The last film distributed by 20th Century Fox before its rebranding as 20th Century Studios under Disney, _Underwater_ spent over two years shelved after being filmed in early 2017 for $50 million. Its belated release highlights a sense that Disney simply wanted to be rid of the property, evidenced by a virtually nonexistent marketing campaign and a forgettable title, resulting in a meager $7 million opening weekend gross. Like other films relegated to the January release window – such as Michael Mann’s 2015 film _Blackhat_ – _Underwater_ is ultimately better than most offerings during that time of year. While it relies on familiar tropes and borrows from numerous superior genre films, it proves to be a quite enjoyable aquatic creature-feature. Set at an unspecified point in the future, the film follows Tian Industries as they attempt deep-sea drilling in the Mariana Trench. A series of tremors damages Kepler Station, the crew’s living quarters, leading Norah Price (Kristen Stewart) and Rodrigo Nagenda (Mamoudou Athie) to seal off the damaged area. They discover escape pods are gone, and surface contact is impossible. Joining them are other survivors: Cpt. Lucian (Vincent Cassel), Paul Abel (T.J. Miller), Liam Smith (John Gallagher, Jr.), and Emily Havisham (Jessica Fenwick). With their situation dire, Lucian proposes a perilous journey to the Roebuck Drilling Station using pressurized suits. They then descend into the dark ocean depths, only to find they are not alone. The screenplay by Brian Duffield and Adam Cozad, directed by William Eubank, walks a fine line between imitation and tribute. Clear influences include Ridley Scott’s _Alien_ (1979) and James Cameron’s _The Abyss_ (1989), alongside films like George P. Cosmatos's _Leviathan_, Paul W.S. Anderson's _Event Horizon_, Barry Levinson's _Sphere_, Danny Boyle's _Sunshine_, and even Neil Marshall's _The Descent_. The narrative follows a standard formula: "a group of isolated people getting picked off one by one." While Eubank isn’t on Boyle’s level, _Underwater_ surpasses expectations given its limited promotion, predictable plot, uninspired title, and unremarkable trailer. Though lacking substantial thematic depth—aside from a fleeting ecological message about humans drilling “too deep”—the film delivers precisely what it promises: an entertaining visual experience. The film moves quickly into action, opening with the Kepler implosion just five minutes in, a stark contrast to Scott’s deliberate pacing in _Alien_. This creates an immediate sense of urgency and volatility that Eubank maintains throughout. Visually, the production design by Naaman Marshall is exceptional, creating a believable and immersive environment. The claustrophobia is heightened by Dorotka Sapinska's costume designs—bulky pressurized suits resembling astronaut gear—and Bojan Bazelli’s cinematography, which frequently employs tight close-ups and shots from within characters' helmets to amplify the feeling of confinement. The sound design by Wayne Lemmer also contributes significantly, with unsettling ambient sounds and impactful low-frequency effects that would be particularly impressive in a surround sound system. Abner Marín’s creature designs are suitably creepy, and the use of industrial tools as makeshift weapons adds another layer of visual interest. However, the film isn't without its flaws. Unnecessary voiceover narration attempts to summarize the story’s moral, feeling out of place like an episode of _The Outer Limits_. Character development is minimal; most characters are thinly drawn and lack depth. Additionally, Eubank seems unsure whether he’s making a disaster movie or a monster film, resulting in a somewhat disjointed tone. Despite failing to reach the heights of films like _Alien_ and _Sunshine_, _Underwater_ deserves better than the treatment it received from Fox and Disney. Despite low expectations due to its release window, predictable plot, and uninspired marketing, the film proves to be an entertaining and well-made creature feature.

Source on TMDB