“Dead in the ‘Water’”
by Scott Mantz

“Open Water”
Blanchard Ryan,
Daniel Travis
Directed by Chris Kentis

Too close for comfort! Hungry sharks circle Blanchard Ryan and Daniel Travis in "Open Water"

buzz (bez), noun – 1) the insistent rasping sounds characteristic of flying insects, 2) a noisy vibration, 3) rumor, gossip, news

All of those definitions may apply to the word “buzz” as defined by Webster’s Third New International Dictionary, but let’s face it – the third meaning is all that really counts where the Sundance Film Festival is concerned. That’s because a little buzz can go a long way in turning a tiny little movie into the talk of Park City, Utah.

That’s what happened back in January, when “Open Water” premiered at Sundance and took unsuspecting moviegoers to the deep end of terror and suspense. Quickly labeled as a cross between “Jaws” and “The Blair Witch Project” (the latter of which also premiered at Sundance before grossing more than $240 million worldwide in 1999), the low-budget film makes for a harrowing cinematic experience that will keep you on the edge of your seat.

When burned out power couple Daniel (Daniel Travis) and Susan (Blanchard Ryan) escape to a tropical paradise for a long-overdue vacation, they soon find themselves in the middle of an unbelievable, horrific nightmare. After a relaxing afternoon of SCUBA diving, they return to where their boat was supposed to be to find that it has mistakenly left without them. Now they’re stuck in shark-infested waters, and with the clock ticking away, they’re getting tired, they’re getting cold and they’re getting scared. Oh, and those sharks? They’re getting hungry.

Comparisons are bound to be made between “Open Water” and “The Blair Witch Project,” but the fact is, “Open Water” is a much better movie. While both are more imaginative than other Hollywood films simply because of what they don’t show you, “Blair Witch” had a documentary-style, “is it real, or isn’t it” gimmick that was fueled by a then-ingenious marketing tool called the internet. Thanks to Chris Kentis’ effective direction, “Open Water” is a much more straightforward film that relies on solid character development, a building sense of dread, appropriately nervous humor and a haunting climax that refreshingly bucks the Hollywood trend.

Perhaps the most horrific aspect of “Open Water” is the fact that it really happened. At first, Daniel and Susan treat their predicament with disbelief and self-deprecating humor, but as they slowly come to realize that they are in very real danger of becoming fish food, they go through various phases of panic until they start blaming each other. As the hours tick away through the night, hope begins to fade as they simply fight to stay alive.

The only problem with “Open Water” is that it can’t escape the sub-par acting that is common in many low-budget films. It’s hard to take digs at newcomers Blanchard Ryan and Daniel Travis, who were obviously real troopers to endure over 120 hours in the water while being surrounded by real sharks, but they simply lack the experience needed to drive home the force of their seemingly contrived breakdowns. Having said that, the real terror of the film is overpowering, so to rest the weight on their shoulders really doesn’t seem fair.

In the end, “Open Water” proves that a movie doesn’t have to be saturated with special effects to leave a lasting impression, and it will no doubt serve as a welcome break from the popcorn-minded drivel being dished out by the Hollywood studios this summer. It’s highly unlikely that the Sundance favorite will match the phenomenal box office success of “The Blair Witch Project,” but that’s okay. Thanks to the buzz that it’s already getting, I’m sure it will do just fine.

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