K-19: The Widowmaker could have been so much more. Still, it's a respectable effort.

Rating: 6/10 (2 May 2005)

Watching "K-19: The Widowmaker" was a frustrating experience. Despite some extremely chilling moments, a neat look at propaganda and concepts of loyalty, the movie drags too much to be considered a complete success. Nonetheless, it's a lot smarter than your average "blockbuster," and Bigelow does succeed in capturing a sense of panicked claustrophobia (one of the hallmarks of the submarine movie, and it's done very well here).
Ironically, the "Mutiny on the Bounty" plot -- with Neeson and Ford vying for control -- is probably the least exciting part of the film, probably because we've seen it in so many other films. These are two powerful, interesting and authoritative actors, but their conflict feels stale. There's no sense of cat-and-mouse or one-upmanship; rather, it's like watching two elk butt heads. We're ready to move on a lot sooner than the film does.
The nuclear core meltdown plot is easily the more interesting story. If you can sit through the first act, this sequence is well worth the wait. It recalls "The Red Badge of Courage" in its exploration of cowardice and bravery. Peter Sarsgaard almost steals the movie as the young, untested officer suddenly confronted with the prospect of a horrible death. His reaction will probably ring far more true than most viewers would care to admit.
It is in these moments that K-19 flirts with greatness. Unfortunately, it's as if the screenwriter and director didn't trust the nuclear reactor story to carry the film, and added in the battle-of-the-wills subplot -- which in turn torpedoes the film, no pun intended.
The cast also struggles with on-and-off Russian accents, which deals another blow to the film. I wish they'd handled the language concept better because the accents are seriously distracting. The collective weakness of the accents recalls Costner in "Robin Hood: Prince of Thieves," a charge it pains me to make. Nonetheless, the accents are not the worst problem of the film and you tend to forget about them by the time the great stuff starts happening in the second half.
As for the performances, Ford is a good presence, and I have to admire him for taking on such an atypical role for him. Vostikov is a strict taskmaster, but Ford keeps him from slipping into caricature. Neeson is a good counterpoint, with a face that seems made for humanistic characters, and his interactions with the crew bespeak a paternal tenderness (indeed, he provides much of the film's humanity). Sarsgaard, nearly unrecognizable from his roles in "Boys Don't Cry" and "Garden State," performs yet another great disappearing act.
Overall, it seems the filmmakers' hearts (and minds) were in the right place, but the execution just wasn't as great as it could have been. Still, the film's got a brain and some claustrophobically intense sequences. It's worth checking out.