Crimson Tide (1995)
Directed by Tony Scott
After the Cold War, a breakaway Russian republic with nuclear warheads becomes a possible worldwide threat. U.S. submarine Capt. Frank Ramsey signs on a relatively green but highly recommended Lt. Cmdr. Ron Hunter to the USS Alabama, which may be the only ship able to stop a possible Armageddon. When Ramsey insists that the Alabama must act aggressively, Hunter, fearing they will start rather than stop a disaster, leads a potential mutiny to stop him.
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What critics compared Crimson Tide to
…from 1964's Fail Safe or Kubrick's Dr. Strangelove to Tony Scott's Crimson Tide (1995) to this year's Mission: Impossible - The Final Reckoning and Hulu's Paradise.
This steely, apocalyptic tone owes something to John Frankenheimer’s Seven Days in May and Tony Scott’s Crimson Tide, though Bigelow’s approach is more clinical than those films were inventive.
…or those silly spectacles that are actually Certified Bangers™ like The Hunt for Red October (John McTiernan, 1990) and Crimson Tide (Tony Scott, 1995)…
…the ’90s had Crimson Tide…
Crimson Tide is a terse two-hander with nuclear war as the MacGuffin…
Thanks for the reminder that “Crimson Tide” rules.
Even Crimson Tide and The Hunt for Red October are sparse, but make up for it in other ways.
It has uniforms, certainly, but nothing like Master and Commander‘s “lesser of two weevils” scene* , or even that moment, common to almost every Naval battle movie (certainly Master and Commander and Crimson Tide) when the captain has to sacrifice a good man to save a ship.
Watching Greyhound, I couldn’t help thinking of another nautical thriller, Tony Scott’s Crimson Tide (1995).
There’s never a sense of more human flaws, like Gene Hackman in “Crimson Tide.”
Crimson Tide, for instance, had Gene Hackman and Denzel Washington discussing the finer points of stallions and The Silver Surfer, as a nuclear meltdown with Russia loomed closer.
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.
Tense submarine movies have big stars - Cary Grant in "Destination Tokyo," Burt Lancaster in "Run Silent Run Deep," Sean Connery and Alec Baldwin in McTiernan's "Hunt for Red October," Denzel Washington and Gene Hackman in "Crimson Tide."
I said, siting "Das Boot," "Run Silent, Run Deep," and making an allowance for the Cold War, "Crimson Tide" and "The Hunt for Red October."
There have been many great submarine films made in the history of cinema, from Run Silent, Run Deep to Das Boot to The Hunt For Red October to Crimson Tide.
That scene gives me the claustrophobic vibes of The Hunt for Red October and Crimson Tide-like moment.
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At the helm of Spy Game is Scott, best known for other thrillers including Crimson Tide and Enemy of the State.
Director Tony Scott and producer Jerry Bruckheimer have teamed to create several high-energy box office hits, from Top Gun to Crimson Tide.
Vastly more intelligent when compared with the testosterone-laced pedigree for which Bruckheimer and Scott are famous (with films such as "Armageddon" and "Con Air" being produced by the former and "Crimson Tide" and "Top Gun" being directed by the latter), the film does contain a smattering of such revved up action.
Two dozen years after Francis Ford Coppola's great privacy-violation nightmare The Conversation, Tony Scott (who most recently directed The Fan), working, as he did in Top Gun and Crimson Tide, with producer Jerry Bruckheimer (who most recently delivered Armageddon), has come up with a high-adrenaline, high-concept action thriller that mixes hot-button issues of privacy and surveillance, easy-to-identify good and bad guys, attention-getting stars, and well-choreographed chase scenes, then sexes up the works with an array of supercool hardware and software you'll wish you were getting for your birthday.
Director Scott has done some of his best work ("Crimson Tide," "Beverly Hills Cop II") for Bruckheimer, and, collaborating with cinematographer Dan Mindel, he does a compelling job of visualizing how satellites and computers could make this Truman-Show-for-real scenario actually happen.
Yet, as standard conspiracy films go, this one is a cut above the rest thanks to the nonstop forward thrust provided by director Tony Scott ("Top Gun," "Crimson Tide," "Man on Fire").
One great aspect about 2012 is that Ejiofor and Platt play their roles like a variation on Gene Hackman and Denzel Washington in Crimson Tide.
The next time Simpson and Bruckheimer made a film involving the armed forces – again with Tony Scott – it was a more nuanced affair, Crimson Tide , with a couple of scenes written by the pre-eminent cine-literate voice of the 1990s, Quentin Tarantino, who had just devoted one of his regrettable acting appearances, in the 1994 film Sleep With Me , to a riff on homosexuality in Top Gun .
Now, it doesn’t have much weight emotionally, feels like a music video that’s 110-minute of military propaganda, and all the filmmakers involved with the film hit highs later that were more thrilling (Scott with “Crimson Tide” and “Enemy of the State,” Simpson and Bruckheimer with “Bad Boys” and “The Rock,” Cruise with his “Mission: Impossible” franchise) while touching on the same energy they captured in 1986.
A cross between “Crimson Tide,” “The Stanford Prison Experiment” and – its most obvious influence – “Lord of the Flies,” “Voyagers” dabbles with ideas of mortality and mutiny among kids yearning for a higher power.
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After all, Bruckheimer is the veteran super-producer who brought us “Crimson Tide” and “Black Hawk Down,” but who also was responsible for “Pearl Harbor.”
After the rampant excess of Domino - Tony Scott's all-but-unwatchable 2005 actioner - the filmmaker has thankfully done away with most of his over-the-top stylistic tendencies and instead infused Deja Vu with a comparatively toned-down vibe that's reminiscent of past efforts such as Enemy of the State and Crimson Tide.
Tony Scott is a director known mainly for his high-class action thrillers, things like "Top Gun," "Days of Thunder," "Crimson Tide," "Enemy of the State," and "Man on Fire."
Certainly Tony Scott’s best movie since Enemy of the State, and probably since the Tarantino-scripted True Romance (or maybe Crimson Tide?), Deja Vu is a surprisingly engaging story of voyeurism, obsession, and a very odd complication in an unusual romantic relationship.
Director Tony Scott – re-teaming with Washington for the third time after Man on Fire and Crimson Tide - effectively cranks up the tension as we watch Carlin use his future knowledge to alter the past.
Teaming together before on Man on Fire and Crimson Tide, director Tony Scott and producer Jerry Bruckheimer have proved they work well together, so the movie is full of their proficiencies.
Washington, who also starred in Scott's films "Man on Fire" and "Crimson Tide," turns in one of his most hearfelt performances.