They say that imitation is the sincerest form of flattery. Certainly that’s something that media lawyers will no doubt argue against, as one person’s homage is another’s blatant rip-off.

But there’s no denying that some films take what made one film great, and liberally ‘borrow’ to enhance their own. The question is, is it so bad if it makes for an enjoyable film?

This film dunks a classic in water, so that even if you protest about its lack of originality, no-one will hear you scream.

Seven miles down, anchored to the ocean’s floor is Kepler 822, a mining and research facility. Its crew are going about their business, when the outpost suffers from a major earthquake.

One of the few survivors is mechanical engineer Norah Price (Kristen Stewart), who quickly meets up with a few more, including the base’s captain, Lucien (Vincent Cassel), until there are five of them. It’s decided that if they stay where they are, they will die, so it’s agreed that the best thing to do is to get to the rescue pods.

Unfortunately for them, the pods are some distance away, so it means they'll have to go outside to get there. And as they soon discover, they won’t be the only thing out there.

Firstly, the elephant seal in the room needs to be addressed: this film is an Alien clone, and as such should have been entitled Alien Submerged. All that’s been changed is the setting – it’s still a space flick, but that space has now been flooded with water. Stewart plays Ripley 2.0, as her and the few crew remaining have to not only endure the deterioration of their sea base, but a foreign aqua being outside, that appears keen to make their acquaintance.

But what US director William Eubank’s third film clearly lacks in originality, it more than makes up for in atmosphere.

Underwater is a sharp lesson in taut tension. It literally drips in atmosphere, from beginning to end, so much so that you may find yourself gasping for air on occasion. It is stylishly shot, with some pleasing cinematography that really helps set its watery scene.

A surprisingly highlight watching it in the relatively dry environ of home, was its effective use of surround sound. It’s been some time since a film has utilised the home cinema system with such impact, having such a truly engrossing soundscape as it does.

Eubanks is also clever to not have the film outstay its welcome; it has a nippy length of just over 90 minutes, which is more than enough in any pool, and the action very rarely lets up in all that time. The cast do a swell job, particularly as they’re on the move through water most of the time, with T.J Miller doing well providing the occasional moment of light relief.

It may well be a carbon copy of a classic film, but when it has been produced with such a stylish vision and sharp structure, quite frankly who cares? It’s obvious that Eubanks knows what he’s doing; he even includes a visual motif, here represented as a fluffy toy, that’s a sure, knowing nod to a certain feline Jonesy from on board the Nostromo.

It’s a classic, heart-racing flick that is a pure adrenaline rush throughout. Just remember to breathe.