Review: Submergence

PLOT: A chance encounter between a British spy (James McAvoy) and scientist (Alicia Vikander) soon develops into a star-crossed love affair, but soon the lovers are torn apart by circumstances beyond their control.
REVIEW: Itâs been awhile since Wim Wenders has made a truly exceptional fiction film (although his documentaries are as good as ever), but even if recent entries into his filmography are lacking, Iâll always give the director of THE AMERICAN FRIEND, PARIS, TEXAS and WINGS OF DESIRE a shot. SUBMERGENCE seemed like a good bet, with Wenders ditching the oddball obsession with 3D to make a love story tinged with international intrigue, but the result is a turgid melodrama that will test the patience of even his most devoted fans.
Despite the marquee box office names, SUBMERGENCE seems doomed to be a mere footnote in his storied career, but maybe thatâs for the best. Certainly, non-devotees of his work will be left scratching their heads, wondering what could have drawn James McAvoy and Alicia Vikander to such an unremarkable project. Thereâs nothing much going on here, with Wenders struggling to build a compelling narrative, which centers on the fact that the two movie star lovers are separated. Heâs been taken prisoner by jihadists, while sheâs sure heâs forgotten her, and is getting ready to take a perilous assignment in a tiny submersible, the odds of her coming back from which arenât all that great. Cue lots of poetic, ponderous dialogue drowning in pretentiousness. At least it looks nice though.
The biggest problem is youâre simply never invested in the relationship. The chemistry between McAvoy and Vikander lacks heat. Both are too cold. You never really believe this is more than a fling for either. Ditto Vikanderâs scientific work, which should have at least provided for some amazing visuals as sheâs in the tiny sub, but thereâs nothing all that memorable about this section of the film. McAvoyâs plight is marginally more compelling, thanks mostly to Alexander Siddigâs performance as a semi-sympathetic physician who befriends McAvoy, while simultaneously making it clear heâs a committed jihadist. The ambiguity is interesting, and their bits together could have made for an interesting film, but Wenders favors the romance.

It really has to be said that SUBMERGENCE is strictly for art-house audiences, specifically fans of Wenders, but even theyâll likely be bored by whatâs easily a lesser-effort. Those reading this that might be drawn in by the stars likely wonât make it too long into the movie before giving up. Watching it, I couldnât help but think about what Mel Gibson said after viewing the finished version of his own Wim Wendersâ film, MILLION DOLLAR HOTEL â âI thought it was as boring as a dog's ass.â It wasnât â but this one kind of is. Even still, Wendersâs place in film history is assured, and long after movies like this one are forgotten something like PARIS, TEXAS will endure.


Source: | JoBlo.com |
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