Poseidon 2006 123movies

Watch: Poseidon 2006 123movies, Full Movie Online – It is New Year’s Eve, and over 2,000 passengers & crew are ringing in the New Year aboard the huge cruise ship ‘Poseidon’ when it capsizes on the open sea in the middle of the North Atlantic Ocean! A small group of survivors find themselves unlikely allies in a battle for their lives. Preferring to test the odds alone, career gambler Dylan Johns ignores captain’s orders to wait below for possible rescue and sets out to find his own way to safety. What begins as a solo mission soon draws others, as Dylan is followed by a desperate father searching for his daughter and her fiancée–a young couple who hours before couldn’t summon the courage to tell him they were engaged and now face much graver challenges. Along the way they are joined by a single mother and her wise-beyond-his-years son, an anxious stowaway and a despondent fellow passenger who boarded the ship not sure he wanted to live but now knows he doesn’t want to die. Determined to fight their way to the surface, the group sets off through the disorienting maze of twisted steel in the upside-down wreckage. As the unstable vessel rapidly fills with water each must draw on skills and strengths they didn’t even know they possessed, fighting against time for their own survival and for each other..
Plot: A packed cruise ship traveling the Atlantic is hit and overturned by a massive wave, compelling the passengers to begin a dramatic fight for their lives.
Smart Tags: #ocean #reference_to_poseidon_the_greek_deity #water #passenger #lever #cruise #vacation_gone_wrong #escape #new_year’s_eve #survival #cruise_ship #2000s #winter #remake #one_word_title #underwater_scene #part_computer_animation #ship #disaster_film #celebration #single_mother

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Ratings:

	5.7/10 Votes: 105,593
	33% | RottenTomatoes
	50/100 | MetaCritic
	N/A Votes: 1815 Popularity: 18.498 | TMDB

Reviews:

Another remake misfires
It all starts off so well too. The opening shot of Wolfgang Petersen’s Poseidon is beautiful. A single take that begins beneath the surface of the ocean that swings up and out of it as the underside of the ship slices through the waves, before pivoting round the colossal cruise liner and zeroing in on Josh Lucas running on the deck. With the sun setting in the distance and the immense size of the vessel itself contrasted with the deep blue of the water, this is a visually astounding entrance to a movie that is unfortunately very shallow indeed.

A remake of the classic disaster movie The Poseidon Adventure, this tells much the same story with a small group of passengers trying to escape a doomed ocean liner after it capsizes due to a freak wave. Given the beloved status of the original, besting it was going to be tricky from the start so how to do it? Bestow the characters with as much depth and humanity as possible, arrange it so that you don’t want any of them to die just as the original film did? No. That isn’t the 21st Century Studio Approach to blockbusters at all, the trick is explosions! Lots of explosions! And dangerous stunts that happen in very quick succession with no set up whatsoever.

As a result, things happen very quickly. We’ve hardly got to know anyone on the ship before the wave strikes and sends their world tumbling upside down in a hail of glass and debris. Trapped beneath the waves, there is no debate on the best means of survival but instead a bull headed rush to escape as soon as possible and before you know it, barely any time has elapsed before we have our luckless nobodies dangling from lift shafts, diving through burning oil slicks or scrambling up air vents rapidly filling with water. This could all be very entertaining if it wasn’t so empty and if only they’d eased back on the throttle a little bit, we could have had a much more successful film.

Kurt Russell for instance is wasted. As an ex firefighter and former Mayor of New York with a failed marriage behind him, they could have crafted the image of a troubled man going through a midlife crisis who finds himself tested beyond his limits. Instead, the only hints at any characterisation are him protesting his daughter’s cleavage bearing dress to leave no doubt that theirs is a strained relationship. Then there is Richard Dreyfuss (who has finally found a bigger boat), whose character might as well be listed in the credits as “depressed, elderly gay man.” Everyone else is just as vacuous and while Josh Lucas is certainly a charismatic focal point, it cannot make up for the two dimensional stereotypes of Kevin Dillon’s gambler Lucky Larry or Mike Vogel’s performance as Christian, the fiancée of Russell’s daughter who manages to put in perhaps the worst attempt at acting you will see in a blockbuster this year.

It does have a few commendable points though. One death scene involving a lift shaft, jagged metal spikes and an explosion is an adrenaline pumping crowd pleaser and the aforementioned scramble through the flooding ventilation shaft is really quite tense, the ensemble cast squeezed together in a claustrophobic nightmare as the water bubbles up around them. Ultimately though, it is not enough to save it. Poseidon may make for a diverting hour and a half but Hollywood needs to learn a valuable lesson about plotting: bigger explosions and insane stunts are nowhere near as impressive if we don’t care about the people involved. The original version made an entire generation terrified of getting on a boat with Ernest Borgnine, this is just laughable.

Meh…
I have read other critics putting down this remake for the absence of camp or what they perceive as racism. Nice of them to provide a new definition of missing the mark. For I prefer what they perceive as racism over tokenism any day of the week, and speaking as a member of a hidden minority, I would like them to chew on the fact that skin colour is not the only thing that makes us all different. That said, camp is dead. Adam West and his ilk killed it a long time ago, and it especially does not fit in an era where rather than spend excessive amounts on spurious items because we can, we must penny-pinch until our fingers fall off. No, the real problem in Poseidon spreads in so many directions that it is impossible to nail down to one source. About the only thing that does work is the acting, and even that gets lost in the maze due to what must qualify as one of the most lacklustre scripts of the last six years. Still, I am getting ahead of myself, as there is so much to dissect within this rotten mound of celluloid.

