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A salvage expert and veteran submarine skipper, Robinson (Jude Law) has devoted decades of his life to underwater salvage at the cost of his marriage, with his wife (Jodie Whittaker) divorcing him and taking custody of their son. Despite his dedication, Robinson is laid off from his job at Agora, leaving him financially destitute and unable to make his child support payments. In desperation, Robinson agrees to captain an independent, illegal expedition to locate a sunken Nazi U-boat from World War II that contains millions of dollars worth of gold. Although Agora wishes to salvage it, the wreck lies in disputed waters off the Georgian coast, making it difficult to mount an official expedition. With funding from a shady venture capitalist (Tobias Menzies), Robinson gathers a selection of Russian and British personnel to crew an ancient Russian submarine as they set off on the dangerous mission. However, the British and Russian factions do not trust each other, leading to heightened tensions that only intensify when Robinson declares that they will receive an equal share, meaning that fewer surviving men means a bigger cut.
There is a recognisable formula to submarine movies, as such productions often involve overcoming unexpected vessel damage and tense underwater hostilities between crew members. With a script by television writer Dennis Kelly (making his theatrical film debut), Black Sea adheres to these recognisable genre tropes, but the picture's success is in the execution. The issues encountered by the crew are not easy to predict, and the film shows no sentimentality towards the characters who could die at any time. With things seldom going to plan, there's an incredible underlying sense of tension that is sometimes hard to tolerate. There is also a sense of gravitas to the writing, with tense character interactions generating further uneasiness. Plus, with an adult rating in place, the characters can swear during tense situations, heightening the sense of realism and danger. Additionally, Kelly's script subtly touches upon class and economic struggles. Robinson and his colleagues find themselves in a desperate situation after making an honest living, with the uncaring capitalist system abandoning them despite their skills and dedication. Robinson is particularly bitter, realising his personal sacrifice and labour only led to the monetary gain of a big corporation, leaving him with nothing except a broken marriage. Retrieving the gold not only represents his key to financial freedom; it also symbolises a middle finger to the powerful people and structures that oppress the working class. Luckily, these thematic underpinnings do not overwhelm the story.
Despite a meagre budget (reportedly a mere £8 million), Macdonald's visual treatment of the material is spectacular, with convincing special effects and intricate set design working to generate the illusion of being underwater at sea with this crew. The digital effects are not immaculate, but they are good enough, ensuring that Black Sea feels like a slick theatrical movie instead of a B-grade direct-to-video production. The smooth cinematography by Christopher Ross is especially accomplished, with the careful lighting facilitating a realistic look with shadowy interiors while ensuring the events are always comprehensible. Macdonald ratchets up the tension throughout the picture, getting plenty of mileage from the cramped, sweaty submarine interiors and the hothead crew who do not trust each other and cannot get along. It's unbearably intense at times, particularly when Robinson chooses to take the vessel through a narrow underwater canyon despite slim chances of survival while those onboard wonder if they can force their captain to surface. Furthermore, although there is humour in the picture's early stages, Macdonald wisely keeps things tense and serious as the situation becomes more grave. The high stakes and omnipresent sense of danger make Black Sea a gripping watch.
Creating well-drawn, distinct characters in an ensemble movie is tricky, but it is crucial to maximise audience engagement. Luckily, Black Sea excels in its compelling characterisations thanks to strong writing and robust performances from an ideal cast. Law is the most recognisable name in the ensemble, and he trades in his regular soft-spoken charisma for something gruff, rugged and completely unglamorous. Although not an obvious choice to fill this type of role, Law hits every note with utmost confidence, convincingly portraying Robinson's descent into madness as he prioritises retrieving the gold over the safety of his men. Equally impressive is Australian actor Ben Mendelsohn (Animal Kingdom, The Place Beyond the Pines) as a mentally unstable veteran diver who has been in and out of prison. Meanwhile, Scoot McNairy (Argo, 12 Years a Slave) is a perfect pick for the snivelling representative for the expedition's investor, and Michael Smiley (The World's End) provides ample colour playing a crew member who served with Robinson in the Navy. Newcomer Bobby Schofield also warrants a mention as a teenager who joins the submarine, much to the chagrin of the Russians, who perceive his presence as a bad omen.
There is something comforting about motion pictures like Black Sea, which is not exactly a life-changing movie, but it is incredibly well-executed. Without any unwelcome pretence or political agenda, it's a compelling and often armrest-clenching adventure story that delivers thrills with utmost competence. Despite a few scripting contrivances, Black Sea is sturdy manly entertainment.
7.9/10
