horror, Jessica Henwick, John Gallagher Jr., Kristen Stewart, Mamoudou Athie, movies, reviews, sci-fi, science fiction, T.J. Miller, Underwater, Vincent Cassel, William Eubank
January 10, 2020
by Carla Hay
Directed by William Eubank
Culture Representation: The movie’s characters are a predominately white, educated crew of underwater explorers (with one African American and one Asian) who are tasked with drilling for resources in the deep ocean when they come under attack and fight for their lives.
Culture Clash: Telling a story with an implied environmental message, “Underwater” shows what happens when deep-ocean creatures fight back against humans who plunder their territory.
Culture Audience: “Underwater” will primarily appeal to those looking for a suspenseful sci-fi/horror movie that won’t be considered a classic but will provide about 90 minutes of escapist entertainment.
Kristen Stewart: action hero? Taking massive cues from Sigourney Weaver’s Ripley character in “Alien,” Stewart goes from brainy, introspective crew member to kick-ass warrior, as she takes on deep-sea monsters in the sci-fi/horror film “Underwater.” After starring in the 2019 comedy reboot fiasco of Columbia Pictures’ “Charlie’s Angels,” Stewart (who’s been making mostly arty indie films for the past several years) has taken another step into major-studio action fare—but in 20th Century Fox’s “Underwater,” she’s going for scares instead of laughs.
During the opening credits of “Underwater,” there are flashes of media headlines and news reports about unconfirmed sightings of mysterious creatures in the deep ocean. According to the headlines, a major corporation named Kepler has been mining the deep oceans for resources, and hasn’t been giving full explanations for why employees have apparently disappeared from the underwater drilling sites. These elaborate, high-tech facilities (which are seven miles below the ocean surface) look like a cross between a factory, a spaceship and an underground bunker. They’re so high-tech that the Kepler workers living in these facilities for weeks or months at a time don’t need to wear oxygen masks or submarine suits when they’re in the building.
Within the first five minutes of the film, we’re barely introduced to Stewart’s mechanical/electrical engineer character Norah Price (who looks pensive as she brushes her teeth, muses about her isolation in a voiceover, and thinks about her broken love affair with her former fiancé) when the facility is hit with a massive explosion that kills many people in the crew and destroys the emergency equipment. Six of the surviving crew members, including Norah, find each other and agree to a desperate plan to walk across the ocean floor to an abandoned facility named Roebuck, in the hopes that Roebuck’s emergency equipment still works so they can escape or call for help.
The other five crew members are crew captain Lucien (played by Vincent Cassel), a take-charge Frenchman who has a 14-year-old daughter waiting for him at home; marine biology student Emily (played by Jessica Henwick), an inquisitive type who scares easily; operations expert Smith (played by John Gallagher Jr.), who’s in a romantic relationship with Emily; systems manager Rodrigo (Mamoudou Athie), a solid guy who has a dorky side; and wisecracking Paul (played by T.J. Miller, who can’t seem to break out of his typecast as a supporting character who’s socially awkward and talks too much). They soon find out what caused the explosion (Hint: It wasn’t faulty equipment.)
Because the frantic action begins so early in the film, the “Underwater” screenplay by Brian Duﬃeld and Adam Cozad doesn’t leave much room for character development. The actors do the best that they can with the generic characters and mostly forgettable dialogue that were written for them. The movie’s biggest asset, under the choppy direction of William Eubank, is the way it ramps up suspense, even if there are glaring plot holes the size of the ocean where these crew members are trapped. The visual effects for the sea monsters also achieve their intended impact, but the creatures’ very existence in the ocean (much like Godzilla) requires a huge suspension of disbelief. And cinematographer Bojan Bazelli serves up some compelling shots that might give some people the feelings of dizziness or claustrophobia if the movie is watched on a big screen.
However, the “Underwater” filmmakers don’t want viewers of this movie to think too hard, because then you’ll start to ask questions that unravel the plot, such as: “How could creatures of this size and quantity escape detection for so long?” Even if one company tried to cover up the existence of these monsters, their impact on the environment would be noticed already by too many marine biologists and people who work directly in the ocean. Monsters in outer space make more sense if they’re supposed to be undetected by humans on Earth. And at least in the world of Godzilla, millions of people in that world know that Godzilla is a creature that lives in the ocean. In “Underwater,” these monsters are a total surprise to the unlucky crew members who encounter them.
Just like a lot of movies whose plot is driven by suspense, “Underwater” also has a “race against time” element because (of course) the survivors are running out of oxygen. But this plot device is conveniently ignored when these so-called trained underwater professionals waste a lot of oxygen by talking too much. Paul, the annoying motormouth, is the chief culprit. In order to enjoy this movie, you can’t pay attention to the screenplay’s inconsistencies in how their underwater suits are supposed to work.
And since this is a horror movie, not everyone is going to get out alive. But there will be moments of further disbelief when certain characters go through things that would kill someone in real life, and then they survive, and you’re left wondering, “How are they still alive…and with their hair still neatly in place?” And—this is no joke—you can see freshly applied beauty makeup on one of the actresses’ faces after her character has supposedly gone through underwater hell. There must be some industrial-quality waterproof lipstick they have in that underwater bunker. There’s also a small stuffed animal that gets carried around as a good luck charm that somehow doesn’t get lost or destroyed during all the mayhem. “Underwater” is not a movie made for people who pay attention to these kinds of details.
“Underwater” is certainly not the worst horror film of 2020, and the movie’s ending should be commended for not being a total cliché. However, if you want a horror flick with memorable characters and a solid plot, then you’ll have to look elsewhere.
20th Century Fox released “Underwater” in U.S. cinemas on January 10, 2020.