The Red October, is a Russian submarine that newly made and can work in silent, the thing that makes Americans fear, as it has the ability to attack them anytime, without their knowledge, as it works silently, so they begin to take restricted producers to avoid such a danger, but incidents come to climax, when the sub captain Marko Ramuis, kills their political officer.
The big question hanging over the much-anticipated film version of novelist Tom Clancy's best-seller The Hunt for Red October is how, in the current world climate,this cold war thriller will stand up to the warm glow of glasnost. The answer is: just fine.
The Hunt for Red October is a happy cinematic event, the first motion picture that allows us to experience the sweaty-palm thrills of the Cold War without worrying that the world will blow up this year.
You may not be limp from accumulated tension when this hunt is over, but its cautiously upbeat global message leaves a satisfying glow and it operates with a crackerjack premise.
The Hunt for Red October is overplotted and sometimes implausible, but McTiernan's clipped style and lavish budget help it through the choppier waters.
Like the nuclear submarine it's named after, The Hunt for Red October is big, shiny, and expensive. But it's also hard, cold, and cumbersome, just when it's trying hardest to be likable and even friendly.
Though Hunt shows fitful signs of life, it lacks the human drama of Das Boot, the technical dazzle of The Abyss and the old-fashioned brio of Run Silent, Run Deep.
Based on Tom Clancy`s phenomenally successful techno-thriller novel, The Hunt for Red October proves that a film can equal, if not surpass, the intrigue and excitement of the story it is based on.
Clancy is known for writing difficult books, but the movie makes plausible a preposterous situation because of Baldwin's convincing, low-key approach to being a film hero.
