After a pressure breach to their drilling facility at the bottom of the Mariana Fault, a team of ocean researchers are forced into unthinkable scenarios as they attempt to survive an impossible situation. When Norah Price (Kristen Stewart) realizes that an earthquake at the bottom of the world's deepest oceanic fault is wreaking havoc on their underwater station, she fights for her life and the lives of those working with her. However, when what the crew originally believed to be only a threat by earthquake turns out to be something far more violent and dangerous. The crew, now stranded Underwater, will face the unthinkable.
Stewart’s career got off to a glowing start in spite of the fact that her talent level was zero. In the past year or so, however, her acting ability has shifted and become far more enjoyable than it has been in the past. Her performance in Underwater is proof that she has found herself and has truly begun to understand what it takes to be a successful actor in the dog-eat-dog world of Hollywood. For one of the first times ever, Stewart is able to convey clear emotion both through her physical features and the tone of her voice. She has effectively shifted her talents into something comparable to the Portmans and Anistons of the world, and her ability to portray the lead in this psychological, sci-fi thriller is a testament to what she is capable of.
T.J. Miller (Paul Abel), like Stewart, possesses the necessary talent to convey emotion and find success in a plethora of films and genres. Underwater, from beginning to end, is intense, dark, and mostly void of any levity; that exception, however, is Miller’s Paul. Writers Brian Duffield and Adam Cozad made the decision to include one character whose sole purpose was to ensure that the tone of the film had moments of brightness so that viewers didn’t feel too bogged down from the contents of the story. While the purpose behind this decision is valiant, it’s the intensity that drives Underwater forward and provides viewers with a sense of appreciation for the film. Sadly, Miller’s comedic act isn’t well received overall, and his role in the film feels moot. This attempted juxtaposition of tone nearly drowns the film entirely from time to time as it exhibits something other than enticing contrast, but ignorance toward the film itself.
Typically, viewers want a sci-fi film to be visually and audibly vibrant and energetic. Given the fact that many aspects key to the plot are unfamiliar to viewers, being able to see and hear everything clearly is usually paramount to a film of this genre’s success; director William Eubank, however, takes a different approach. There are moments throughout Underwater that are visually impaired and inaudible. These moments are frustrating and initially turn viewers off to what is occurring. However, these scenes require some additional thought as they accurately represent what those involved would be able to see and hear in these particular moments. Their surroundings are dark, murky, and ultimately terrifying, forcing viewers to become emotional and connect with the setting, characters, and overall tone of Underwater.
Through Eubank’s unique methods he is able to create a bond between what happens in Underwater and viewers. The beginning of the film kicks off with immediate intensity and never relents, having the audience feel tense and somewhat helpless throughout the course of Underwater. With Stewart finally finding her way in terms of acting, her contribution to the film is nothing short of spectacular. As she drags (because nothing about Underwater is calm) viewers through the dark depths of the Mariana Trench, the film grows more intense and more violent. The film is full of ironically enchanting visuals that make viewers feel like they are part of the journey to the unknown, and that is the key to Underwater’s success.
Directed by William Eubank.
Written by Brian Duffield & Adam Cozad.
Starring Kristen Stewart, Vincent Cassel, Mamoudou Athie, T.J. Miller, John Gallagher Jr., Jessica Henwick, etc.
⭐⭐⭐⭐⭐⭐⭐/10
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