The title of the movie might be that of a super-cheesy song, with that highly catchy chorus by the band Europe in the 80s. Forget it because this came first, nor does it submit to cheese/silliness in what could've been a nonsensical premise. Gladly it doesn't, however for a fantasy / Sci-fi film that's impressively ambitious, and grand in scope. Talk about a cop-out for an ending! Or was it? The novelty of the concept flourishes with intelligence and vision, but it felt like something you would find in an episode of "The Twilight Zone". Maybe it would've been better suited so. The story begins with a freak storm transporting a modern American nuclear-powered aircraft carrier back to 1941, just before the Japanese fleet bombed Pearl Harbour. Now the question is should they get involved, and fear changing the face of history. Tough call. Too bad the film doesn't really take up that challenging stance with much aplomb, and somewhat takes an easy way out.
On an ethical note, the question raised is do we really have the right to change what has already happened. The paradox brings up many interesting possibilities, and drums up unimaginable suspense. It's an anxious waiting game for the decision, and that's what its all about. After deciding, it suddenly changes and leaves you hanging there with what could've been. The final note to me, made it all the forgettable. The material might not have been wholly satisfying, but technically it mainly came off with dazzling results. What was spectacularly done was the work they managed to get while filming on the actual U.S.S Nimitz. It feels, and looks authentic because it is. They filmed at sea on the boat, at certain intervals. The background features at times seemed to be more interesting, than the actual story. Watching the crew going through their manoeuvres was magnetically displayed. Also the aircraft scenes were remarkably done, and excitingly high powered. The special effects are dated, but managed to be atmospherically eerie and moodily colourful.
Figure heads Kirk Douglas (in a durably solid turn), Martin Sheen and at a lesser extent Charles Dunning give the film some stalwart class. Also showing up in the profound cast were Katherine Ross, James Farentino and Ron O'Neal. John Scott's heavy handed music score, was hit-and-miss, but Victor J. Kemper's expansive cinematography was professionally executed. Don Taylor's direction feels automatic, but breezy.
This boy's own adventure is an enjoyably, attention-grabbing "what if" predicament.
On an ethical note, the question raised is do we really have the right to change what has already happened. The paradox brings up many interesting possibilities, and drums up unimaginable suspense. It's an anxious waiting game for the decision, and that's what its all about. After deciding, it suddenly changes and leaves you hanging there with what could've been. The final note to me, made it all the forgettable. The material might not have been wholly satisfying, but technically it mainly came off with dazzling results. What was spectacularly done was the work they managed to get while filming on the actual U.S.S Nimitz. It feels, and looks authentic because it is. They filmed at sea on the boat, at certain intervals. The background features at times seemed to be more interesting, than the actual story. Watching the crew going through their manoeuvres was magnetically displayed. Also the aircraft scenes were remarkably done, and excitingly high powered. The special effects are dated, but managed to be atmospherically eerie and moodily colourful.
Figure heads Kirk Douglas (in a durably solid turn), Martin Sheen and at a lesser extent Charles Dunning give the film some stalwart class. Also showing up in the profound cast were Katherine Ross, James Farentino and Ron O'Neal. John Scott's heavy handed music score, was hit-and-miss, but Victor J. Kemper's expansive cinematography was professionally executed. Don Taylor's direction feels automatic, but breezy.
This boy's own adventure is an enjoyably, attention-grabbing "what if" predicament.