While it may not have the most original story, William Eubank’s Underwater is nevertheless a pretty fun flick. Featuring a distinct sense of place with incredibly detailed sets, the isolation and alien environment of the Mariana Trench is effectively conveyed, resulting in creepy claustrophobia. Since it celebrates its 5th anniversary on the 10th, let’s take a look back at this underseen gem.
A mining company has set up a drilling platform and research station in the deepest oceanic trench on the planet. The film opens with an earthquake seemingly destroying much of the underwater base. Damaged but resourceful mechanical engineer Norah (Kristen Stewart) barely survives the initial disaster and gathers with the rest of the remaining crew to plot a course of action. Their only chance of getting to the surface seems to involve navigating a long and most likely damaged corridor before exiting the station to walk across the ocean floor to the drilling station. It’s not just crushing pressure and freezing temperatures they have to worry about, though, as something no one’s ever seen before seems to be hunting them. The rest of the small ensemble is made up of Vincent Cassel, T.J. Miller, Jessica Henwick, John Gallagher Jr., and Mamoudou Athie.
Performances are mostly fine. Stewart capably carries the film. I sometimes find her to be too understated, but she’s completely alert here, turning in anxious and desperate work. Miller basically plays himself, and his shtick is given a little too much free rein, but not enough to ruin the tense atmosphere. Brian Duffield and Adam Cozad’s script is more focused on story and world-building than character, but there are enough moments that delineate personality. Still, more effort is made to place the viewer in the situation rather than showcasing how the characters feel. Of course, that’s not necessarily a negative.
The main reason for seeing the film, in my opinion, is the art direction/production design. The sets are lavishly detailed and present a believably techy background for the story. Even the partially destroyed sections are plausible, with their flooded hallways, chunks of broken concrete, and loose wires conjuring immersion and often claustrophobia. The practical mech-inspired deep diving suits look cool but aren’t too futuristic.
This design element brings me to a subtle story point, though. Lots of work is put into creating the setting, but the timeframe is left deliberately ambiguous. Clashing clues are given, but I think the result is that of a nebulous near future that doesn’t overwhelm with its science fiction-y intentions. Bojan Bazelli’s cinematography is elegant, presenting widescreen action, eerie deep-sea imagery, and close-ups meant to place us in our characters’ predicaments with equal versatility and beauty. The film was shot dry for wet, which means the extensive ocean floor sequences were shot on dry sets and the water was added with CGI. Honestly, it looks fantastic and provides for some visuals that probably would be impossible to replicate practically. Indeed, all the CGI is top-notch, including creature work. Marco Beltrami and Brandon Roberts’ electronic score complements the anxious mood and generates authentic foreboding.
William Eubank’s Underwater bombed at the box office, but I don’t really know why. Sure, it’s not the most original flick, but it looks cool as hell and offers some legit thrills. I will say it’s the kind of movie where you don’t want to read too much about it because it does have a nice surprise at the end. All in all, it’s a great Saturday evening popcorn muncher. Recommended for fans of Alien, The Descent, and Gravity.
Michael Cavender