Many critics view the films produced by Jerry Bruckheimer negatively because they tend to be somewhat brainless. Flicks like Armageddon and Beverly Hills Cop ain't exactly Shakespeare, you know? Not that there's anything wrong with that; Bruckheimer films promise lots of excitement and action, and they usually deliver the goods.

One exception to this rule was 1995’s Crimson Tide. While it certainly utilized parts of the Bruckheimer formula - "A"-list cast, moody and dramatic score, etc. - it differs in a few significant ways. Top on this list is the fact that - boing! - it's not stupid. Admittedly, it doesn’t offer a complicated film like The Usual Suspects that demands complete attention. It's also not something you're terribly likely to debate with friends after you watch it. Nonetheless, it's a great deal more subtle and ambiguous than most Bruckheimer films.

At the start of Tide, we learn that some extremist factions in Russia may take control and threaten the US. The sub Crimson Tide gets put into duty and may need to use its nuclear missiles. Headed by Captain Ramsey (Gene Hackman), Lt. Commander Hunter (Denzel Washington) comes on board for his first mission there as second in command. The Tide receives a message that instructs them to prepare to fire on the Russkies. However, during an attack, they get another directive, but the battle causes them to lose the final part of the communication. This leads to a war of wills between Ramsey and Hunter, as they attempt to execute their duties in the appropriate manner.

In a typical Bruckheimer flick, both heroes and villains tend to be extremely strongly differentiated. In most of them, no one in the audience needs to expend a lot of gray matter discerning between the good guys and the bad guys. They tend to be about as black and white as it can get. We have heroes for whom we can root without reservation and villains who we can despise without consideration.

Crimson Tide provides the audience with a hero but no clear cut villain. Hackman's Ramsey largely fills that bill, but not to a decisive degree; although he functions as the bad guy in the piece, that's mainly because he opposes our hero (Washington's Hunter), not because he's inherently evil or because he tries to perform any wantonly dastardly deed.

Whereas the majority of Bruckheimer films are straight up action pics that feature extensive battle scenes between the various participants, Crimson Tide really is much more of a psychological drama. While a few scenes feature attacks from rebel Russian subs, the tension and excitement comes mainly from the philosophical conflict between the main characters. The film lacks the stylized violence and heavy-handed melodrama of works such as Armageddon and Con Air. While it manipulates the viewer to a certain degree, it doesn't come close to equally the "feel this way now" heights of other Bruckheimer epics.

It also requires the audience to consider which path they think is most appropriate. While Ramsey comes off as the less responsible and more irrational of the two leads, he nonetheless receives sympathy and understanding from the viewer because he's a man simply tries to execute his command to the best of his ability. I felt that the film depicted Ramsey as a bit too malevolent and eager to attack, but he still appeared less simplistic and barbarous than he could have been. At all times, one can comprehend and empathize with his point of view, even though we may feel that Hunter pursued the more appropriate path.

I don't mean to bash Bruckheimer's other films because they lack the subtlety and intellectual impact of Crimson Tide; again, they do what they set out to do, and they are satisfying and entertaining in that regard. Nonetheless, I definitely feel that Crimson Tide is a step up from the producer's usual fare. Unlike most of his films, little about it seemed gratuitous, unlike bits such as the car chase in The Rock. I thought that scene appeared out of place and useless in the scheme of things and felt it existed only because the filmmakers wanted a little action in the midst of a number of expository segments.

While the sub attack scenes in Crimson Tide strike me in somewhat the same vein, I believe they're much more defensible if simply because a) they make sense within the context of the story; and b) they prove to be essential in the advancement of the plot. Since the story is mainly about the conflict of interpreted duty between the main characters, the sub attack provides a reason for that struggle. After all, the leads oppose each other because of differing responses to an incomplete message; without the assault from the Russians, the message would have been easily interpreted and the drama would not have existed.

Overall, Crimson Tide works well because it doesn't try to overstep it boundaries. Almost the entire film takes place on the submarine, which makes for an effective technique ala The Abyss. The story relies on the audience feeling as cut off from the rest of the world as the characters. This method also gives us that claustrophobic feeling that seems so necessary in underwater films.

Crimson Tide's cast actually is less star-studded than most recent Bruckheimer vehicles; really, Hackman and Washington are the only "name" actors in this picture. That's not a problem, though, and it may act to the film's benefit. Both leads are typically excellent; Washington makes for one of the most effective and understated "action heroes" around, since he virtually never relies on the kind of hamminess we usually see in those roles. The supporting cast all fill their parts well; no one lets down the production.

Ironically, the only casting problem that occurs was in no way the fault of the producers. As Radchenko, the Russian nationalist whose rebel forces have precipitated this conflict, we briefly see Daniel Von Bargen. Who? Well, Seinfeld fans will clearly recognize Von Bargen as Kruger, George's goofball boss during the final season of the show. Seeing him as this violent radical definitely threw me off, but that's going to happen with little known character actors; all I thought of when I saw Hammond's butler during the early part of The Lost World was, "Hey! It's Mr. Pitt!"

Also as an aside, Crimson Tide contained at least one glaring factual error. The film takes place in October of year that's undisclosed, but logically seems to have been 1994 or 1995. However, at one point, Hunter mentions that the Cuban Missile Crisis happened 32 and a half years prior to the events depicted in the film. I can buy the 32, but not the half, since those events took place in October 1962. I'd guess that the film originally was set to take place at about the same time as its release date in spring, 1995, which would correctly date the previous crisis; the filmmakers may have later decided to alter the month written in the overlays but left the now-inaccurate statement alone. Okay, it's no big deal, but I gotta use my history degree for something!

