A Review by Phil Calabro
2006, Warner Brothers/Virtual Studios, Dir. Wolfgang Petersen - Starring Josh Lucas, Kurt Russell, Jacinda Barrett, Richard Dreyfuss, Jimmy Bennett, Emmy Rossum, Mike Vogel, Mia Maestro, Andre Braugher, Kevin Dillon, Freddy Rodriguez, Kirk Woller, Kelly McNair
'Poseidon', a remake of Irwin Allen's production 'Poseidon Adventure' from 72, would surprisingly disappoint Allen. Irwin, who is aptly known as 'Master of Disaster' after the success of the aforementioned 'Adventure' and 'Towering Inferno', always emanated two elements in his films: complications and conveniences. For 'Poseidon', its complication is monumental: a supposed rogue wave submerges a cruise ship on New Year's Eve. Thousands of passengers must save themselves, we follow seven brave people. These characters are supposed to inhabit conveniences, or skills/tricks that coincidentally can push them one step closer to success. Irwin Allen, whose focus on characters' backgrounds was particularly strong, would be disappointed to see 'Das Boot' veteran Wolfgang Petersen ditch all character development for a breezy plot and colossal special effects. On second thought, it wouldn't mind the latter of those changes. 'Poseidon' is by no doubt very entertaining, but severely lacks role depth. It's a question of whether the ship is half empty or half full.
The dawn of the new year is upon the crew and passengers of the great ship Poseidon, who seems to be rivaling the Titantic in space and capacity. A ship of great magnitude also carries a multivarious set of patrons, such as Robert Ramsey (Russell), former mayor of New York City. Along board with his daughter Jennifer (Rossum) and her boyfriend Christian (Vogel), there's plenty of tension between the two generations - further incited by the secret engagement between the two young lovers. Meanwhile, independent gambler and bachelor Dylan Johns (Lucas) finds a glimmer of possibility in the young single mother Maggie (Barrett), who carries along her son Conor (Bennett). Also on board is gay businessman Richard Nelson (Dreyfuss), whose contemplation of suicide becomes stronger after his partner abruptly leaves him. And finally, the lovely immigrant Elena (Maestro) is travelling to New York to help her sickly brother. But when a rogue tidal wave comes and capsizes the cruise liner, these passengers band together in order to find a safe way out of the ship.
I spent that entire paragraph describing the characters, yet they become the least circumstantial part of the film. Although the performances on average set a decent standard, the cast becomes a set of silly caricatures floundering around three levels of metal and water. Kurt Russell is a little less than inspiring as ex-mayor Robert Ramsey, focusing more on his personal fatherly side rather a ringleader for safety. I've got nothing against Josh Lucas and his role in 'Poseidon', but sometimes his personality becomes static - no development in himself throughout the disaster, no chemistry between him and Jacinda Barrett's character. Barrett herself is minimalized as a damsel in distress, primarily because she is a single mother with a kid. Richard Dreyfuss, who apparently returns from sabbatical only to drown himself, plays his sad little Richard Nelson with a subtle spark of integrity. The beautiful Emmy Rossum, who is glitters the screen with her presence is sadly matched with the inept skills of Mike Vogel, whose career should have sunk with the ship.
After a personal quest, I checked the definition of a 'rogue wave', and apparently it is truth. Scientifically rare yet spontaneous, one freak wave can indeed capsize a cruise ship. So arguments about its impossibility are null and void for petty criticism. However, the sciences of the film are hardly the target for critics, but moreover the character's conveniences. I'm a strong advocate for the phrase, "logic does not have to always exist in the movies," but logic can prevail overall. The characters comes across as weak prototypes in this sick game. There's not enough steam in their emotion for the audience to care whether one dies or not, so what's the motivation of seeing them succeed at all? I suppose director Petersen would rather take advice from Roland Emmerich, who has established imagery over interest. The special effects are the truest stars of 'Poseidon', as its sheer momentousness stirs the most screams, screeches, and cries of help. We sit and watch as nature courses its painful way through the innocent passengers. There is nothing more endearing than trying to figure out the labyrinthine scale of the ship - a sense of claustrophobia engulfs the audiences through means of flash fires and live wires.
No doubt, 'Poseidon' is fun in its own accord, but never measures up in the character's emotional facets. Had there been more development and change within their ways as the show progressed, perhaps we could have felt the sentience of the waves a little more. Look on the bright side: now there's no way they could remake 'Beyond the Poseidon Adventure'. Unless...
