The Deep Blue Sea Reviews

  • Jan 08, 2018

    Visually exquisite! The musical score phenomenal. I can watch this over and over again and never become bored with the overall story.

    Visually exquisite! The musical score phenomenal. I can watch this over and over again and never become bored with the overall story.

  • Oct 15, 2017

    Deep. The best line is 'he gave me himself'.

    Deep. The best line is 'he gave me himself'.

  • Mar 03, 2017

    A story of unrepentant adultery, it features long (boring) shots of Hester smoking. I would never want to watch this again. Sure, one can imagine the attraction of a younger British war pilot vs a staid, though successful, older man seemingly tied to his mother's apron strings. But what about moral duty?

    A story of unrepentant adultery, it features long (boring) shots of Hester smoking. I would never want to watch this again. Sure, one can imagine the attraction of a younger British war pilot vs a staid, though successful, older man seemingly tied to his mother's apron strings. But what about moral duty?

  • Sep 08, 2016

    The Deep Blue Sea is slow moving, yet it contains enough story to create a harrowing and relatable love story inside Rachel Weisz's excellent lead performance.

    The Deep Blue Sea is slow moving, yet it contains enough story to create a harrowing and relatable love story inside Rachel Weisz's excellent lead performance.

  • Aug 31, 2016

    Except for Rachel Weisz there was no real reason to like this - but I did. It's a look at the following M / F conundrum: Men want a classy lady in the parlor and a tigress (whore) in the bedroom (so our grannies said). Women want an alpha prince in the parlor and her kind of tiger between the sheets. But when you get one and not the other for a husband, a prince but no tiger, she's left wanting. The reverse is shown, too; a passion inspiring lover who doesn't have it together ... not yet anyway. And there's an older man with a babe for a younger wife (Weisz) who can't or won't control his nasty old mother & raise a growl in the bedroom. Momma's boys at any age aren't good for a woman. This film is a thoughtful, interesting, & skillfully crafted look at these disappointments with a short cold-shower lecture by the landlady thrown-in for extra measure. This is a film for thoughtful adults, beautifully blocked and photographed at a pace that would be slow were the flim not cut to a good length. It also would be very good - maybe better - on the stage where it originally was produced. The film has a stage feel to it.

    Except for Rachel Weisz there was no real reason to like this - but I did. It's a look at the following M / F conundrum: Men want a classy lady in the parlor and a tigress (whore) in the bedroom (so our grannies said). Women want an alpha prince in the parlor and her kind of tiger between the sheets. But when you get one and not the other for a husband, a prince but no tiger, she's left wanting. The reverse is shown, too; a passion inspiring lover who doesn't have it together ... not yet anyway. And there's an older man with a babe for a younger wife (Weisz) who can't or won't control his nasty old mother & raise a growl in the bedroom. Momma's boys at any age aren't good for a woman. This film is a thoughtful, interesting, & skillfully crafted look at these disappointments with a short cold-shower lecture by the landlady thrown-in for extra measure. This is a film for thoughtful adults, beautifully blocked and photographed at a pace that would be slow were the flim not cut to a good length. It also would be very good - maybe better - on the stage where it originally was produced. The film has a stage feel to it.

  • Aug 16, 2016

    Is slow paced, but the performances from Weisz to Hiddleston steal the show, making this a solid melancholic love interpretation.

    Is slow paced, but the performances from Weisz to Hiddleston steal the show, making this a solid melancholic love interpretation.

  • Jun 04, 2016

    A beautifully complex love story featuring superb performances by Rachel Weisz and Tom Hiddleston.

    A beautifully complex love story featuring superb performances by Rachel Weisz and Tom Hiddleston.

  • May 10, 2016

    This is a damn near masterpiece! Regretful I haven't watched it sooner!

    This is a damn near masterpiece! Regretful I haven't watched it sooner!

