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Non-Review Review: Pressure

This film was seen as part of the Jameson Dublin International Film Festival 2015.

Trapping a bunch of people in a claustrophobic location under time pressure is really the key to instant drama.

It is a well-proven strategy that has been used so often because it works. It is a great vehicle for high-stakes tension, but also for tough interpersonal drama. If you pack people close enough together under just the right amount of strain, it is a great way to reveal and inform character. It leads to conflict, which is generally quite entertaining to watch. If you can harness that tension and that conflict, it is fairly easy to get the audience to go along with the rest of the film.

pressure1

Pressure is a quintessential “bunch of people trapped in a tight space waiting to die” film. Four divers venture down to repair an oil pipeline, only for disaster to strike. The four characters find themselves trapped alone at the bottom of the ocean, with no real chance of survival. Tough decisions have to be made, and characters are thrown into conflict with one another as the air runs low and the power runs out. There are moments when Pressure really works as a claustrophobic thriller.

Unfortunately, there are just as many moments when Pressure doesn’t work. The film seems intent on pulling the audience out of the harrowing situation – whether through quick flashbacks or nightmare sequences that undercut the claustrophobic tension of the rest of the film. Despite the best efforts of the cast, the characters feel stilted and stock – spouting cliché dialogue and coming in the form of broad archetypes. The scripting is similarly haphazard, particularly in the somewhat contrived third act.

pressure

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Space: Above and Beyond – The Enemy (Review)

This November (and a little of December), we’re taking a trip back in time to review the third season of The X-Files and the first (and only) season of Space: Above and Beyond.

On paper, The Enemy seems like a good idea.

Space: Above and Beyond has a reasonably large cast. It has devoted character-centric episodes to the three leads, and done a nice bit of world-building around that. To this point, the shows have typically split the characters up, pushed some to the fore and others to the background.  The show is now about a third of the way through the first season, so it makes a great deal of sense to do a show that actually stresses the ensemble dynamic.

Nothing to fear, but fear itself...

Nothing to fear, but fear itself…

A story like The Enemy makes a great deal of sense. When you have an ensemble, you can generate drama from next to nothing. Lock five people in a room together, you’re sure to generate some friction. Character practically defines itself as they play off one another. If you can crank up the tension, it will all come together. So a war story where our heroes find themselves trapped together and cracking under the pressure seems like a solid basis for a good story.

The problem is that The Enemy is just a clumsy mess of a script, and one that stumbles over what should be a fairly robust set-up.

"I'm still not sure that producing the episode could be considered a war crime..."

“I appreciate that it was traumatic, but I’m still not sure that producing the episode could be considered a war crime…”

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Does Machete Matter?

I imagine that Robert Rodriguez was bracing himself for controversy over his new film Machete. Given the uproar that the use of foul language in Kick-Ass caused, I think it’s safe to say that Rodriguez’s retro “mexploitation” film was just asking for trouble when it came out. I anticipated a lot of politically correct discussions about the film’s premise, and potentially some discussions of negative stereotypes it might evoke. However, I certainly could not have suspected that it would provoke some sort of “race war”.

Knife to see you...

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