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  • Flood
    • Flood
    • Runtime:110 min
    • Release Date:2017-01-20 11:10:10
    • Director: Tony Mitchell
    • Genres: Action, Drama, Thriller
    • Studio:


I really wanted to like this movie, as the concept of a waterlogged
London intrigued me and I love a vast majority of the cast. But what a
bitter disappointment. Granted the photography and special effects are
great and very cleverly done. And the music is decent. Everything else
however went down under-water like a sunken ship.

The story and concept were really intriguing. But it wasn't told very
well. Why? Because the film is very stodgily paced, while the subplots
are badly underdeveloped and clichéd and the climax is very badly
botched. Then we have flat direction and an awful script. Even the
acting was disappointing. Robert Carlyle, Tom Courtenay and David
Suchet are truly talented characters, but their characters are not
interesting. Neither are everyone else's. In fact all the characters
are very cardboard especially Jessalyn Gilsig's and Joanne Whalley's.

Overall, a big disappointment, looks great but it is badly told and
dull. 4/10 Bethany Cox


Although a heavily cut version played one theatre in London for a week,
you need to see British disaster mini-series (or is that disastrous
miniseries?) Flood in all its two-night three hour glory to get the
full horror of this engagingly awful damp squib. It's unrelentingly
awful but strangely compulsively so in its wildly overambitious tale of
a thousand year storm surge flooding London and threatening various
cardboard cutouts played by actors who've all seen much better days and
look like they'd rather be somewhere else long before the Thames Flood
Barrier is overrun. Indeed, the cast is like a graveyard for careers in
trouble: Robert Carlyle, clearly wondering where it all went wrong
after Trainspotting and The Full Monty as the heroic marine engineer,
Tom Courtney doubtless remembering the days when he could afford to
turn shows like this down as the scientist no-one would listen to,
David Suchet wondering if this is the only job he can get that doesn't
require a moustache and a Belgian accent (he doesn't even get to play
the Prime Minister, he gets to play the Deputy Prime Minister!), Joanne
Whalley wondering why her career is doing even worse than Val Kilmer's
since the divorce, Ralph Brown fighting a losing battle with bad
dialogue, ex-Bond villain Gottfried John getting two brief scenes az
der head ov ze US Federal Reserve so the show can qualify for German
tax breaks and Tom Hardy turning in the best performance as a slow
London Underground maintenance worker. Poor Moira Lister, in her last
screen role, only has a couple of lines before being killed off before
the title sequence. Luckily for most of them the screen credits are
printed in tiny type and gone too fast to read them: you rather suspect
that was contractual to spare their blushes.

Coming off speculative one-hour dramadocs like Supervolcano and the
impending equally soggy Atlantis, director Tony Mitchell is hopelessly
out of his depth, throwing in sped-up ominous establishing shots,
MTV-style rapid-cut montages of stock footage, the odd bit of shakeycam
and overcast aerial shots of buildings with plenty of scenes of people
standing in front of computer map projections of impending doom on an
exponential scale to unintentionally hilarious effect. When one of The
Young Ones (Nigel Planer) is in charge of the Met Office, you know
disaster isn't far off, and you know things are bad because every time
David Suchet gets angry, the frame freezes, goes into high-contrast
black and white and the time appears and starts sliding down or across
the screen. Indeed, were you to make a drinking game out of every time
the frame freezes and the time appears, you'd be drunk as a skunk by
the second commercial break.

No cliché is left unturned – estranged families are a particular
speciality, with Carlyle not only separated from his wife but having
shunned his father for years – and its attempts to look hi-tech are
laughable long before the highly variable flood effects kick in. It's
the kind of show where the Thames Barrier (run by token Canadian,
Jessalyn Gilsig, to help get a tax-break friendly Canadian
co-production deal) has a state of the art retina-scan ID system rather
than a bored security guard who asks you to sign in with a dodgy biro
and where every government body has a video-walled bunker that looks
like NORAD (though rather more convincingly they can't find the proper
plugs). The special effects team aren't quite so well-equipped: the
first part boasts easily the worst special effect with a toy helicopter
landing in decades – you just know that there's someone holding it just
off camera. This isn't just the kind of show that watching in a high
definition format does the effects no favors whatever, it's the kind
where you really need to see it on the smallest TV screen with lousy
reception for most of them to pass muster. The effects do improve, as
does the show in general in the second half when everyone gets to play
Poseidon Adventure as they get trapped in sewers, car parks or
underground stations as the water rises and the lower-billed supporting
cast meet watery ends to the accompaniment of Hayley Westenra wailing
on the soundtrack, but the silliness doesn't evaporate: the finale
involves a suicide mission to lower the Thames Barrier before a
panicking Prime Minister can blow it up with our heroes inside it. Oh,
the humanity! Inane enough to even give Irwin Allen pause, but it does
have a definite train wreck fascination.


My overall comment? Editing: POOR. VFX: OK (not bad). Acting: not bad.
script/idea: not bad

The editing of this movie is obviously POOR. It cannot communicate to
the audiences. The transition of scenes, the length of scenes are
inappropriate. It's a bit boring actually. The story goes almost all
the way the audiences would expect. The background music is also
re-used several times throughout the movie, as though they only have a
couple of pieces available.

The visual effects is OK, acceptable, but nothing very surprising. The
waves themselves are OK, but the way they blend with still water (when
the waves are coming) is poor. It's obvious that they just rendered a
wave layer and put it on top of an image with still water, instead of
rendering the entire stuff in one piece.

The story itself is not bad, up to standard. But the way the editing is
done really downgrades the entire piece. It's obvious they wanna
reproduce a UK version of a flood film from those US ones, but they
can't get as good.

It's an average movie, not bad after all. But don't expect a Hollywood
class one, you'll be very disappointed.


There are not many British disaster movies made, so this film is indeed
a rarity. The film is like a simulation of what might happen if a giant
sea swell overwhelmed the Thames sea wall barrier created in 1983,to
counteract tidal swells which have increased in size over the years and
do actually pose a threat to the city of London, England, due to its
close proximity to the ocean waters of the English Channel. Real life
scientists have suggested that under extreme conditions the ocean could
sweep over the Thames barrier and flood London. Hence the film. The
acting is good, and the film has good internal logic, which definitely
helps since its running time is about three hours. I think people today
expect a new film to make their bed, make their lunch and give them a
meaningful relationship. This film holds your attention and is well
done. Can't ask for more, and if you do, go see a shrink.

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