REVIEW – Yacht Goes “Adrift”, Movie About Yacht Fails to Stay On-Course

by Joe Hammerschmidt

Romantic disaster thrillers have evolved into a unique subgenre in the last year or so, hoping to build a candid rapport with audiences the same way The Greatest Showman managed last year for the niche-based musical fare. Multiple interpretations can be discovered dependent on the viewer, yet if the basic plotline cannot openly lend itself to that aforementioned value, the whole thing falls flat on its face. Icelandic auteur Baltasar Komárkur has proven a reliable helmsman who can perform directorial duties with 100% effort and a keen eye for the unexpected. His latest, Adrift, runs on about the same merits; however, with a jumbled storyline that struggles on its presumed charted course, there’s no telling where it may wind up. Bit of a shame, as its two leads really give their all to the disaster at play.

The plot starts out quite simple, laying thick the whole “lover’s paradise” atmosphere with a butter knife; one would think a film inspired by true life events would stay a little firmer to the ground, but in this case not so much. Tami Oldham (Shailene Woodley) arrives in the awe-inspiring realm of Tahiti in 1983, three years past high school and still figuring out life against certain obstacles preventing her from taking life to the fullest. At 24, she’s just looking for some adventure, a new calling. To everyone’s surprise, that comes in the form of pretty boy sailor Richard Sharp (Sam Claflin), stationed on the island. They fall in love, to an extended degree for the viewer, montages aside. Yet when the chance falls to sail his parents’ yacht back to its home dock, in her hometown, they both see the month-long crossing as a chance for closure. That is until the dangerous Hurricane Raymond barrels down on them midway through the Pacific.

Director Kormákur, with writers Aaron and Jordan Kandell (Moana) & David Branson Smith (Ingrid Goes West), have crafted a very old-fashioned romantic seafaring tale, albeit taken to certain extremes and not quite translating too well to what would constitute a modern-day disaster feature. Perhaps this would’ve better-suited audiences in the 90s; nowadays its lingering effect is destined all but muted. On one end, the time spent adrift after passing the eye of the storm (43 days total), where Woodley is committing all her physical energy to keeping herself and the badly injured and bedridden Claflin alive, is riveting, almost empathic. One key moment in the closing act did bring a tear to my eye, yet the reason behind it remains uncertain. Elsewhere, there’s the sickly sweet puppy love they both share; again, Woodley’s strength, while Claflin just rolling with the motions whenever a boat isn’t involved. He just doesn’t have as much confidence when not on the water; we expect action star material, and we come so close. So very, very close.

Mixing the two together, one finds a well-meaning, however painfully corny hybrid genre film that may appeal exclusively to the hopeless romantics, leaving straightforward disaster enthusiasts a little cold. Unlike Kormákur’s last major American film Everest, which had a bilateral focus on both a major world event and the people behind it, Adrift is too focused on the characters. The way the film itself is structured is of no less help, either. Splitting the plotline down the middle, starting the morning after the incident had occurred and only leaving the slightest of hints to the hurricane and its impact to leave the viewer asking themselves “how did they get here?” If it works for them, it’s fine; thematically speaking, not exactly the best option, if one’s attention is at prominent risk of loss.

Seeing two strong leads wading in the water, then laying next to each other in desperation, how that combination pares against the awkward plot arrangement makes every ounce of effort Kormákur applies to his attached script for Adrift just more frustrating to watch. The character’s struggle through starvation and vague delusions will remind one of the deep personal plights of Cast Away, the bleak immortality of All is Lost, or to a much smaller degree, the unique fantasy strains of Life of Pi with regards to the water. There’s no fish-based antagonist, nor does the hurricane possess any bite. It’s nothing more than a relationship drama that only showed promise whilst still on land. If nothing else, the moments spent on-water are where DoP Robert Richardson (a regular Tarantino collab, amid other notable credits) and editor John Gilbert (Oscar-winner for Hacksaw Ridge) thrive best; a welcome challenge they tackle with certain gusto.

Did I enjoy Adrift by any measure? Yes, and it would’ve been much more so if the above frustrations hadn’t turned their head so disappointingly. I enjoyed seeing Woodley back on a more dramatic turn, one also more physical, even if it just amounts to thrashing about in the water. All Claflin could do was lay in pain; had there been more competitive swimming against the backdrop of a tense boat-sinking sequence, I’d have had more to say for his effort, appearing less than fruitful. It’s a common reprieve: film aims for a certain high, leaves all bets on the table, unsure how to execute and holds back its promised potential. Plenty of promising elements, but better to keep those expectations at a certain fixed position, while the date movie crowd indulges in a tale of maritime pursuits that wishes for something a little more worthy of its description. Perhaps the true story behind this awkward dramatization might make a better read.

Adrift is in most area theaters this weekend; rated PG-13 for injury images, peril, language, brief drug use, partial nudity and thematic elements; 96 minutes.