Poseidon

A Poseidon film akár 130 percig is tarthatna. Akkor az első 40 percben szokásos módon karakterekkel foglalkozna. De forgatókönyve lazább utat választ, tíz perc után felborítja a hajót, mindegyik főszereplő alig egyperces bemutatkozást kap. Többet, de még mindig keveset tudunk meg róluk folyamatosan a hátralévő 80 percben, a hajó "aljáról" a "fedélzetére" menekülés során - és máris a Háborgó mélység filmben találjuk magunkat, csak cápák nélkül. A karakterek nem sokat érnek, csak úgy vannak, a halálukat kísérő rövid érzelmi görcsök mesterkéltek. A sztori gyakorlatilag nem létezik. De a néhány igazán gusztustalanul nyomasztó, klausztrofób jelenet miatt nagyvásznú 3* adok. Üres és helyenként ostoba film, de egy pillanatra sem untat, és technikailag egy tökéletesen kivitelezett roller-coaster ride of thrills. Bár nem olyan menő és kiszámíthatatlan mint a Háborgó mélység című film. (2006.05.05)

Solid entertainment. And everything goes so quickly that you don’t have the chance to get bored. Excellent special effects and the opening credits scene works really well, paradoxically the credits bothered me. Although for Kurt Russell this was no big comeback, but he did more than decently and surprisingly Josh Lucas didn’t bother me. It’s too bad that Peterson forgot to put more emphasis on emotions, if he had tried harder I would have given it 4. This way, also thanks to Badelt’s superb music, I give it a high 3. (2007.01.21)

Poseidon might seem like a sure bet at first sight. The director’s name has a good ring to it, it has a solid cast and a huge budget. It could have been an outstanding popcorn remake of an undying classic. Could have been, but it isn’t. Because it’s full of ridiculous contradictions. Although paradoxically that is where it’s strength lies. Let’s start with Wolfgang Petersen. He had two near misses after Outbreak, although his movies are still a guarantee of a certain run-of-the-mill quality. On the other hand, he is usually reliable on the open sea, as he proved with Das Boot and The Perfect Storm. In Poseidon he tried to change the established pattern for disaster movies. No long shots presenting individual characters. Just a wave and on we go. And that is where it went wrong. Imagine the purest B-movie possible. One cliché after another, rapid fire. The dialogs are perfect in their own perverse way. Nothing but statements such as “We’ll make it!"/"We’re all going to die!" we tons of pathos. And these lines always come from the lips of a heroic father, btw a former fire-fighter. Or from a flashy, sycophantic, selfish beau. Or from a cute young guy or a mentoring gay old man. Simply one screenplay gem after another. It is truly entertaining and also has some impressive technical tricks up its sleeve. For instance, the scene where the ship turns turtle is very well made. Unfortunately, overall Poseidon is an unintentionally entertaining B-movie that simply flies by. So what that it entertains in a completely different way than was intended. (2007.11.27)

Wolfgang Petersen manages to entertain the audience for an hour and a half, nothing more, nothing less, that’s the best way to describe this gigantic blockbuster. For such a short running time, the budget is enormous, although the special effects specialists truly went all out, and formally the film is practically flawless – the opening panorama of the huge ship without a single cut is magnificent. Klaus Badelt also composed his typical, again excellent adventurous music for it. The characters lack all drive and charisma, and even the initial few minutes when they are introduced are not quite right, making it difficult for the viewer to find any sympathy towards them. There are of course the unavoidable awkward clichés and pathetic scenes (some of them really deserve a slap in the face), but overall it can be endured. Something made for a proper sound system. (2006.12.15)

If the filmmakers had paid as much attention to the script as they did to the excellent technical aspects, it would have been a genre banger, but the film suffers from a short runtime. To enjoy this eternal crawling, climbing, cutting through corridors and obstacles, you need to have built some deeper emotional relationship with the characters, which the viewer is not afforded thanks to the overly hurried exposition. As a result, it's a consumerist quickie of the hamburger type, served up with a sumptuous garnish in the form of an amazing production design, and with some unintentionally ridiculous Monty Python-like dialogue. And sorry, Wolfie, Josh Lucas doesn’t have the chops to be an A-list star. (2006.07.31)