“I Sailed Halfway Around The World To Find You…”
With Icelandic filmmaker, Baltasar Kormákur, having a recent cinematic back catalogue which can arguably be regarded as somewhat patchy, the 2 Guns and Everest director returns this week with Adrift, a romantic survival drama based on the true story of reckless adventurers, Tami Oldham and Richard Sharp, as they venture into the Pacific Ocean in order to sail a luxury sail boat from Tahiti to San Diego and end up coming face to face with a destructive and dangerous hurricane. Based on Tami Oldham’s own memoir “Red Sky in Mourning”, co-written with Susea McGearhart and published in 1998, Kormákur’s latest follows a familiar “lost-at-sea” narrative as it attempts to juggle the central relationship between Oldham and Sharp, played on-screen by Shailene Woodley (Snowden) and Sam Claflin (My Cousin Rachel) respectively, with a hard-edged tale of survival, and whilst the performances of the central duo are pleasantly believable and committed, particularly Woodley who gives her best on-screen performance since Snowden, Adrift is annoyingly a middling, overly mediocre affair which features zero sense of peril and an overriding sense that we have been here many, many times before.
With a time-jumping narrative which continually switches between the past and the present, the historical scenes sees the core relationship between Sharp and Oldham begin to blossom in the most cringey, overly saccharin way possible, with even Oldham’s character in one scene apologising for being too “cheesy”, but even with a screenplay which feels very much the typeface template for approaching on-screen Hollywood depictions of love, it’s to the leading duo’s credit that you still successfully believe in the pair as a genuine couple hunger for exploration and excitement on the rough seas. Cue the scenes of the present and it is here where Adrift ultimately and strangely becomes ever-so cliched, with the movie somewhat sitting between the all-out physicality of All is Lost and the ripe sentimentality of Titanic, but all-the-while feeling incredibly boring and wholly un-engaging even when Woodley gives it her all, peanut butter covered fingers and all. With a concluding twist which not only feels convoluted, cheap and utterly ridiculous, such a black hole of jarring inconsistency raises questions about whether the majority of the film was ultimately needed, but with a resounding sense that both Claflin and Woodley somewhat save the day, Adrift sort of gets past the finish line, albeit struggling and hanging on for dear life.
Overall Score: 5/10
“Terrorism Is Just An Excuse…”
A dramatic tale of one of the most controversial figures in recent history you say? Who shall we bring on as director for that then? Oliver Stone of course, the man renowned for shall we say, colourful political views but more importantly probably the right man for the job when admiring his previous work such as the renowned Vietnam trilogy which included Platoon and Born on the Forth of July, both of which supplied Stone with Oscar wins, as well as his work on astute US political dramas such as JFK and Nixon. Although the Oscar winning documentary Citizenfour provided an in-depth examination of Edward Snowden and his role as the notorious whistle-blower, Stone’s dramatisation of similar events features Joseph Gordon-Levitt in the titular role, alongside a strange rafter of familiar faces such as Timothy Olyphant, Tom Wilkinson and Nicholas Cage who come and go in less-than supporting roles. If the man at the centre of the movie wasn’t so darn interesting, Snowden could have been in danger of being a sour, cold drama, yet with a top performance from Gordon-Levitt, Snowden is a interesting, if rather overlong, political drama.
Where the film is in its’ most interesting is scenes in which we delve into the technological aspect of Snowden’s past, whether it be hidden away in some James Bond-esque spy cave in Hawaii or hiding under a false name in the metropolitan sprawl of Geneva, yet Stone is also interested in the personal side of Snowden, giving us an in-depth examination of his relationship with partner Lindsay Mills (Divergent series’ Shailene Woodley) and the strain put on such by his classified occupation. Unfortunately for Stone, this aspect of the film is undoubtedly the weakest and therefore becomes an issue when at least two-thirds of the drama is focused upon such instead of the more interesting, political issues that Stone is renowned for taking more of an interest in. Throughout the course of the drama, the movie does seep into frank ridiculousness, particularly when Snowden is greeted to the pantomime silliness of the enlarged face of an angry Rhys Ifans, a scene in which it was hard to not laugh at the sheer OTT nature of Stone’s decision to enforce a higher level of dramatisation than the already interesting storyline needed. Snowden is overlong, silly and boring at times but with the one-two of Gordon-Levitt and Woodley attempting to do the most with what they can, the film does work on some level, just not the level the pedigree of Stone should be settling for.