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Below 2002 |
Review by Jonathan Cornwell |
Directed by David Twohy
R, 104 min. (language, some violence) |
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Starring: Matt Davis, Bruce Greenwood, Holt McCallany, Olivia Williams, Dexter Fletcher
Producers: Sue Baden-Powell
Screenplay: Lucas Sussman, Darren Aronofsky, David Twohy
Cinematography: Ian Wilson
Distributor: Dimension Films
Released: 10.11.02 (Limited) |
Rating:
  (out of ) |
David Twohy is one of those directors that seems ready to break out into the mainstream, to announce his arrival as one
of today's more intelligent directors. In his first two films, The Arrival and the underrated Pitch Black,
he proved his dexterity and clever acuity in regards to fashioning material in conjunction with his actors. He seems to
revel in creating almost surreal atmosphere, surrounding his characters in a world that is itself a character to be reckoned
with. In Below, Twohy combines the claustrophobic elements of a submarine with the eerie aspects of a ghost story,
setting the stage for an effective thriller; and although the result is mixed, it's impossible to ignore the seductive nature
of its highly watchable visuals and overall mood.
The U.S.S. Tiger Shark, a submarine patroling the waters of the Atlantic during WWII, picks up three survivors from
a torpedoed British ship. One of the survivors, Claire (Olivia Williams), a nurse, imparts their story to a somewhat
apathetic Lt. Brice (Bruce Greenwood), the boat's current commander after the sudden death of its captain in a disputed
rescue mission. Meanwhile, a German ship stalks their every move, bombarding them with depth charges and giant
grappling hooks. But the crew, represented by Ensign Douglas O'Dell (Matt Davis), begin to question the strange
occurences that now haunt the boat. Is it their imagination combined with a depletion of oxygen or something
supernatural that threatens their ability to get home?
Most of the film is shot with handheld camera angles, heightening suspense and creepiness, but also setting up
cumbersome horror film clichés such as the sudden noise coupled with a false alarm. It is dark, dimly lit, and
more than a little unsettling. Twohy is on to something here, but he can't quite bring it to fruition - instead of relying
on the viewer's worst fears and imaginations, he falls back on the hollow tricks that plague other suspense films. I'll
give him credit for tackling intriguing subject matter, but only minimal praise for his follow-through.
This is a film that depends on actors who can communicate fear without verbosity, exchanging excessive dialogue with
alarming changes in appearance and impending dread. Greenwood and Williams are effective in this regard, while
Davis is on hand more as the film's conscience than its scapegoat. There are scenes, such as an officer who sees
his relection move slower than his actual movements, that provoke geniune thrills, but they are the exception rather
than the rule. And, as is the case in similar films, characters make ridiculous decisions and untimely discoveries.
But Below eventually succeeds because it keeps the audience engaged and interested, mainly for the mystery of the
boat's officers who have seemingly conspired to cover up their captain's death. What is it about their refusal to relate
parallel accounts of the captain's demise that somehow attaches itself to the feared apparition that afflicts the boat? And
what is it about their cold acceptance of the survivors that doesn't seem quite right? Twohy is careful to leave these
questions ambiguous long enough to keep the viewer's interest intact, culminating in a catharsis that is also unclear
and best left to interpretation.
It will be interesting to see where Twohy goes from here (he's currently at work on Riddick, the follow-up to Pitch Black),
and how he'll push his own limits as a director without the confines of the other-worldly or surreal. If his first films are any
indication, that breakthrough film that he seeks is just around the corner. At the very least moviegoers can be confident
that movies helmed by Twohy will be a visceral and engaging treat.
© 2002 Jonathan Cornwell
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 |
 | Masterpiece - Film perfection |
| Excellent - A Must See |
| Good - Highly Recommended |
| Fair - Worth seeing |
| Average - Viewable, but not recommended |
| Below average - View at own risk |
| Poor - Avoid at all costs |
| Very poor - An embarassment to the film industry |
| Zero | Awful - One of the worst films ever made |
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