Das Boot (1981)
Directed by Wolfgang Petersen
A German submarine hunts allied ships during the Second World War, but it soon becomes the hunted. The crew tries to survive below the surface, while stretching both the boat and themselves to their limits.
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What critics compared Das Boot to
The ideal version of this story needn’t last as long as the unabridged Das Boot , but in only an hour and 20 minutes, it’s difficult to convey Krause’s exhaustion or the endurance required to outlast his assailants.
Perhaps remembering such gut-wrenching movies as Das Boot, Hanks and Schneider streamline everything to the point where the other characters hardly matter.
I was at least expecting something claustrophobic in the line of Wolfgang Petersen’s seminal Das Boot (1981).
You can see the effect Hanks and director Aaron Schneider, whose last directorial effort was 2009s Get Low , are going for — an immersive, no context tour-of-duty onboard a besieged warship — but it doesn’t have that filmmaking excitement of, say, Das Boot .
This briny war film can take its place among the greats – The Cruel Sea, Western Approaches, Das Boot, In Which We Serve.
Every encounter with a sub involves coordinates and orders being relayed ad nauseam, which yes, could be fashioned into high drama (see Das Boot ).
U-571 is an awfully familiar journey through the Atlantic Ocean via submarine, one that we�ve taken before in Wolfgang Petersen�s Das Boot, Tony Scott�s Crimson Tide, and John McTiernan�s The Hunt for Red October.
Wolfgang Petersen exploited this flaw in our makeup back in 1981 with his classic World War II submarine epic Das Boot, a German film that had us temporarily pulling for the German army.
Between "Das Boot", "Crimson Tide", "Run Silent, Run Deep" and "The Hunt for Red October", the submarine genre has pretty much been given its due.
Aided by persuasive effects and authoritative production design from Götz (Das Boot) Weidner, writer/director Mostow pays his dues to the genre, but without much charge and even less depth.
U-571 slickly emulates Wolfgang Petersen's Das Boot (even grabbing that film's production designer Götz Weidner to work with Wm Ladd Skinner).
In his DVD commentary, Mostow makes clear that he isn't interested in the you-are-there squalor of "Das Boot" -- arguably the finest sub picture ever made.
The claustrophobic tank setting brings to mind such notable submarine dramas as Das Boot and Run Silent, Run Deep, right down to the inhabitants' frayed nerves and constant bickering.
What Wolfgang Petersen did for submarines in "Das Boot" more than 30 years ago, Ayer has done in a Sherman tank.
“Fury” may aspire to be the “Das Boot” of tank movies.
"Fury" is not a genre landmark like "Das Boot" or "Saving Private Ryan" — but its perspective is distinctive.
Fury is to tank warfare what Das Boot was to the dread of life on a German U-boat.
Other underwater sea adventures like “Run Silent, Run Deep,” “Crimson Tide,” and “The Hunt for Red October” may come close, but none of them can capture or match its power in unbearable claustrophobic tension.
Nijedan sličan film prije (“Enemy Below“, “Run Silent, Run Deep“…) ili poslije (“Lov na Crveni Oktobar“, “Grimizna plima“, “Podmornica U-571“…) nije uspio ovako psihički i fizički autentično projicirati istinu o životu na podmornici koju će otkriti novinar (Herbert Groenemeyer) - kakav je osjećaj biti ispod vode usred oceana u stiješnjenom prostoru dok vas neprijatelj gore čeka i u međuvremenu igra sa vama igru metalne mačke i miša.
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It's almost inconceivable that this banal, slapdash saga was engineered by the same man who forged the claustrophobic, character-driven brilliance of "Das Boot."
Petersen ("In the Line of Fire," "Das Boot" and "The Perfect Storm") assembled a serious cast that includes Brendan Gleeson as Menelaus, Brian Cox as the power-mad Agememnon, Orlando Bloom as Paris and Eric Bana, seen recently in "The Hulk," as Hector, Homer's most balanced character.
Unfortunately, even director Wolfgang Petersen ("Das Boot" 1981, "The Perfect Storm" 2000, and "Air Force One" 1997), along with screenwriter David Benioff, cannot wrestle Homer's 2,700-year-old, 15,693-line poem "The Iliad" down to the time frame of a feature-length film.
No matter how well director Wolfgang Petersen has crafted war drama (Das Boot) or commanded special effects (A Perfect Storm), Warner Brothers never would have shelled out $185,000,000 in advance without Pitts' presence.
Petersen (Das Boot) and screenwriter David Benioff (25th Hour) have taken a number of liberties with the original Homerian text � for a story set in a polytheistic age there�s scarcely a god in sight, for one thing � and instead pile on the pseudo-epic battlefield carnage, which, while impressive, grows repetitive and stagy after the first three melees.
In general, stalwart action director Wolfgang Petersen (Das Boot, In the Line of Fire, Air Force One ) goes for a pretty anonymous Big Movie style, with the cameras positioned at all the customary places.