Viharzóna

Nagyszerű szereposztás. A vizuális effektek elsőrangúak. A film drámai poétikája is szép - nem egy újabb laza szórakozás, reménytelen "eye-candy boom". De a forgatókönyv túlságosan mesterkélt, nem egyedi és kiszámítható, mintha az utolsó pillanatban írták volna meg. Mit akart jelenteni például az a mellékszál, amikor a hajó utasait helikopterrel mentették meg, amikor semmi köze nem volt a film többi részéhez? (2002.05.27)

A great film with a surprising, non-Hollywood ending – but since it’s based on a true story, they couldn’t end it in any other way. Otherwise, had I seen it on TV, I would give it three stars, because the way the people at ILM created those stormy seas can only be enjoyed in the big screen. But I’m not saying anything new. (2002.06.02)

Petersen's Hollywood standard, which has traditionally been based on the great heroism of the main characters, who are written in a way that is just enough to make the viewer like them. From leisurely fishing, the manly Clooney and the romantic Wahlberg, etc., get into the heart of a terrifying storm, in which the hitherto suspiciously calm and supple film begins to take a turn. It's more a case of a breathtaking effects than some big directorial input that makes The Perfect Storm a good film. Even the acting performances are not exactly top of the line - let's say they are typical for the genre. All in all, this theatre about a bunch of fishermen works exactly as it's supposed to. If Petersen didn’t overdo it at the end (which resembles an explosion of a vanilla warehouse), it would have been a full-on spectacle. (2004.03.04)

The acting is handled brilliantly (Clooney's captain in particular is more than believable), there's nothing to criticize about the directing (the final sound flashback leaves a significantly more positive impression than I originally thought), but because of the screenplay, it is unable to get past the routine, familiar patterns of the genre. (2023.07.13)

“I'll be asleep, and all the sudden there he is, that big smile. You know that smile. And I say, 'Hey, Bobby - where you been?' but he won't tell me. He just smiles and says, 'Remember, Christina: I'll always love you; I loved you the moment I saw you; I love you now; and I love you forever. There's no goodbyes - there's only love, Christina; only love. Then he's gone. But he's always happy when he goes so I know he's got to be okay - absolutely okay.” (2005.05.07)

Wolfgang Petersen can credit himself with another proper piece of craftsmanship. His storm may not be that perfect, but in the parade of commercial and rather light-hearted adventures of the last few years, it does deserve a proud and prominent position, if only because it's not Roland Emmerich and his apocalypse in 500 different ways. The Perfect Storm makes much more of a narrative effort, trying to get closer to the main characters, all while striving to make the final natural fury fully impact the viewer in front of the screen. What's more, it manages to combine a dramatic face with excellent visuals, which is a huge plus, especially as the story builds up in the middle of the ocean. And the fact that the script sometimes feels a bit sloppy and disorganized is quite tolerable in this case. 80% (2012.11.20)

If Petersen didn't try to unnecessarily drag out that movie. The story with the rescuers is nice, but if it had only taken place on the radio, it would have the same effect and the film wouldn't be so long. However, I appreciate the excellent scenes at sea, they are more than just well-made, they are very believable. The guys are well-selected, Diane Lane is fantastic. At least the ending is not unnecessarily American. (2015.07.27)