Thirteen years ago, saturation diver Chris Lemons was performing routine (though exceedingly dangerous) work on a pipeline at the bottom of the ocean, 330 feet below the surface, when the umbilical cord connecting him to his diving bell was snagged and severed. The race to find and rescue him concluded with Lemons’ brain deprived of oxygen for 30 minutes. Though he had a pulse, his vacant eyes led his co-divers to assume he’d been left in a vegetative state—until he spoke, as plain as day. Richard da Costa and Alex Parkinson’s 2019 documentary Last Breath looked into this real-life, death-defying tale whose details still evade clear answers. It’s a heroic yarn of human endurance ripe for a Hollywood spin, which is exactly what Parkinson has now undertaken with his dramatized take on the survival story, bearing the same name. A pulse-pounding, high concept bio-drama, Last Breath is a commendable technical feat, though its melodrama falls short.
In the thriller, Scottish diver Lemons (Finn Cole) prepares to go out on his next job fixing a pipeline on the ocean floor. He is betrothed to Morag (Bobby Rainsbury), who takes a much less blasé approach to her fiancé’s line of work. Every time Chris goes on a dive, there is a chance that he will never come back. Saturation diving is one of the most dangerous jobs in the world, as an info scroll helpfully explains at the start of the film. Not only do divers have to descend great depths into the ocean, but they have to be slowly decompressed in their ascent back to the surface, a process that can take days. But any potential echoes of the horrific Byford Dolphin incident hold no bearing on what happened to Lemons: while performing his job alongside David Yuasa (Simu Liu), their support vessel’s dynamic positioning system fails during a powerful storm. This causes the boat to drift into harsher waters. Lemons’s safety cord catches and eventually snaps, dragging him out into the abyss of the ocean floor.
With no way to track Lemons, the support vessel’s captain and its dive supervisor, Andre and Craig (Cliff Curtis and Mark Bonnar, respectively), struggle to even search for the man whose oxygen supply is now a countdown timer. At the diving bell, veteran diver Duncan (Woody Harrelson) is virtually powerless in the face of this unprecedented accident. So ensues the bulk of this brisk 93-minute race against the clock, as David and Duncan attempt to work what magic they can underwater while the support vessel’s crew attempts their own. Parkinson and his co-writers David Brooks and Mitchell LaFortune turn it into a real nail-biter, as the depleting oxygen store is eventually usurped by the amount of time Lemons has been underwater with no oxygen at all. The minutes tick by gradually, to anxiety-inducing effect.
The underwater cinematography is chilling and claustrophobic, a team effort between production designer Grant Montgomery and DP Nick Remy Matthews. While the occasional above-water drone shot occasionally muddies the vibes, the practical sets and real underwater camerawork give Last Breath a grounded sense of place. A large water tank in Malta circumvents the feelings of outer-space weightlessness that often hampers underwater scenes filmed with a green screen, and the approach to lighting is also used to great effect. Instead of encountering any creepy ocean floor critters (which would undoubtedly have been distracting CGI), the divers merely have to contend with the terror of infinite blackness. The void of the ocean is Last Breath’s chief antagonist. The jump scare moment when Chris is plunged into that void is accompanied by the understanding that he has been tossed out into total, enveloping darkness. It is a miracle that he doesn’t let his fear paralyze him into inaction, instead searching around for the man-made structure he knows can’t be too far away. Helmed by a director with intimate knowledge of the original narrative, Last Breath emphasizes its tangible setting and its genuine danger (the real footage from the doc spliced in at the film’s start doesn’t hurt).
But where Last Breath succeeds on a technical level, it falls short in its emotions. The ham-fisted Hollywood romance between Marog and Chris can’t contend with the footage shown at the end of the film, of the real Marog and Chris on their wedding day as Duncan looks on. Their scenes here instead offer only clichéd dialogue and a weak B-plot. One particularly egregious instance sees Morag utter the queasy line “[your job] is extraordinary, but what we have is extraordinary, too.” Morag’s face pops into the film every now and then as memory or video footage to remind the audience that Chris has a beautiful lady at home who loves him and would be devastated by his loss.
There’s a lot of familiar banter between other characters, too. Harrelson does his usual smart-aleck-with-a-heart schtick, playing affectionately against a more grizzled Bonnar. The bulk of the best and most evocative acting is between Curtis and Bonnar, while Liu is, as ever, a reliable dearth of charisma. Cole—whose big-eyed boyishness gives him a sympathetic leg up—succeeds as being mostly a human MacGuffin. His performance is mainly relegated to scenes with Morag; otherwise his screentime is spent motionless, obscured by his scuba suit while the life slowly, but not completely, leaves his body.
Last Breath is an unreal account of cheating death, a happily-ever-after that really happened. It’s difficult to screw up an event that comes so pre-packaged with movie magic, the type of made-for-the-screen saga that might allow the filmmaking to mostly coast on the waves of its narrative. But in spite of its thin characterizations and forced romantic beats, Parkinson and his team effectively translate the documentary into a lean, heart-palpitating thriller.
Director: Alex Parkinson
Writer: Mitchell LaFortune, Alex Parkinson, David Brooks
Starring: Woody Harrelson, Simu Liu, Finn Cole, Cliff Curtis
Release Date: February 28, 2025