Waterworld

Directed by Kevin Reynolds, Waterworld, which unfolds in a post-apocalyptic landscape wherein dry land has essentially become a myth, follows a mysterious figure known only as Mariner (Kevin Costner) as he reluctantly agrees to help a woman (Jeanne Tripplehorn’s Helen) and young girl (Tina Majorino’s Enola) escape the clutches of Dennis Hopper’s malevolent Deacon. Filmmaker Reynolds, working from Peter Rader and David Twohy’s screenplay, does a fantastic job of initially luring the viewer into the (palpably overlong) proceedings, as Waterworld kicks off with an exciting action sequence set aboard a man-made atoll that’s certainly a breathtaking marvel of production design – with Costner’s commanding, magnetic performance only heightening the impact of this impressively conceived (and coherent) opening stretch. (Hopper’s scenery-chewing, mustache-twirling turn as the larger-than-life villain perpetuates the compulsively watchable atmosphere, to be sure.) From there, however, Waterworld segues into a somewhat hit-and-miss midsection that generally doesn’t, for the most part, feel as streamlined or propulsive as one might’ve preferred (and expected) – with the less-than-consistent vibe paving the way for a climax and coda that ensure the whole thing fizzles out to a distressingly demonstrative degree. The final result is a watchable yet erratic endeavor that could’ve benefited from a much shorter running time, ultimately, which is a shame given the eye-popping nature of certain sequences and the thoroughly promising bent of the first act.

**1/2 out of ****