By Jon Donnis
Pål Øie’s Kraken arrives with a premise that immediately feels full of potential. A remote Norwegian fjord, a scientific experiment gone wrong, and something ancient awakening beneath the water. It is a strong starting point, and for a good while the film makes effective use of that creeping sense of unease. The early scenes, focused on marine biologist Johanne and her work at a fish farm in Vangsnes, slowly build intrigue through strange incidents and subtle hints that something is not right. The story takes time to establish its setting before the chaos begins, and that approach works well. The fjord itself feels like a presence throughout, vast, mysterious, and impossible to fully understand. The cinematography also makes excellent use of Norway’s scenery. Sweeping shots of calm water and towering landscapes create a peaceful atmosphere that clearly cannot last.
The central concept, involving a sonic device created to tackle lice infestations in farmed salmon accidentally awakening a monstrous creature, is genuinely interesting. It mixes environmental concerns with classic creature feature elements in a way that feels fairly original. Once the Kraken starts to emerge, the film becomes far more engaging. Those sequences carry a real sense of scale and danger, suggesting something enormous lurking beneath the surface. The creature itself is essentially a gigantic octopus-like beast, and these moments are where the film feels most alive. There is a convincing sense that something ancient and powerful has been disturbed, and the attacks inject the film with much-needed energy.
Still, the weaknesses become more noticeable once the story moves beyond its strong setup. The film never fully overcomes the restrictions of its budget, and that becomes increasingly obvious as things progress. Some of the visual effects look uneven and occasionally artificial, which weakens the immersion. That is frustrating because the core idea deserves stronger visual execution. There is also the issue of the audience constantly feeling ahead of the characters. Too much is revealed too soon, leaving little room for tension or mystery to develop naturally. Rather than uncovering the truth alongside the characters, it often feels like simply waiting for them to catch up.
The character work is another area where the film falls short. Johanne works well enough as a lead on paper, but neither she nor the supporting cast are given enough depth to become fully compelling. Relationships feel thinly developed, and several major decisions lack emotional impact. A few noticeable plot holes also begin to creep in, particularly when characters behave in ways that seem designed to move the story forward rather than feel believable. It is disappointing because the cast themselves are clearly capable performers, they just are not given enough material to work with.
At under 90 minutes, the pacing remains fairly brisk and the film never becomes dull. Even when it stumbles, it stays watchable throughout. The strength of the central idea helps carry it along, alongside the occasional striking image of the fjord and the glimpses of the creature moving beneath the water.
Kraken feels like a film that should have landed more effectively than it ultimately does. The concept is strong, the setting is perfect for this kind of story, and the opening act pulls you in with ease. Unfortunately, the execution never quite lives up to the promise. It remains an entertaining enough creature feature, though one that leaves you thinking more about what it could have been with a little more refinement and polish.
I score Kraken 6 out of 10
Apple TV - https://apple.co/4ulJOKV
