Marea negra

Infierno catastrófico guionísticamente sencillo, hecho con una brillante artesanía, un poco de cliché, pero con un final emocionalmente digno e impresionante. Para mí, la primera película catastrófica tan intensa que no quiero repetirla, solo por el placer del trabajo cinematográfico de calidad. Wahlberg como el «héroe popular de los suburbios» tradicionalmente funcional, Kurt Russell como el jefe responsable del grupo de trabajadores es el mejor de la película. Y John Malkovich probablemente fue convencido por el importe de sus honorarios. En su papel de alto ejecutivo, vería mejor a otros adeptos, incluso menos famosos. (30.09.2016)

A catastrophic inferno that looks great. Peter Berg combined sweet sweeping camerawork and breathtaking explosions with a dignified memorial to the worker or his superiors who got killed or maimed for money, money, money. Criticism of contemporary corporate thinking isn’t really the crux of this movie, but, as we find out in the end, Malkovich is just the type of slippery bastard who is guilty on all counts, but who get away Scott-free. Carnahan’s targeted screenplay that concentrates on facts, Berg gives us the occasional visual gem: for instance, the shot of the American flag with the burning oil rig in the background, or the shot of Kate Hudson’s butt in panties (just hugging daddy Kurt), but the finale is a homage to all experts. Engineers, maintenance men, foremen, bosses who got their job on the basis of their experience and not from sitting on their asses. A very good job. I’m content. (06.10.2016)

Another reason to cut down on driving your car. And I have to admit that I am really glad that this movie was made. Without embellishment, it shows absolutely precisely what interests BP had on the oil rig and how the company was willing to literally walk over dead bodies to achieve its interests. The film as such then quite intensely and relatively exactly depicts the disaster as if it had been filmed by Greengrass himself. Not only was the film expensive, but you can really see it was. And that’s despite the fact that sometimes it feels like the camera was attached to a merry-go-round or a rollercoaster. But that actually serves a point as well. It amplified the atmosphere in order to make the viewer think as if they were really on the rig with the rest of the actors. And there’s no doubt the authors managed to achieve that effect. I was as confused as a forest bee and the only thing that could put me to a similar level of confusion that Mark Wahlberg experienced on the screen was the series of explosions, which I could survive through a certain coincidence. The only reason I didn’t give the movie a five-star review was that there is not a single character the viewer could really identify with or root for and that’s despite the fact that Mark Wahlberg, Kurt Russell and John Malkovich all put in absolutely excellent performances. Mark actually puts in a standard patriotic performance, whereas Kurt and John are trying to compete for the worst American accent and the best acting performance. And they both succeed. At the end, you get a smaller load of traditional American patriotism, which on the one hand is terribly obvious, but on the other hand, I actually don’t hold it against them. The afterword is pointless, but it’s necessary for American viewers. Other than that, it was great… or rather terribly sad. The more money we have, the more liberties we are ready to take with our mother Earth. The question is how much longer this can go on… (30.09.2016)

The working class has never been as poignant and likeable as performed by Mark Wahlberg and Kurt Russell, and I'm almost sorry that the final photos of the bloated Texas rednecks break this illusion. Marxist jokes aside - Berg gives the performance of his life, when especially the first half of his smooth flow of dialogues, editing and manual filming goes by incredibly quickly. The ensuing fiery inferno is marked by disorientation in the frantic cadence of cuts and details (this could never happen to Paul Greengrass), but it is still a warm enough spectacle to enjoy the final collapse of an ordinary person (after Captain Philips, apparently a new mandatory character of civil disasters). DH is an ode to the common sense of ordinary people and a captivating spectacle, where Mark tames dinosaurs from the depths and Kurt fat eruptions from British Petrol. In my opinion, good, pure entertainment with clear limits. (30.09.2016)

A conflicting mix of two completely incompatible approaches, coldly procedural movie with a Greengrass patina and biased "trade unionist" black and white in terms of characters. There are only two types of characters: hard-working good guys/heads of families, the only dirt on their character is grease (but it must be acknowledged that the Wahlberg / Russell duo manages this mode with honor) and viciously villainous white-collar management, which knows nothing and doesn't understand anything, casting menacing glances, counting every penny and making money from working rabble. Thanks to this polarization, it finds easy, unrealistic "who is to blame" solutions, which shamefully dulls the procedural line, which is otherwise presented excellently and credibly in itself, and is the film's strongest point. The final disaster (not catastrophic) third is appropriately impressive and properly explosive, but so frantically edited, when one shot follows the other even before the first ended, that this lack of clarity (probably intentional) almost make the viewer dull. On the whole, rather disappointing, from such a major event as the disaster at Deepwater. It would definitely have been possible to make more out of it than just a just a decent movie covering at the same time two different genres. (04.01.2017)