[9]

Underwater oil drillers are forced to work with the military to recover lost nuclear warheads, but they discover far more lurking in the depths of the ocean… This unique underwater sci-fi/thriller from James Cameron (Terminator, Aliens) is an ambitious, somewhat uneven film with thinly-drawn stereotypes and a pretentious alien subplot, but you know what? I like it anyway. I really like it — in part for the unique environment to which it thoroughly transports me.

Cameron’s dialogue can be cliched and, yes, his characters are painted in broad strokes – but he is a master of staging action and dramatic moments. This is never more evident than in the scene where Ed Harris fights to resuscitate Mary Elizabeth Mastrantonio after watching her drown in front of his face. Harris and Mastrantonio bring admirable depth to their stock characters, and Leo Burmester is charismatic in a supporting role.

The Abyss creates a compelling claustrophobic atmosphere of paranoia, and is good for several moments of suspense and character confrontation, even if the final act becomes a little too much like “Close Encounters Under the Sea”. Frankly, I like the alien subplot that so many other people seem to have a problem with. It puts combatative human politics into perspective.

The film also features remarkable work from cinematographer Mikael Salomon and a memorable score by composer Alan Silvestri. The Abyss also deliver one of the cornerstones of digital visual effects, the watery pseudopod sequence, which paved the way for later pioneering uses of CGI in films like Terminator 2 and Jurassic Park. With Michael Biehn.

Academy Award: Visual Effects

Nominations: Art Direction, Cinematography, Sound Mixing