How We Rated This Film TC Candler - B Richard Propes - C Jacob Hall -

Richard Propes' Comment

Where's Shelley?

There's a point early in Wolfgang Peterson's payday film, "Poseidon," where we're watching Richard Dreyfuss as a gay suicidal businessman, Richard Nelson. We're watching him in peril, because this is a disaster flick and that's what a disaster flick does...it puts people in peril. Then, suddenly, right at the moment of potential demise I found myself uttering these words aloud...

"Goodbye, girl."

It was one of those impulsive responses to a film that had already become ridiculous, and not in the 1972 "The Poseidon Adventure" glorified campy sense. No, this film was ridiculous primarily because at the the mere 1/4 mark of the film I was already distracted enough to be making insensitive jokes. That's just not a good sign.

Wolfgang Peterson's "Poseidon" is NOT really a bad film. It is definitely NOT, however, a good film. It is merely a functional, going through the motions, "hey, I got paid a lot to make this" film during which Peterson seems to do everything in a half-hearted way that would indicate even Peterson knows that this film will have its fans, critics will find it mediocre and the others just don't matter.

"Poseidon" is made for fans of disaster flicks and fans of those films that give us macho heroics that are fun to watch but seldom happen in real life. If one can suspend intellect, and I mean completely, then "Poseidon" is likely even a modestly enjoyable film with decent CGI and special effects and enough hardcore perilous scenes to keep fans watching.

Character development is non-existent in "Poseidon." Remember my snide comment about the gay suicidal businessman? That served as his character development, a particular shame considering Dreyfuss is capable of so much more.

The stereotypes continue, though the sad absence of a Shelley Winters' type is disappointing. We have Josh Lucas as a self-centered professional gambler, ex-firefighter and New York City Mayor Kurt Russell, Emmy Rossum as his daughter, Mike Vogel as her fiancé, Jacinda Barrett as a single mother with her son (Jimmy Bennett), and a stowaway played by Mia Maestro.

There you have it...character development.

Oh, wait. There's Andre Braugher as the ship captain, proving yet again that even contemporary cinema seems bent on making the African-American responsible for the demise of others. "It's Hard Out Here For A Captain," maybe?

Peterson, in his third ship-based film, is undoubtedly a master of creating suspense and peril in such a setting. The "rogue wave" that tilts, then capsizes the ship is awesomely produced and beautifully shot. The scenes inside the ship are far more intense than anything in "The Poseidon Adventure," with perfectly placed and paced falling cabinets, chandeliers, elevators and, well, just about everything one would imagine.

Peterson is also not afraid to focus on the carnage within, as we see body after body floating, quite convincingly. In short, we see a much more realistic portrayal of how it might actually be for such people in peril fighting to survive against insurmountable odds.

Wow, that last line sounded campy. It must have been a "Poseidon Adventure" flashback.

If Peterson had bothered to add a script to this film, "Poseidon" could have blown the original film away. The script, credited to Mark Protosevich, is proof that you can actually obtain a script credit in Hollywood by screaming, barking out orders and being afraid.

Was there any dialogue in this film?

No, really. I'm serious.

Granted, there were a few moments of humanity. Scenes between the despondent Dreyfuss and the equally desperate stowaway have touches of tenderness that exist primarily because Dreyfuss is a good enough actor to find the meat in a Vegan sandwich.

While none of the performances is particularly weak (possible exception being Jimmy Bennett, who sure can't scream like Dakota Fanning), they are nothing beyond functional. The lone exception would be Josh Lucas, who is surprisingly strong in a role that requires he shift ever so slightly from self-centered egotist to someone who does, in fact, risk his life repeatedly for others.

I found myself, at one point, leaning toward a two and a half to three star review. "Poseidon," on a certain level, is quite seductive in the way it draws you into the action despite all its inherent flaws. This credit, undoubtedly goes to Peterson. Peterson cannot hide his masterful directing, even in the most modest of cinematic vehicles.

However, "Poseidon" is inherently flawed and disappointing. While it is unfair to rate a film based upon the director's reputation, it is nearly impossible to not be disappointed by this, a Wolfgang Peterson film, and the knowledge that Peterson is capable of so much more in this very type of setting. It's not as if he suddenly decided to make a romantic comedy and failed...this is a suspenseful, action thriller based on a ship. Who does this kind of film better?

The answer. No one.

The final result is a film that is merely kept afloat by the wonders of CGI and the inherent directorial gifts of Wolfgang Peterson. It's as if Peterson showed up to race in the "America's Cup," but decided to bring his pontoon boat instead. The pontoon boat may actually finish a race, but it sure won't win and it won't be much fun to watch once you get over the novelty of it all.

Gee Whiz. I never thought I'd say this, but I sure do miss Shelley Winters.

Jacob Hall's Comment

n/a