Film Review: Below (2002)

David Twohy, the American filmmaker best known for writing and directing the lean, effective sci-fi horror Pitch Black (2000), followed that sleeper hit with a project that seemed a natural progression: a period supernatural horror set within the claustrophobic confines of a World War II submarine. The resulting film, Below (2002), assembled a solid cast and boasted a pedigree that included a script originally written by Darren Aronofsky. Yet, despite these promising elements, the film proved far less successful, both critically and commercially, becoming a obscure footnote in Twohy’s filmography. This failure stems primarily from a fundamental creative miscalculation that saw a potentially taut, high-concept thriller watered down into a conventional, and ultimately unsatisfying, ghost story.

The plot, set in August 1943 in the Atlantic Ocean, establishes its premise with efficient, workmanlike dread. The American submarine USS Tiger Shark, commanded by the tense and weary Lieutenant Brice (Bruce Greenwood), rescues three survivors from a torpedoed hospital ship. Among them is Clare Paige (Olivia Williams), a British nurse whose presence ignites unease among the crew due to the old maritime superstition that a woman on board brings bad luck. Soon after, a series of strange, sinister incidents begin to plague the vessel. The tension compounds when the sub is forced into a deep dive to evade a German destroyer, trapping the crew in a steel coffin where paranoia festers. As the horrors escalate, it becomes clear the disturbances are supernatural, likely linked to a dark secret concerning the death of the submarine’s previous captain.

On a surface level, Below shares clear DNA with Pitch Black: an isolated, inhospitable setting, a confined cast, and a narrative driven by atmosphere and the gradual revelation of characters’ guilty secrets. The production values are commendable for their time. The filmmakers utilised the actual decommissioned WWII submarine USS Silversides for exterior shots on Lake Michigan, lending an undeniable authenticity to the vessel’s imposing, grimy presence. The interior sets at Pinewood Studios effectively recreate the cramped, labyrinthine corridors, with cinematography that masterfully evokes a sense of crushing claustrophobia. The cast, largely composed of character actors, is uniformly strong. Bruce Greenwood convincingly charts his character’s descent into frayed nerves and mounting guilt, while Olivia Williams provides a grounded, intelligent presence as the outsider who slowly uncovers the truth. Holt McCallany also makes a memorable impression as the intimidating Lieutenant Loomis. This ensemble, and the genuine threat of the wartime setting, create a fertile ground for suspense.

However, this is where the film’s central flaw—a flaw embedded in its very conception—fatally undermines it. Below originated as a script titled Proteus, written by Darren Aronofsky and Lucas Sussman. Its premise was a historical sci-fi thriller: a WWII submarine, fleeing Nazi depth charges from above, is simultaneously stalked by an alien monster from the depths below. When Twohy came on board following Pitch Black’s success, he radically altered the concept, stripping out the sci-fi elements and reconceiving it as a supernatural horror. This decision proved catastrophic for the film’s narrative focus. By replacing a tangible, external monster with a ghostly presence, Twohy traded the visceral, action-oriented suspense inherent to the submarine genre for a routine, and often muddled, murder mystery. The film becomes less about surviving a dual-threat scenario and more about deciphering spectral clues, a shift that dulls the edge of the premise.

The ghost story mechanics simply do not mesh effectively with the submarine setting. The paranoia and tension of a submerged vessel being hunted are potent enough; layering on a whodunnit haunting feels superfluous and dilutes both genres. Reviews from the time capture this dissonance. While some praised its exercise in style, the critical consensus was mixed. The supernatural elements feel grafted on, preventing the film from achieving the relentless, survivalist terror of a Das Boot or the inventive, high-stakes premise of its original Proteus incarnation.⁵

One could argue a sliver of the plot retains a disturbing modern relevance, touching on issues of maritime law, the rules of engagement, and wartime culpability—themes that resonate in discussions of the most recent events in the Caribbean. However, this thematic potential is never fully explored, remaining a subtextual whisper drowned out by the more conventional ghostly goings-on.

The film’s obscurity was further cemented by behind-the-scenes battles. Twohy refused demands from the studio, Dimension Films, to re-edit the film to secure a more commercially viable PG-13 rating. His commitment to his R-rated vision resulted in the film being given only a limited theatrical release in October 2002 with minimal advertising, leading to a dismal North American box office gross of just over $600,000. While this artistic stand is admirable, it also highlights how the film’s compromised core—neither a full-blooded action-horror hybrid nor a truly chilling supernatural tale—lacked the compelling focus needed to justify such a fight.

Below is a handsome, well-acted, and atmospherically directed film that suffers from a profound identity crisis. Twohy’s decision to steer Aronofsky’s high-concept Proteus into safer, more familiar supernatural waters robbed the project of its unique potential. What remains is a competently made but ultimately forgettable “haunted house” movie that just happens to be set on a submarine, a premise that promises more than it delivers.

RATING: 5/10 (++)

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