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Starring: Melissa George, Michael Dorman, Liam Hemsworth, Rachael Carpani, Henry Nixon

Director: Christopher Smith

Writer: Christopher Smith

Cinematography: Robert Humphreys

Original Score: Christian Henson

Running Time: 99 Mins.

You will be unsurprised to learn that Triangle derives its title from the bermuda triangle, that legendary area of the ocean where many ships have been lost and strange occurances have…occured! Given Triangle features both a capsized yacht amidst a storm and a ghostly looking cruise liner that drifts into the stranded group of largely unknown, bar “star” Melissa George, actors path’s the similarities to such legend only appear to grow. But, like the film as a whole, the refernces are never made clear. Is this supposed to be what happens in the Bermuda Triangle? We never know because the infamous area itself is nevermentioned, that the yacht the group set sail on is called the Triangle is seemingly significant at first and then at once it is never explained either.

Make no mistake I do not expect every plot point sign-posted for me, heck, if every film did so we would experience a endless flurry of boring and obvious films, but if you write a script that wants to be as prolific as MementoFight Club or The Sixth Sense (which it is apparent Traingle aims to follow in the footsteps of) your pay of of concept must make sense upon the denouement, otherwise all that has come before is proven largely a total waste of time. Which is sadly what director Christopher Smith has achieved. 

His third feature following the gruesome yet tightly plotted Severence and Creep, Triangle proves his undoing, there is no escaping the blame for Smith both directed and wrote this dross. It starts intruguingly enough, with ex Home & Away actress Melissa George proving an excellent choice given that she looks stunning, yet possesses enough acting talent to convey the look of utter confusion the plot requires at times and the knowing flipside to that. Essentially she is required to take on a trio of roles, but not, now I would obviously refrain from spoilers in reviews but given none of it makes sense in the end it really doesn’t matter.

With the director’s past form in mind, it is to his credit that he has chosen to tackle something a little more cerebral, there is very little violence to be found for the gore-hounds expecting something akin to his previous work and there are no cheap shocks, the flip-side of this means the pace is very slow-burning, not a lot happens. While I was admittedly gripped in the first half hour during the build up, I found myself bored in the med-section and wishing for a pay-off that would make all the plodding plotting and elaborate set-up worthwhile, but alas while some ends are tied up, the overall feeling I was left with was not so much, was that it? But more what was that all for?


Traingle is a somewhat brave attempt at something more cerebral for director Smith, an intriguing opening that eventually loses any goodwill I had for all that follows and crucially  failing to put across the killer payoff it so badly needed.