[To be read with Australian accent]
“That’s not a shark. (pause) Now that’s a shark!”
You win. The Meg stars the biggest shark in sea monster cinema history, so it’s got that going for it. There’s also oodles of action heroics by the reliably shirtless Jason Stathem, a laconic swab with the gumption to save a darling little Pekinese dog from a watery grave right before the end credits.
This is hardly a spoiler. The titular apex predator is indeed a massive beast, but it wreaks precious little carnage on the civilian population. The body count is supplied principally by members of an underwater research station bankrolled by slacker billionaire Morris, played by Rainn Wilson.
His gonzo turn is a standout among a cast that includes such standard plug-and-play characters as a sassy black scientist (Page Kennedy) who sure as hell can’t swim and never signed up for any of this shit.
Stathem is Jonas Taylor, a hard-drinking rescue diver still haunted by a few lives lost during a risky mission several years before. In need of redemption, Taylor returns to the briny deep when his ex-wife Lori (Jessica MacNamee), is marooned and besieged by a prehistoric killing machine at the most remote spot on the ocean floor.
Rather than rekindle with the ex, Taylor is more or less thrown into the arms of Suyin (Bingbing Li), a fetching single mom marine biologist whom he obligingly rescues on several subsequent occasions. For sheer volume of last-second escapes, The Meg is up there with Raiders of the Lost Ark.
But it’s an earlier Steven Spielberg blockbuster that fans still venerate as Lord of the Deep in the giant critter genre. At that point in his career (1975), young Spielberg hadn’t become commodified as the ultimate family friendly filmmaker.
In Jaws, the dog disappears. Remember the kid on the beach throwing the stick to a black lab named Pippet? You see the dog swimming and then the stick washes up on the shore. Spielberg’s movie is both bloodier and scarier, even 40 years later. Current audience research indicates a missing dog won’t cut it with a 21st century crowd.
There is certainly nothing as hair-raising as Ben Gardner’s floating head in The Meg. Instead, it’s a serviceable CGI popcorn flick content to elicit a few gasps—rather than a chorus of screams.
One thought on “The Meg (2018)”