It basically winds up being close call after close call, and every once in awhile a character will drop off. Along the way, they have to deal with fires, water, and narrow spaces. They begin to make their way up the ship to the bottom of the ship, which is now the top. When the captain of the ship tells everyone to stay in lobby and promises them safety, a small group of passengers rebel and leave the group.
#Poseidon pelicula movie
Poseidon's cool effects and big water scenes make the movie watchable, but nothing more.Ī ship is flipped by a huge rouge wave. Movies like 2012 and The Day After Tomorrow are examples of disaster movies that work despite not having a great human element involved. So visual effects and big action sequences must take over and propel the movie to watchable in order to find entertainment in it. Most of the movies that fill this genre are like Poseidon in that regard and that's where the problem lies in most of them. Poseidon is one of those disaster movies that worries about visual effects over actual human interaction or feeling. The original version made an entire generation terrified of getting on a boat with Ernest Borgnine, this is just laughable.Robert Ramsey: You know, there's nothing fair about who lives and dies. Poseidon may make for a diverting hour and a half but Hollywood needs to learn a valuable lesson about plotting: bigger explosions and insane stunts are nowhere near as impressive if we don't care about the people involved. Ultimately though, it is not enough to save it. One death scene involving a lift shaft, jagged metal spikes and an explosion is an adrenaline pumping crowd pleaser and the aforementioned scramble through the flooding ventilation shaft is really quite tense, the ensemble cast squeezed together in a claustrophobic nightmare as the water bubbles up around them. It does have a few commendable points though. Then there is Richard Dreyfuss (who has finally found a bigger boat), whose character might as well be listed in the credits as "depressed, elderly gay man." Everyone else is just as vacuous and while Josh Lucas is certainly a charismatic focal point, it cannot make up for the two dimensional stereotypes of Kevin Dillon's gambler Lucky Larry or Mike Vogel's performance as Christian, the fiancée of Russell's daughter who manages to put in perhaps the worst attempt at acting you will see in a blockbuster this year. Instead, the only hints at any characterisation are him protesting his daughter's cleavage bearing dress to leave no doubt that theirs is a strained relationship. As an ex firefighter and former Mayor of New York with a failed marriage behind him, they could have crafted the image of a troubled man going through a midlife crisis who finds himself tested beyond his limits.
This could all be very entertaining if it wasn't so empty and if only they'd eased back on the throttle a little bit, we could have had a much more successful film.
Trapped beneath the waves, there is no debate on the best means of survival but instead a bull headed rush to escape as soon as possible and before you know it, barely any time has elapsed before we have our luckless nobodies dangling from lift shafts, diving through burning oil slicks or scrambling up air vents rapidly filling with water. We've hardly got to know anyone on the ship before the wave strikes and sends their world tumbling upside down in a hail of glass and debris. That isn't the 21st Century Studio Approach to blockbusters at all, the trick is explosions! Lots of explosions! And dangerous stunts that happen in very quick succession with no set up whatsoever.
#Poseidon pelicula how to
Given the beloved status of the original, besting it was going to be tricky from the start so how to do it? Bestow the characters with as much depth and humanity as possible, arrange it so that you don't want any of them to die just as the original film did? No. A remake of the classic disaster movie The Poseidon Adventure, this tells much the same story with a small group of passengers trying to escape a doomed ocean liner after it capsizes due to a freak wave. With the sun setting in the distance and the immense size of the vessel itself contrasted with the deep blue of the water, this is a visually astounding entrance to a movie that is unfortunately very shallow indeed. A single take that begins beneath the surface of the ocean that swings up and out of it as the underside of the ship slices through the waves, before pivoting round the colossal cruise liner and zeroing in on Josh Lucas running on the deck. The opening shot of Wolfgang Petersen's Poseidon is beautiful.
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