When the goings get tough

Rating: Null/10 (9 February 2016)

A few observations, based on 2 3D viewings, in Dolby Surround 7.1, on digital 3D screens.
This movie is done a disservice by its marketing department, since it 'boasts' one of the most by-the-numbers trailers, which, thankfully, I did not let influence me, especially since the flick itself is engaging from beginning to end, and is a throwback to adventure/rescue movies of yore - think 'Das Boot', 'The perfect storm', 'White squall', 'All is lost', et al.
It is also one of the recent movies where the 3D augments, and does not distract, or distort, of course, depending on whether the cinema you patronize maintains their projection and glasses in ship-shape or not.
The meat of the screenplay revolves the main plot taking 3 paths after its 15 minute point, followed by long, slow, engaging peeks we get into each of those paths from that point on. Gillespie, of 'Lars and the real girl' and 'Fright Night' (remake) fame, brings his deft, sure touch to the proceedings, never allowing a single plot- point or character to take the main stage, but allowing the plot to be the movie's anchor, so to speak.
One aspect that was kinda disappointing, as is always for me, is the based-on-a-true-story trope, which ensures that surprises will be at a minimum, except perhaps for those who have no idea with what happened off the port of Charleston (MA) in 1952 with the Pendleton and the MA Coast guard, or seasoned veterans of watching rescue mission movie plots unfold (or for those among us who read spoiler- laden reviews to be sure that we're watching stuff that others in the mainstream have praised).
Chris Pine (his career-best?) and Casey Affleck (a really good year, with this one and 'Manchester by the sea' coming out), on (each of) whose shoulders is placed most of the leadership duties, acquit themselves very well, with each of their characters having well- defined arcs that begin at a point where they're treated like underdogs (in 1 case, deservedly so, while in another case, not so much), and quietly (yet surely) rise up to the occasion when called upon to do so. They're ably supported by Ben Foster (still the best thing about most of the movies he's been in - The messenger, Hostage, Lone survivor, Ain't them bodies saints, 3:10 to Yuma - remake, Contraband - remake of Reykjavik|Rotterdam......), Eric Bana (under-used, possibly miscast, but still damn good), Holiday Grainger (with an arc not as well-defined, but, considering the writing, she does a pretty credible job) and the other stock supporting characters, from among whom John Ortiz, as always, stands out.
Along with the trailer, one more thing I thought was super-corny was the tag-line I saw on the poster, which said, "We all live, or we all die'. However, in the context of the movie and the situations it covers, though spoiler-y, the adage is apt.
A friend of mine had complaints about the sound design throughout, even through the character-making low noise sequences in the beginning, excessive use of miniatures and CGI etc. I do not see eye-eye on most of those, though he is more knowledgeable on some of the set design and situations having to influence sound design, even in which case, I'd be on Gillespie+Team's side for making choices needed to keep the movie stayed cinematic. It's a mainstream outing, after all, and I'm all for those outings that stay away from the Michael Bay school of quick cuts and edits (inspired, of course, by the master of those music video-inspired techniques, the late Tony Scott).
Over time, and in hindsight, I also find myself disagreeing with most of the criticisms being leveled against the Holiday Grainger led path/arc, since it stayed true to the contexts set at the beginning of this flick.
In conclusion, this is surely one to be viewed on the biggest screen possible, maybe more than once.