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Sanctum (2011)

PLOT
In una riserva di grotte in Nuova Guinea, un gruppo di speleologi si occupa della perlustrazione di un sistema di cave sottomarine alla ricerca di nuovi condotti e di anfratti ancestrali. Il più giovane della compagnia è Josh, figlio adolescente del capo-speleologo Frank in pieno dissidio paterno. Assieme al ricco finanziatore della spedizione Carl e alla sua fidanzata Victoria, Josh raggiunge il gruppo di esploratori nelle profondità delle caverne mentre si consuma una tragedia: dopo aver trovato un nuovo passaggio che porta a una grande cattedrale degli abissi, Frank non è riuscito a mettere in salvo la sommozzatrice Judes, rimasta senza ossigeno. La morte della collega fa esplodere le tensioni fra Frank e Josh, che arrivano ad accusarsi a vicenda per quanto success, but just then a tropical storm strikes on the reserve, making it impossible to lift and forcing the group to pass through the ocean depths to emerge on the surface.
not just for promotional reasons that the name of executive producer James Cameron stands out much more dramatically than that of the director Alister Grierson Sanctum of the posters. The parental rights of the Titanic "King of the World" is highlighted in both the technological device used (the cameras are the same as Cameron has developed for working offline), but in certain elements of the story. In this enterprise of a group of underwater divers trapped in the bowels of the Pacific Ocean, we find In fact, his obsession with the submarine depths began with The Abyss and never abandoned, but also some more subtle factors such as technological performance apparatus (mapping animated environments), the game between survivors of the massacre (not far from that Marines of Aliens or offline) and, more generally, the taste for the mix of genres as "low" (the exotic adventure and the action-thriller). Yet this attempt to dive in the plots of the filmography of Cameron does not try too much to reach the depth of technological advance or the balance between size and futuristic classic tale of his films. Instead, after a boot still capable of generating tension, Sanctum is soon in oxygen debt and proceeds accumulating ambiguous characterizations of the characters and anodyne pretexts for suspense. Stereoscopy is without doubt the element of water and functional as long as the characters move between the depths of the Pacific Marine and cathedrals, with their bulky diving suits, he willingly wallows between the images with our polarized glasses. But also the effect of wonder 3D runs out soon, as the young Australian director proves rude movements and returns to the surface above the defects of its technological apparatus, lagging plans between narrow and tight fitting places characters constantly on the edge framework. So, rather than a tasty e ingenuo B-Movie da drive-in in stile anni Settanta (con un più facoltoso Cameron a prendere virtualmente il posto che fu di Roger Corman e della sua factory), ci si trova di fronte a un surrogato di un film di Cameron, a un suo anonimo avatar.

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