Directed By Donovan Marsh
Starring – Gerard Butler, Gary Oldman, Common
The Plot – Deep under the Arctic Ocean, American submarine Captain Joe Glass (Butler) is on the hunt for a U.S. sub in distress when he discovers a secret Russian coup is in the offing, threatening to dismantle the world order. Captain Glass must now assemble an elite group of Navy SEALs to rescue the kidnapped Russian president and sneak through enemy waters to stop WWIII.
Rated R for violence and some adult language
– A great sense of life aboard a fighter submarine. If Marsh does just one thing competently enough as a director, it’s in the articulate channeling of claustrophobia and fear behind these walls that encase this increasing pressure. What I love is that the shots in frame feel very tight, and the editing is brunt enough to keep the tension amplified for the on-going developments in this high stakes game of mental chess.
– Speaking of thrills, for a film that borders the two hour mark unnecessarily, this one surprisingly kept me engaged on all cylinders of the combat cycle. This story unfolds from three different perspectives: the war room, the battlefield, and the sea, and while some of the pacing issues between the three sides stilts the progression, I never felt bored or bloated with the details coming at me. Most can be attributed to having triple the chances at engaging the audience, but for me it was very much the intensity of the unfolding drama that brings with it a constant reminder of what’s at stake.
– Much respect to this film for not indulging in getting too silly, and catering instead to early 90’s political thrillers that brought us hits like “Crimson Tide” and “The Hunt For Red October”. While this film doesn’t quite measure up to those in terms of the things it accomplishes, it does keep a persistent eye on the prize of never giving in to the temptation to be one of those so bad it’s good properties. Are there silly things in the film? Yes, I will get to them later, but Marsh is a director who is giving his all to make this something extra, and I think that’s a lot of the reason I couldn’t be too mad once the credits came up.
– Art imitating life. The America Vs Russia rivalry isn’t going anywhere soon, especially with our current day landscape unraveling what could be the biggest chapter between them, and the film is wise enough to capitalize on this awkward relationship on more than a few occasions. In painting Russia the enemy, the philosophy of the film is painted to ask the audience if every single Russian is indeed guilty by association tagging, or is the political hyperbole painting a picture that isn’t completely honest? The answer seems to lie somewhere in the middle, as “Hunter Killer” provides plenty of surprises on this front, all the while playing into the paranoia that has divided the two sides into testy counterparts.
– Majestic interiors and set designs for the ships and accompanying government offices. For the former, the lighting in particular repeatedly caught my eye, giving a reflective vibe of the chilly and unforgiving waters that surround our characters, and for the latter, its communication in the form of endless computer screens and in-the-sky droids that serve as a reminder of the big budget investment that goes with this visual Tom Clancy homage of sorts. These perks do more than enough to set the stage and market with them the believability in you to invest yourself into this story where buying Butler as a naval captain might falter.
– What were they thinking? I want to get the small things out of the way first, because while they are minimally important to the integrity of the film, their nagging presence stuck with me throughout. First, the decision to cast Alexander Diachenko as the Russian president in the film is one that, while working wonders for his nationality, does zero in terms of believability for a non-existent accent that has him coming across as another American politician. This pales in comparison to the name Joe Glass for Butler’s character. Aside from the fact that this name is as dumb and action cliche as it gets, it’s a glaring problem for 8-bit Nintendo fans like me, who loved the game “Mike Tyson’s Punch-Out”, and recall the 1-99 boxer known as Glass Joe. Any one of the twenty-something executive producers on the film could’ve balked at this decision, and easily named him Joe Smith, but a Gerard Butler protagonist has to sound every bit as cool as he looks, and man did they ever fail in this respect.
– No performances to write home about. Butler is his usual bland, Common never elevates in volume when the panic comes, and Oldman, fresh off of his win as Best Leading actor at this year’s Oscars, is relegated to ten minutes of screen time in the entire film. Gary is easily the best part of this ensemble, and that’s when the problem presents itself. Is it a script choice or an actor choice to limit the biggest name to this?
– Terrible On-screen visual effects. This is probably the only thing that I truly hated about the film. The rendering of these artificial properties are every bit as hollow as they are unnervingly unconvincing, and for a film that hits theaters, I can’t understand how this is the finished product. Some examples include a duo of deer so poorly rendered that they make the surrounding property feel fake, the endless amount of explosions that don’t synthetically capture the coloring of an underwater influence, and my favorite: obvious reshoot backdrops that come across as too dark to match the studio lighting of the actors caught in the middle of it. This element alone gives the film a straight-to-DVD look that it sadly never overcomes, and it’s the main reason why I welcome a majority of scenes being under water.
– Attention deficit disorder with storytelling. I never had a problem with the triple-tier element of storytelling that the film encompasses, but rather the telegraphed and conventional method in which it’s presented. In presenting these respective angles one at a time only, it violently hinders momentum of each one, feeling the necessity to start over when the pendulum swings back to its direction. I wish the three of them could’ve connected more frequently, especially during a second act that repeats far too much of the same motions in unfolding drama from three different perspectives.
– Great suspension of disbelief with some intimate details. I can’t dive too deep without reaching spoiler territory, but the ability to stop missiles, the remarkably easy way to break into the equivalent of the Russian White House, and the convenient method of Russian intelligence not using sonar to detect incoming ships, are definitely my favorite instances of shutting my brain off. Considering the book this is based on is written by a U.S Naval captain, I can’t imagine he’s the reason to blame for certain logics of this film that simply don’t float.
My Grade: 5/10 or C-