Kursk offers excellent production values, cinematography and performances, but falls victim to its own conceit in attempting to interweave muddled, inconsistent political statements, resulting in a film that alternates between tense action and maudlin sentimentality.
The plot description on IMDb states, "As the sailors fight for survival, their families desperately battle political obstacles and impossible odds to save them." The futile and ineffective efforts of the families have little to do with the through line, but considerable attention is devoted to opening and closing scenes presented in a distractingly claustrophobic cropped frame, as well as raucous town hall meetings evocative of contemporary meetings disrupted by virulent activists promoting radical political ideologies. The Russian bureaucracy is presented again, again and again as obstinate and deceitful, leaving one to wonder if the filmmakers are attempting to make a statement about contemporary claims of Russian interference and hegemony. Although framed as a tragedy, the film isn't in the classical sense of a noble hero brought to ruin by a personal flaw. However, there is a tragic element in a recurring plot device concerning timepieces which in a minor way impedes the protagonist's ability to perform his duties. In the denouement, this device is woven into an apparent call out to the Resist! Movement. A scene evocative of the Sermon on the Mount seems to advocate income redistribution.
Yet, these apparent efforts to espouse liberal political ideologies are confused by other elements. The disaster is exacerbated by the Russian Navy's failure to properly maintain its fleet, suggesting more money should have been spent on the military. The socialist/communist bureaucracy is depicted as corrupt, ineffective and incompetent, possibly as a cautionary note to accepting the political policies of Ocasio-Cortez and Sanders, and possibly even leftists like Warren and Pelosi. The Russian military is depicted as ineffective and a theme is that all sailors are brothers, regardless of nationality, possibly suggesting that we should consider Russia a potential ally, rather than our natural enemy.
The movie joins a large group of recent films that seem compelled to make political statements at the expense of plot and character development. It could have been a much more effective thriller by focusing on the disaster and the efforts by the crew to overcome impossible odds. Alternatively, it could have been a melodrama, focusing on the efforts of the wives to persuade intransigent bureaucrats, particularly Max von Sydow's Petrenko, to admit failure and take the moral high ground instead of blind obsequiousness to party dogma.
The plot description on IMDb states, "As the sailors fight for survival, their families desperately battle political obstacles and impossible odds to save them." The futile and ineffective efforts of the families have little to do with the through line, but considerable attention is devoted to opening and closing scenes presented in a distractingly claustrophobic cropped frame, as well as raucous town hall meetings evocative of contemporary meetings disrupted by virulent activists promoting radical political ideologies. The Russian bureaucracy is presented again, again and again as obstinate and deceitful, leaving one to wonder if the filmmakers are attempting to make a statement about contemporary claims of Russian interference and hegemony. Although framed as a tragedy, the film isn't in the classical sense of a noble hero brought to ruin by a personal flaw. However, there is a tragic element in a recurring plot device concerning timepieces which in a minor way impedes the protagonist's ability to perform his duties. In the denouement, this device is woven into an apparent call out to the Resist! Movement. A scene evocative of the Sermon on the Mount seems to advocate income redistribution.
Yet, these apparent efforts to espouse liberal political ideologies are confused by other elements. The disaster is exacerbated by the Russian Navy's failure to properly maintain its fleet, suggesting more money should have been spent on the military. The socialist/communist bureaucracy is depicted as corrupt, ineffective and incompetent, possibly as a cautionary note to accepting the political policies of Ocasio-Cortez and Sanders, and possibly even leftists like Warren and Pelosi. The Russian military is depicted as ineffective and a theme is that all sailors are brothers, regardless of nationality, possibly suggesting that we should consider Russia a potential ally, rather than our natural enemy.
The movie joins a large group of recent films that seem compelled to make political statements at the expense of plot and character development. It could have been a much more effective thriller by focusing on the disaster and the efforts by the crew to overcome impossible odds. Alternatively, it could have been a melodrama, focusing on the efforts of the wives to persuade intransigent bureaucrats, particularly Max von Sydow's Petrenko, to admit failure and take the moral high ground instead of blind obsequiousness to party dogma.