Note that this DVD includes an “Extended Unrated Edition” of Crimson Tide. This adds about six minutes to the theatrical cut’s 116-minute running time. Even though I’ve seen the movie many times, I found it difficult to discern most of the changes. I saw a little more to the opening birthday party, and the military hearing ending shows some addition. We also see a little of an interview with the Russian leader.

George Dzundza’s Chief of the Boat (COB) character receives the most substantial expansion. A new scene appears in which Ramsey asks Hunter to talk to COB about his weight, and another sequence shows their discussion of that subject and Ramsey’s style.

Do any of these additions help or harm the movie? I don’t think so. The flick works perfectly well at 116 minutes and still goes nicely at 122 minutes. There’s nothing in the longer version that makes a difference in either direction.

Crimson Tide appears in an aspect ratio of approximately 2.35:1 on this single-sided, single-layered DVD; the image has not been enhanced for 16X9 televisions. The 2006 Tide definitely improved on the old non-anamorphic DVD, though a few small problems kept it from greatness.

Just barely, however, as much of Tide looked absolutely stellar. A few small issues with sharpness became part of the reason this transfer fell into “B+” territory. While the vast majority of the movie seemed crisp and well-defined, a smattering of shots were a bit soft. No signs of jagged edges or shimmering appeared, but a mix of small source defects could be seen. I noticed occasional specks throughout the movie, though these never became heavy.

When it came to colors, Tide excelled. The DVD presented some tough hues - we got a lot of red lighting, which can be murder on TVs - and it maintained tight and vivid tones at all times. I saw no signs of bleeding or noise despite the challenging settings. Black levels also seemed deep and rich, while shadow detail usually came across with good clarity and vividness. Some interiors on the sub seemed a little murky, but they mostly worked well. Some parts of the transfer appeared excellent, and only some minor softness and a few source defects left this one below “A”-level.

As I noted, that was an improvement over the “B-“ I gave to the old non-anamorphic version. On the other hand, both the new and old DVDs presented very similar Dolby Digital 5.1 soundtracks. The film demonstrated an active and encompassing soundfield. The forward spectrum presented good stereo imaging for the music, and various effects appeared appropriately placed within the realm. Those elements blended together well and moved smoothly across the channels. Surround usage seemed very positive. The movie consistently displayed a solid sense of environment, and the sub attack sequences brought the rears into the picture to a positive degree; they made the viewer a part of the action.

Audio quality seemed good but somewhat inconsistent at times. Speech sounded nicely natural and distinct, and I heard no concerns related to edginess or intelligibility. Effects demonstrated good clarity and accuracy, and they showed no signs of distortion. However, bass response seemed a little erratic, as low-end occasionally seemed a bit loose and boomy. Music usually came across as acceptably bright and dynamic, but bass also faltered slightly there. At times the score showed very positive depth, but at others, the music seemed a little thin. Overall, the soundtrack of Crimson Tide remained good enough to earn a “B+”, but if the audio quality were more consistent, it definitely would have made “A” level.

When we head to the DVD’s extras, we start with three Deleted Scenes. These include “Movie Trivia on the Bus” (30 seconds), “Sara Interviews Radchenko” (1:31) and “Awaiting the Naval Hearing” (1:13). As you can tell, all are short, and all are pretty useless. The “Radchenko” clip is the most interesting, but even it doesn’t show us much that’s not already in the extended cut of the film.

Two documentaries follow. All Access: On the Set of Crimson Tide runs 10 minutes, 18 seconds, and consists entirely of shots from the set. Mostly we watch raw footage of the production, though we also get some staged goofiness from actor George Dzundza and a few others. A combination of production diary and gag reel, we see lots of entertaining and interesting material here. “Access” becomes a fun and lively compilation of elements.

During the 19-minute and 56-second Making of Crimson Tide, we get a mix of movie clips, behind the scenes elements, and interviews. We hear from Dzundza, producers Don Simpson and Jerry Bruckheimer, screenwriter Michael Schiffer, director Tony Scott, visual effects supervisor Hoyt Yeatman, special effects coordinator Al DiSarro Jr., and actors Denzel Washington, Gene Hackman, Matt Craven, Viggo Mortensen and Rocky Carroll. We find some basic story notes and plot challenges, cast and characters, interaction with the Navy, set design, technical instruments like miniatures and gimbels, and qualities Scott and the producers brought to the project.

“Making” sags much of the time due to its general nature. It doesn’t provide a lot of good details, especially during its first half. Matters improve a bit during the final 10 minutes or so, but I still don’t think we get much quality content. It’s a mediocre featurette. Pirates of the Caribbean: Dead Man’s Chest, Remember the Titans, The Chronicles of Narnia: The Lion, The Witch and the Wardrobe, Eight Below and Glory Road. These also appear in the Sneak Peeks.

Crimson Tide remains one of the richest and most effective films in the Jerry Bruckheimer stable. It presents a taut Cold War-style thriller that keeps the audience involved. The DVD offers very good picture and audio along with a few decent extras.

The DVD doesn’t include as many supplements as I might like; I sure wish we got an audio commentary. The extended version of the film also doesn’t make much of an impression, as it neither improves nor harms the tale. Still, this release acts as a nice step-up from the old DVD, mainly due to the improved anamorphic transfer. Both fans new to Tide and those who already own the original release should pick up this re-release.

To rate this film visit the original review of CRIMSON TIDE