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★☆☆☆☆
1 December 2014
This article is a review of BLACK SEA. |
“We live together, or we die together,” Captain Robinson (Jude Law)
Wartime gold retrieval has before it: Clint Eastwood caper KELLY’S HEROES ((1970) - from the writer of THE ITALIAN JOB), and the excellent THREE KINGS (1999) – a subversive, coruscating look at the first Gulf War dressed as an exciting action thriller. BLACK SEA falls between those, as neither is it a particularly clever societal commentary, nor does it set the pulse racing as a cinema ride. Second World War archive footage during the credits is meant to offer some future hints, but is tonally out of place; contrast this year’s GODZILLA (where at least the opening atmosphere matches the credits). Bewildering choices are a continual bugbear for a film that reeks of a first-timer writing exercise; odd, given it’s from the brain behind UTOPIA.
Wartime gold retrieval has before it: Clint Eastwood caper KELLY’S HEROES ((1970) - from the writer of THE ITALIAN JOB), and the excellent THREE KINGS (1999) – a subversive, coruscating look at the first Gulf War dressed as an exciting action thriller. BLACK SEA falls between those, as neither is it a particularly clever societal commentary, nor does it set the pulse racing as a cinema ride. Second World War archive footage during the credits is meant to offer some future hints, but is tonally out of place; contrast this year’s GODZILLA (where at least the opening atmosphere matches the credits). Bewildering choices are a continual bugbear for a film that reeks of a first-timer writing exercise; odd, given it’s from the brain behind UTOPIA.
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Jude Law’s ropily-Scottish-accented marine salvager is made redundant by cost-cutting company Agorra. Contracting for the last decade means his severance is pitiful. Hinting at zero hours contracts currently causing controversy, and other corporate heartlessness, is subsequently squandered. Might there be at least simplistic yet cathartic retribution for the characters? In a pub, drowning their sorrows at dwindling job options, a plan takes seed out of desperation: A U-boat packed with Nazi bullion sits at the bottom of the Black Sea, so says professional legend. A backer to fund the scheme is required and found. Millionaire Lewis (Tobias Menzies) sends his claustrophobic stooge Daniels (Scoot McNairy) – the Paul Reiser role in ALIENS - to be his eyes and ears on the mission.
Who doesn’t love a submarine film? One such ship is essential to recover the treasure. Like a used car when you have little cash, the vessel at their disposal is a creaking bucket. Looking unseaworthy belies a vehicle that should, just, do the job. Robinson picks his dirty dozen-ish crew – an international mixture: Brits, Russians, an Australian and an American. An international cooperative racing against the clock to outsmart corporate greed and the Russian Black Sea fleet, had the markings of a riotous adventure, with allegory and political observations potential. None of that comes to pass.
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Drama 1-0-1: Create character friction. Behaviour ranging from the belligerent to the murderous leaves a believability void in its wake. Bar Daniels, and a teenager brought along as the equivalent of Ripley’s cat in ALIEN, these are all veterans, and the captain is god; how the operation falls apart is riddled with holes and inconsistencies. Diving expert Fraser (Ben Mendelsohn) is an avaricious xenophobe, then about-faces and no longer cares about the money. One minute Robinson is a compassionate egalitarian, the next a desperate tyrant. Psychological incredulity dominates.
Production design looks cheap, and the underwater footage is hardly THE ABYSS. By the overwrought climax, one was just counting down the clock to the lacklustre conclusion.
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