Many have spoken of the rotten characterisations, especially of Kurt Russell. Kurt’s character stinks not because he has nothing in common with the other characters we normally would associate with Kurt. No, it is much deeper than that. Several scenes occur in which one questions whether the father of an adult child would act in this fashion, and the answer is almost always no. The one moment where he does do something a man in his position would is struck down by the almost total absence of character development. Kurt has no illusions that he is Lawrence Olivier or Peter O’Toole, but he has done much better with stronger material. Emmy Rossum also valiant fights the tide of her lousy character, and she shows that she has a potential to go to far greater places with her acting skill, but only if she chooses better scripts in future. Josh Lucas, Mike Vogel, and Kevin Dillon fight valiantly against the tidal wave that is the script (or lack thereof), but are swiftly overcome. The rest of the cast exist mainly as props.

If anything, Richard Dreyfuss’ character is too politically correct. It seems that Mark Protosevich decided he needed to have one character not like everyone else, but instead of writing a script that shows him to have different motivations or ideas, Mark simply takes the Dreyfuss character and stamps the word “gay” in big letters on his head. One should take note of this, as it is what passes for diversity in this stupid film. But this only serves to highlight the real problem with Poseidon. Namely, the filmmakers try to show too much in too little time. Ninety-eight minutes is sufficient for a fast-paced action film, of the variety that the likes of Dolph Lundgren or Arnold Schwarzenegger made their bread and butter. For a character study in which half a dozen people struggle both against themselves and nature’s dark side, it is not nearly enough. Poseidon would have gained so much from another half hour or so to properly set the characters up, explain their motives, and more importantly, explain why the audience should care what happens to them.

People bemoan special effects all the time, as if their advancement automatically results in a lesser story. Having grown up with such films as RoboCop or Total Recall, I can say this popular moan is also pure nonsense. Poseidon’s special effects, for what they are, could have enhanced a story, but the story on offer here is too weak to allow this. What we mainly have is a string of disaster film scenes stitched together with very little basis. One character has a massive piece of debris land on him, and we fail to care. Others drown, and while drowning is one of the most horrible ways I can imagine to die, I honestly cared more about the chocolate milk I was drinking at the time. Yes, I have problems when special effects are used inappropriately (the Slap Shot quote from one referee “too much, too soon” applies to one example I can think of), but as hard as I tried here, I could not spot a shot I would have done differently. Script pieces, yes, special effects shots, no.

If there is one good thing about Poseidon, it is the sound design. Metal, water, and fire all work together in a soundstage that gives one the feeling of being boxed into a sinking ship. One great director has said that sound is more than half the experience of cinema, and Poseidon does nothing to challenge the notion. When hapless passengers are smashed, burned, or electrocuted, the sound does the script’s job, or at least tries to. Oddly enough, apart from the scenes in the lounge before the capsising, I honestly cannot remember any of the music. Which is either very clever, or another case of a crew member slacking off, depending on how you see it. Speaking of crew members, I noticed there are no less than twelve producers credited with this mess, including the same Akiva Goldsman whose name is associated with the dreadful Lost In Space update. In fact, most of his production credits relate to an update or remake of an old story that really did not need it. Nor should it surprise anyone that one of his screen writing credits is none other than The Da Vinci Code.

When all is said and done, Poseidon is a distinct two out of ten film. Its just too bad to be any good, and too clinical to be any fun. It is totally stuck in no man’s land.

Other Information:

Original Language en
Runtime 1 hr 38 min (98 min)
Budget 160000000
Revenue 181674817
Status Released
Rated PG-13
Genre Action, Adventure, Thriller
Director Wolfgang Petersen
Writer Mark Protosevich, Paul Gallico
Actors Richard Dreyfuss, Kurt Russell, Emmy Rossum
Country United States
Awards Nominated for 1 Oscar. 7 nominations total
Production Company N/A
Website N/A

Technical Information:

Sound Mix DTS, SDDS, Sonics-DDP (IMAX version), Dolby Digital
Aspect Ratio 2.39 : 1
Camera Panavision Panaflex Gold II, Panavision Primo Lenses, Panavision Panaflex Millennium XL2, Panavision Primo Lenses, Panavision Panaflex Millennium, Panavision Primo Lenses, Panavision Panaflex Platinum, Panavision Primo Lenses
Laboratory Technicolor, Hollywood (CA), USA, Warner Bros. Motion Picture Imaging, Burbank (CA), USA (digital intermediate)
Film Length 2,600 m (Portugal, 35 mm)
Negative Format 35 mm (Kodak Vision2 500T 5218)
Cinematographic Process Digital Intermediate (4K) (master format), Super 35 (source format)
Printed Film Format 35 mm (anamorphic) (Kodak Vision 2383), 70 mm (horizontal) (IMAX DMR blow-up) (Kodak Vision 2383), D-Cinema