest of the cast and crew. He could, and should, have been replaced with most any other comedic actor if they wanted levity in the film and it would likely have improved things. But can’t win them all I guess.
I would spend another few hundred words here raving on the production design of the movie, instead I shall be concise. I love the production design. Literally everything about it. That is all.
This movie is hard to market, which is sad, because I haven’t had this good a time with a movie like this in a very long time. I am trying to remember the last time a movie made me feel tense and looking at the screen for something, anything that seemed out of sorts. They don’t play with jump scares or high shrieking notes, they actually just build tension and dread. When the characters get to breathe, so do you. I came out of this movie excited for what I saw and what it delivered. It was surprisingly satisfying end to end.
This is a dump slot movie in that I also don’t know when else it could be released and do well enough for “Top men” at the studios. It’s not avante garde enough for the major awards circuits or indie circuits, but would never be a blockbuster either. So it’s in a weird limbo, but feels right there too.
I also mentioned Alien before. This movie is possibly the most Alien that has Alien’d since Aliens and there’s no xenomorph. The deep sea suits look both futuristic, yet lived in and rugged, but also reminiscent of those on the Nostromo. The tight corrodors, the cables, the pressing threat of death all evoke more feelings like Alien did than the last four movies combined. I suppose that is setting a high bar for the movie to draw that comparison but its what I was feeling as I watched it.
Should I see it?
If the trailer seemed curious to you, yes. While not as “huge” as Space, the movie benefits from a big screen viewing.
Would you see it again?
Yes. Even at full price.
Buying it then I guess?
Yes, yes I am. Hopefully I can work the Dark Court up to it at the Manor.
I know. I know. Underwater won’t win any awards, it doesn’t change the status quo of film, it doesn’t particularly do anything groundbreaking, and sadly will go overlooked by most. It is a solid little near future tension packed film. The characters felt real enough and Stewart carries well. When people say “we made the lead like Ripley”, this is what that SHOULD look like, vs….well every other time they claim that. Thankfully here, no one claimed it, but they did earn it.
Why Doolittle of course!