Even a script written by algorithm would make extra sense than “Pressure of Nature,” a dumb dud of a film that depends on probably the most preposterous of coincidences and probably the most exhausted of premises (in each senses of the phrase).
In actual fact, the premise is the premises. The Class 5 storm is only a comfort to each maintain everybody in an condo constructing that two cops are attempting to evacuate, and to chop off their communications. The group caught inside consists of: an previous man with a secret who will not go away, one other previous man named Ray (Mel Gibson) who’s an ailing retired cop (however fully up on all the newest cop gossip and instances). He additionally refuses to depart. Then there’s his lovely however apprehensive physician daughter (Kate Bosworth), a survivalist with an arsenal stockpile, and a man who acquired in bother on the grocery retailer for making an attempt to purchase 100 kilos of meat (William Catlett), whose solely clarification is that he has to feed his pet, Janet.
Additionally within the constructing: a bunch of ruthless crooks who’re on the lookout for … one thing we cannot know till later. However we all know instantly that they’re ruthless as a result of the trigger-happy prime man, often known as John the Baptist (David Zayas), shoots a pleasant previous girl and one among his personal individuals simply because he will get irritated with them.
Attempting to remain on prime of all of that is cop primary, Cardillo (Emile Hirsch), a cynical (say it with me) burned-out loner with a tragic previous who can’t be bothered to do his job, a lot much less be taught Spanish. He is acquired that entire “I am too previous for this”/”I wasn’t even imagined to be right here” vibe. He is simply operating out the clock on his retirement. His new associate exists simply to supply distinction. Cardillo has turned off his emotions however warmhearted Jess (Stephanie Cayo) is a native Puerto Rican who is devoted to the job.
Director Michael Polish strikes the characters across the constructing like chess items. Over right here, one group is coping with a life-threatening harm. Over there, one other group is hiding out from John’s indistinguishable assault-weapon-wielding goons, who need the treasure however have no idea precisely the place it’s. The shoot-outs and hide-outs and different motion scenes are staged adequately, however the characters are so generic, with each ingredient so clearly designed solely to arrange some unsurprising revelation, that any stress dissipates. So do the pauses for characters to bind their wounds whereas sharing artificial backstories.
Given the devastating influence of the particular Class 5 Hurricane Maria in 2017, utilizing a storm like that as a peg for a heist film is in questionable style. But it surely would not cease there. The plot-by-bullet-point provides not solely the private redemption and realizations of varied characters but additionally piles on racial profiling and the Holocaust, tossed in so as to add unearned heft to the confrontations and classes realized.
The ultimate scene is nearly a cynical parody of motion film endings, with an implausible romantic connection and a downright ridiculous disposition of a few of the treasure. Chekhov famously mentioned, “One must not ever place a loaded rifle on the stage if it is not going to go off.” A whole lot of loaded weapons, plus Janet the pet, inflict harm earlier than the tip of “Pressure of Nature.” I am fairly positive Chekhov additionally knew there needs to be greater than that.