  • Mar 12, 2016

    All too often, the word "melodrama" has a negative connotation. It's used interchangeably with "manipulative" to describe a film with less-than-authentic emotions. The truth is that the melodrama is a perfectly respectable genre of film with a number of genuine masterpieces to its name (Todd Haynes' Far From Heaven comes immediately to mind). The Deep Blue Sea, from British director Terence Davies, is unapologetically a melodrama, and while I appreciated its devotion to the conventions of the genre, there's one important ingredient missing: A reason to care about these people and their problems. The film takes place in England around 1950, just as Hester (Rachel Weisz) is about to kill herself. We learn through flashbacks that she's legally married to a judge, Sir William Collyer (Simon Russell Beale), and though she respects him, there's very little love between them. So she starts an affair with a charismatic former RAF pilot, Freddie Page (Tom Hiddleston), whom she loves with an undying passion. When William finds out, he demands she leave at once, but he won't grant her the divorce that would make her shacking up with Freddie socially acceptable. She does so anyway, but Freddie is far from a perfect partner. He drinks-a lot. He doesn't have a job, and he only shows Hester love in the physical sense. Ultimately, it's her own obsessive passion that drives her to attempt suicide, but she fails. And when Freddie finds out what she's done, he goes ballistic. And with her sanity at its breaking point, Hester must decide whether this relationship is worth her life. The stakes in The Deep Blue Sea are extraordinarily high, but the film's biggest failing is that it never makes the choices seem comparable. Freddie or your life? It's hardly a debate. It'd be one thing if he was a gentleman or reciprocated the love Hester showed him, but he's something of a pompous asshole, and the hold he has over Hester never quite seems believable. It's a shame, really, because her despair is palpable, but that's the only real note the film successfully hits. Rachel Weisz, predictably, is exceptional. Hester (who is appropriately named, I should point out) is in various stages of sadness throughout the film, but she's also extremely conflicted. She knows as well as anyone that being with Freddie has been an emotional disaster for her, but she accepts the bad because the few good moments are worth it to her. Weisz sells this with poise and grace. She's a tremendous actress, and after a terrible performance in last year's Dream House, she's once again top of her game, and it's very nice to have her back. Tom Hiddleston lives up to the lofty expectations set by great turns last year in Thor and Midnight in Paris. His Freddie is a tempermental chap-sometimes destructively so. But his temper keeps us on edge, despite the fact that the screenplay doesn't give him enough humanity to make him seem like a viable suitor for the obviously intelligent Hester. Equalling Hiddleston in smaller and much more subdued roles are Beale (as Hester's husband) and Ann Mitchell (as Hester and Freddie's landlady). The film has an excellent sense of time and place, and as such, it's quite a achievement as far as craft goes. The costumes feel very authentic, and the score (though occasionally feeling a bit over-the-top) is appropriate for the kind of film Davies has made. Even more impressive is the cinematography. There's a great tracking shot about two-thirds of the way through the film, but even beyond that, the way Davies' camera captures light gives the entire thing a dreamlike quality that makes up a bit for the screenplay's character deficiencies. Nothing Freddie and Hester do together necessarily make us think they should be a couple, but the look the film gives them when they are together (especially compared to the way they look when they're apart) is etherial-almost too beautiful to be true. The Deep Blue Sea won't appeal to many people, but those who found films like Revolutionary Road and Atonement worthy might enjoy what Davies has to offer. For me, it's barely a miss. There's a lot to appreciate, but when the central conflict in a melodrama fails to engage you emotionally, it's hard to give it a true recommendation. http://www.johnlikesmovies.com/deep-blue-sea-2012-review/

