Tension is the name of the game in this low-budget survival thriller from debut writer/director Ben Parker which premièred at last year’s Frightfest. The film opens with news reports that the nation of North Korea is becoming increasingly hostile, and has successfully test-launched ballistic missiles in an act of ‘clear provocation,’ conveniently playing on our newly-instilled suspicion of Kim Jong Un’s lot. Once it was the Russians, now it seems as though the North Koreans are the ones we should be scared of.
With every other country in the world uniting in panic, an American special ops team led by the pragmatic Alice Edwards (Charlotte Salt) enlist the help of a research vessel in the Yellow Sea to help them complete a mysterious ‘mission.’ The research vessel is equipped with a submersible craft called the Aurora (yep, the ‘chamber’) reluctantly piloted by Mats (Johannes Kuhnke) which is dispatched to search for something. The special ops team won’t say what they are looking for, which is helpful, and as you can probably imagine doesn’t make for a good working relationship with the poor civilian roped into doing their dirty work for them.
All this is compounded when the mother ship is boarded by the North Korean navy, leaving them stranded hundreds of meters beneath the surface. And as if that wasn’t bad enough, a serious error of judgement leaves them upside down on the ocean floor letting in water. Don’t ask.
Random dialogue extract:
A: That wasn’t part of the plan.
B: The plan’s coming loose.
A: You’re coming loose.
All the action takes place on board a tiny submarine, so you naturally get that icky sense of, creeping, claustrophobic dread, which is just as well because the military espionage-based plot is wafer-thin, and seriously lacking any of the twists and turns that usually make this kind of film worth watching. Instead, you get an insanely improbable love angle. Because when you’re trapped in a tiny submarine on the ocean floor facing certain death, everyone gets the horn. Don’t they? There are, however, a few shocks toward the end, and eventually justice is seen to be done. Kind of.
Another point of interest is that Manic Street Preacher James Dean Bradfield did the musical score. It’s not exactly Motorcycle Emptiness, more of a dark, sinister plod, but it’s still pretty effective. Bradfield’s appearance isn’t a complete surprise, given that the movie was filmed in Pencoed rather than the Yellow Sea and was produced in association with Ffilm Cymru Wales, making it possibly the first ever underwater thriller made in the Principality. Something tells me it might also be the last.
The original version of this review can be found in the free Morpheus Tales supplement.