by Frank Calvillo
There aren’t many film lovers who can find much to say about Peter Berg’s track record as a director. From the still-cringeworthy The Rundown to the infamously ill-conceived Battleship, Berg’s output behind the camera thus far has begun to ensure his place in Hollywood as the poor man’s Michael Bay. Though he has the noblest of intents with every project he takes on, it seems he can’t help but indulge in the usual bag of action movie tricks acted out through lifeless characters. Berg’s biggest problem is that he is unable to find the heart or the humanity in the films he directs, making for a polished, yet ultimately hollow experience virtually every time he delivers a film. It was therefore more than a welcome surprise to experience Deepwater Horizon, Berg’s latest film, which totally goes against any of the aforementioned characteristics and shows that the director can deliver a movie which is tight, taut, and possesses just the right mix of spectacle and emotion.
With Deepwater Horizon, Berg attempts to retell the 2010 events aboard the titular oil rig which led to the rig’s explosion, the loss of numerous lives, and what would eventually become the largest oil spill in U.S. history. Seeing the events largely play out through the eyes of a number of characters, including Deepwater higher-ups Mike Williams (Mark Wahlberg), Jimmy Harrell (Kurt Russell), and Andrea Fleytas (Gina Rodriguez) as well as BP Oil bigwig Vidrine (John Malkovich) and Mike’s wife Felicia (Kate Hudson), the film takes its audience through one of the greatest disasters to ever take place.
Deepwater Horizon should be recorded as Berg’s finest effort for the sheer fact that it remains in his wheelhouse while also allowing him to show another side as a filmmaker to those who have thus far written him off. The primary goal of a film like Deepwater Horizon is to be as incredibly experiential as possible. It needs to make an audience member feel as if they are a part of what is happening on the screen in ways that go beyond 3D and IMAX. Berg has indeed managed to make an incredibly experiential film here and takes us on a journey through every nook and cranny of the world in the film while also presenting the full-blown impact of the action itself in ways which feel stark and real. At the same time, Deepwater Horizon boasts a number of glorious and thrilling action sequences which are such a wonder to watch play out as the film progresses. At times, certain set pieces have the flair and excitement of The Towering Inferno mixed with a bit of The Poseidon Adventure in their almost symphonic-like execution, resulting in a film which combines the truthfulness of both a documentary and a crowd-pleasing Hollywood actioner.
To the movie’s credit, Berg and company do right in Deepwater Horizon by never trivializing the human aspects of the events. Instead of showing a collection of moments which are designed to pull at the heartstrings, the filmmakers gain the audience’s emotional investment by taking them into the world of an offshore oil rig and exploring the many intricate parts that go into making one function. Beyond that, the film provides an honest look into the life and the camaraderie that comes from working in such a world. Gone from home for weeks at a time, those working and existing in such a world are each other’s family and there are solid bonds created. Deepwater Horizon doesn’t necessarily try to paint the individuals in the film as brave soldiers who went off to battle, but rather as ordinary people who love and respect one another deeply.
Performance-wise, Deepwater Horizon is one of the most interesting films of the year namely because Berg has populated the film with so many different kinds of actors. Wahlberg does solid work playing a man who is content with the life and the choices he’s made with regards to career and family, so much so that when he’s called into action, he does anything and everything for both his family back home AND on the rig. Russell enjoys one of his more dynamic turns on screen in some time. There’s something that happens to the actor when he really believes in his character’s own ideology. He truly becomes him in a way few other actors can, and his work here is a testament to that. Rodriguez gets a break from her comedic persona for a highly impressive turn as the only high ranking female on the rig. The way she plays Andrea as relentlessly strong and endearingly human flat out stops the movie in its tracks. On the opposite end of the female spectrum, Hudson gives one of her most effective performances in quite some time, despite having the film’s most underwritten role. Acting mainly off of herself, she quietly portrays worry, hopelessness, and fear as she tries to piece together what might have happened to the man she loves.
If there’s one bad apple in the bunch, it’s Malkovich, who brings nothing but an over-the-top approach to an already villainous role. The actor’s failure to give his character that slight human element is wildly accentuated by one of the worst Southern accents in recent memory. In terms of the film’s accents, Russell and Hudson fare best, while Wahlberg tries but doesn’t push it, and Rodriguez feels perfectly fine without one. However, Malkovich uses his to be more theatrical of an actor than he already is (his use of “po” and “sho” quickly overstaying their welcome) to the point where the only thing he doesn’t do is literally twirl the moustache he has.
The BP guys in Deepwater Horizon are certainly made to look like the villains that they are (a point more than driven home thanks to Malkovich’s hamminess), and the film never shies away from serving as an indictment to them and the decisions they made. However, Deepwater Horizon functions moreso as a fitting tribute to all involved with this unforgettable tragedy, in particular those who lost their lives. It’s inevitable that the film should indulge in a number of highly emotional moments, but Berg doesn’t waste time being overly sentimental. His aim to is give a glimpse into a specific world and the risk those who give their lives to it must face everyday.