    All too often, the word "melodrama" has a negative connotation. It's used interchangeably with "manipulative" to describe a film with less-than-authentic emotions. The truth is that the melodrama is a perfectly respectable genre of film with a number of genuine masterpieces to its name (Todd Haynes' Far From Heaven comes immediately to mind). The Deep Blue Sea, from British director Terence Davies, is unapologetically a melodrama, and while I appreciated its devotion to the conventions of the genre, there's one important ingredient missing: A reason to care about these people and their problems. The film takes place in England around 1950, just as Hester (Rachel Weisz) is about to kill herself. We learn through flashbacks that she's legally married to a judge, Sir William Collyer (Simon Russell Beale), and though she respects him, there's very little love between them. So she starts an affair with a charismatic former RAF pilot, Freddie Page (Tom Hiddleston), whom she loves with an undying passion. When William finds out, he demands she leave at once, but he won't grant her the divorce that would make her shacking up with Freddie socially acceptable. She does so anyway, but Freddie is far from a perfect partner. He drinks-a lot. He doesn't have a job, and he only shows Hester love in the physical sense. Ultimately, it's her own obsessive passion that drives her to attempt suicide, but she fails. And when Freddie finds out what she's done, he goes ballistic. And with her sanity at its breaking point, Hester must decide whether this relationship is worth her life. The stakes in The Deep Blue Sea are extraordinarily high, but the film's biggest failing is that it never makes the choices seem comparable. Freddie or your life? It's hardly a debate. It'd be one thing if he was a gentleman or reciprocated the love Hester showed him, but he's something of a pompous asshole, and the hold he has over Hester never quite seems believable. It's a shame, really, because her despair is palpable, but that's the only real note the film successfully hits. Rachel Weisz, predictably, is exceptional. Hester (who is appropriately named, I should point out) is in various stages of sadness throughout the film, but she's also extremely conflicted. She knows as well as anyone that being with Freddie has been an emotional disaster for her, but she accepts the bad because the few good moments are worth it to her. Weisz sells this with poise and grace. She's a tremendous actress, and after a terrible performance in last year's Dream House, she's once again top of her game, and it's very nice to have her back. Tom Hiddleston lives up to the lofty expectations set by great turns last year in Thor and Midnight in Paris. His Freddie is a tempermental chap-sometimes destructively so. But his temper keeps us on edge, despite the fact that the screenplay doesn't give him enough humanity to make him seem like a viable suitor for the obviously intelligent Hester. Equalling Hiddleston in smaller and much more subdued roles are Beale (as Hester's husband) and Ann Mitchell (as Hester and Freddie's landlady). The film has an excellent sense of time and place, and as such, it's quite a achievement as far as craft goes. The costumes feel very authentic, and the score (though occasionally feeling a bit over-the-top) is appropriate for the kind of film Davies has made. Even more impressive is the cinematography. There's a great tracking shot about two-thirds of the way through the film, but even beyond that, the way Davies' camera captures light gives the entire thing a dreamlike quality that makes up a bit for the screenplay's character deficiencies. Nothing Freddie and Hester do together necessarily make us think they should be a couple, but the look the film gives them when they are together (especially compared to the way they look when they're apart) is etherial-almost too beautiful to be true. The Deep Blue Sea won't appeal to many people, but those who found films like Revolutionary Road and Atonement worthy might enjoy what Davies has to offer. For me, it's barely a miss. There's a lot to appreciate, but when the central conflict in a melodrama fails to engage you emotionally, it's hard to give it a true recommendation. http://www.johnlikesmovies.com/deep-blue-sea-2012-review/

  • Oct 22, 2015

    NOT that shark film with Samuel L Jackson. In fact, it's about as far from that movie as it's possible to be. Set in the suffocating world of post-war London, Rachel Weisz is astonishing in this slow-moving, non-linear telling of her escape from a sexless (but not loveless) marriage into a passionate but also doomed love affair with a damaged, self-centred war veteran. It starts at the end but then takes us on a sometimes bewildering journey through episodes and decisions that brought her to the tragic conclusion. She's sometimes very hard to like, as it is clear that her decisions are a large part in her unhappiness. Caught between the Devil and the Deep Blue Sea, she may not have an easy way out, but she certainly doesn't find it. Alongside Weisz, Tom Hiddlestone and Simon Russell Beale are terrific. And Terence Davies' simple direction never takes over from the material or the performances. The slowness of his camera movements lead the viewer to focus ever more closely, and pay attention to every nuance. It feels like a long 98 minutes, because every second is loaded and weighty with nuance. Probably not for everyone, but that's their loss.

    NOT that shark film with Samuel L Jackson. In fact, it's about as far from that movie as it's possible to be. Set in the suffocating world of post-war London, Rachel Weisz is astonishing in this slow-moving, non-linear telling of her escape from a sexless (but not loveless) marriage into a passionate but also doomed love affair with a damaged, self-centred war veteran. It starts at the end but then takes us on a sometimes bewildering journey through episodes and decisions that brought her to the tragic conclusion. She's sometimes very hard to like, as it is clear that her decisions are a large part in her unhappiness. Caught between the Devil and the Deep Blue Sea, she may not have an easy way out, but she certainly doesn't find it. Alongside Weisz, Tom Hiddlestone and Simon Russell Beale are terrific. And Terence Davies' simple direction never takes over from the material or the performances. The slowness of his camera movements lead the viewer to focus ever more closely, and pay attention to every nuance. It feels like a long 98 minutes, because every second is loaded and weighty with nuance. Probably not for everyone, but that's their loss.