Last Breath

I liked the film, but it’s a pretty basic film using a tried and true formula.

Following an under-the-radar documentary covering a newsworthy story of miraculous proportions but in subordinate depths (as in unheard of), filmmaker Alex Parkinson returns to the subject he once co-directed with Richard da Costa in his own supposedly interpretive dive. One day at work turned horrific for one young deep-sea diver in an accident that left him stranded deep underwater without much oxygen, unconsciously waiting for his seasoned crew to stressfully fight against time and the raging elements above the oceanic surface. The documentary, which is also titled “Last Breath”, may have not gotten an accessible treatment for such captivating story just prior to being remade into a potential heart-pounding survival thriller, leaving the latest endeavor a fresh narration of drawing viewers into the dark without any background knowledge, which is a probable recipe in succeeding the vulnerably resonating grip this film relies on. An admirable yet intriguing creativity for a documentarian tackling a narrative approach to undergo his own exploration of the subject while also attempt to immerse the viewer – if watched correctly that is. This attracts upon broadened interests outside the documentary genre’s scope with speculative conditions; but personally stems from experiencing the recent factual thriller “September 5”. Now that incredibly tense film really opened up a viable moviegoing experience that refined the thriller genre in an unforgettable impact. “Last Breath”, however, does not even compare due to being merely standard in the approach and more as an experience above storytelling for effective isolation. If watched any other way, then the film would not be as gripping albeit being a lesser one. What Parkinson did here is quite similar to how Tim Fehlbaum gripped our anxieties through archive footages of the occurring crisis, juxtaposing dramatized materials in clean synchronization alongside stunning underwater cinematography by Ian Seabrook. Whilst a moderate thrill ride, it is strengthened by solid convictions in dedicative reverence. What the job entails in requiring deep diving is maintenance for the submarine pipelines, being one of the most dangerous jobs on the planet, then the picture goes into an elaborate process over the preparation procedures, not to mention the dangers. Between the keen vision’s appreciative overview and the essential usage of archive footage, this cinematic experience nearly qualifies as a verified docudrama per similar craftsmanship brilliantly witnessed in “September 5”. It is not without questioning the authentic focus when the central crisis culminates the production merits, including the splendid casting, in sharper form, while the rest finds casual dialogues before appropriately reflecting mortality for thematic fulfillment. Any instilled strength stems from Parkinson’s handling, aside from being part of a three-writer team with contributive edge. Composer Paul Leonard-Morgan also returns from the documentary with a riveting tense score, but what the film supposedly strives for deems it mostly distractive. As for the performative simulation, Finn Cole as Chris Lemons, the diver who laid in the ocean without oxygen for nearly thirty minutes, examines mortality in his mainstream breakthrough with rookie stature energy that connects us. Woody Harrelson’s portrayal of Duncan Allcock, a laidback thrill seeker who enjoys his profession nearing his retirement, affects resonance when being one of his humane best. Simu Liu as David Yuasa neatly fulfills earnest relatability in protective stance, also arguably more active than Harrelson’s comedic charisma. If it were not for recently formed expectations – to an impressible extent of also coming across as similar to “Captain Phillips”, “Last Breath” would still be a positionally simulated experience above its concise storytelling. It was the theatrical presentation that ignited the effective isolation’s attentive grip, now considered one of those cases that is lesser than another release’s similar scale. Then later elsewhere will unveil how standard it actually is with a worthwhile core that will still captivate with debatably increased tension than its documentary counterpart’s recollections. The only impactful aspect is how shall it compare to Parkinson’s prerequisite coverage, between the gripping factual narrative and the similar score with any possible ability to refresh the given knowledge of the event. In the meantime, in its own placement, this film may not have exceeded the atmospherically gripping promise, it is still exceptionally good. (B+)

*Last Breath* had all the makings of a gripping thriller—stacked cast, intense premise, and the added weight of being based on a true story. Visually, it’s stunning, and the tension is palpable, especially in the claustrophobic underwater scenes. There are even some genuinely emotional moments. But despite all that, nothing really *shines*. The performances? Solid but not exceptional. The suspense? Effective but familiar. By the end, I found myself more disengaged than I expected. It’s a well-made film, no doubt, but it never quite reaches the depth (pun intended) it aims for. Good, just not great. **★★★☆☆**

Woody Harrelson gives weight to this tense, no-frills survival thriller. Not flashy, but quietly gripping. Cold, claustrophobic, and surprisingly emotional.

A harrowing true story well worth a watch!

Well acted , great story. It really shows the bond that develops between people doing dangerous work.

Awesome film, with really good key performances. The underwater scenes are truly incredible and really get over the terror of the incident at the heart of the film.

I really liked how this story was told, and I love that it was based on true events

Glad to see a more original movie that had a good pace to it. Very enjoyable.

Buena y nomas, algunos actores muy fofos, sin chispa, aguados. Los protagonistas de lujo.