jumping the shark

So I’m behind on everything – and I’m aware I haven’t done a Things I Liked post for a while. Because, while I have continued to Like things, despite the pandemic, it’s been hard to keep track of time and that’s made maintaining a monthly schedule a little bit awkward.

What I have done, however, is suddenly get addicted to shark movies. I think it started as a Moby Dick (for those who aren’t on Twitter, I’m currently a chapter a day of Moby Dick and then vaguely Tweeting about it under the hashtag #quarantinemeishmael) inspired fixation with the sea colliding with a nostalgia-inspired desire to watch Jurassic Park and, from there, anything else that involved big things with teeth eating people.

Therefore, I present in ascending order of badness of, if you prefer, descending order of goodness the almost half-dozen shark movies I watched over about a weekend at some point in the recent past. Like I say, time has gone wobbly.

The Shallows

I was not expecting much from this because it seemed like its main selling point was Blake Lively in a bikini (although, to be fair, that is quite a selling point). But this was just … genuinely quite a good film. Possibly even by the standards of films, rather than by the somewhat distorted standards of films about sharks.

I think what I liked about it, apart from Blake Lively getting to do that range thing that actors are into, was that it was all really small scale. And, for a shark movie, mostly quite plausible. The basic premise is that Blake Lively has lost her way a bit after her mother died of cancer and has decided that she’s going to drop out of medical school and go surfing on an emotionally significant beach in Mexico. Despite the beach being basically normal and perfectly safe, a whale carcass washes up in it, which attracts a shark, and Blake Lively becomes trapped on a tiny rock within sight of land.

What makes The Shallows different from the many other shark movies I watched is the really intense focus on basic survival stuff. The core structural challenge of a shark movie is much like the core structural challenge of a haunted house story. You’ve got a central deadly threat that is very specifically restricted to a location that you have no particular reason to go into and can often leave at any point. In The Shallows, however, Blake is specifically stuck on a rock, the shark is specifically between her and the beach, and she’s already been bitten once. So although it does ultimately devolve into a fairly standard “kill the evil fish” scene the core conflict of the film isn’t so much “how do you destroy the bad killer shark” it’s “how do you get back to the beach before you dehydrate or the tide comes in.”

It’s also just really nice to see Blake Lively doing some quite hardcore survival shit, often in interestingly feminine-coded ways. She sutures her own wounds with her earrings and things, and there’s always something satisfying about seeing that “primordial will to survive” trope manifest through a female character (especially one who isn’t protecting a child). And there’s just enough context with Blake’s family and background to give the film a bit of heart as well as, y’know, shark.

I give this film four and a half out of five casual dismemberments.

The Meg

Once again, I was not expecting much from The Meg. But I unironically really liked it. It’s a solid action movie but, and perhaps this is because I happened to be re-watching Community at the time, what it kept weirdly reminding me of was that the episode where the gang’s all telling ghost stories and Abed’s story ends with the guy and the girl standing back-to-back in the middle of the cabin holding knives.

Basically, what I really liked about The Meg was that at no point did anyone do anything monumentally incompetent purely to advance the plot. And this was so consistent that it was almost jarring because you kept waiting for the moment when someone would refuse to take advice or pointlessly poke a mega-shark or say something like “well, let’s capture the shark and sell it to the army instead of trying to kill it.” There was even a bit about halfway through where I felt myself thinking, hey what happened to the woman on the original sub who got injured or the biologist lady’s daughter and then was I was like, oh yeah, they were removed to a safe distance at the first opportunity.

What’s interesting about this is that it does make the cadence of deaths in The Meg very different from what you normally get in this kind of movie. In your standard big toothy creature feature you get people picked off fairly regularly as they needlessly split up, take unnecessary risks or, occasionally, just seem to honestly forget that the monster exists. In The Meg, however, everyone just acts really sensibly but they occasionally get blindsided by changes of circumstances or things they legitimately had no way of knowing about.

I think what sums up The Meg as an action flick that seriously respects its characters is the point early on when the deep trench exploration sub has gone missing and the biologist lady gets into her own single person vessel thing to try and rescue them. And then the more qualified rescue guy shows up and is like “hey, you can’t do this, you’ve got to leave it to me” and she’s like, “well, actually I’m an expert in this field so I think I can be useful” and then her sub gets slightly damaged (again, purely because they don’t know there’s a mega-shark down there) so she pulls out immediately because trying to carry on would just get someone killed.

There’s also surprisingly sweet but not at all foregrounded lovestory between biologist lady and rescue guy that doesn’t diminish either of them or stop either of them from being competent.

So, yeah, if you want to watch a movie about a giant killer monster shark that is way better than it needs to be you could do a lot worse than The Meg.

I give this film four and a half out of five ominous fins.

In The Heart of the Sea

This one isn’t about a shark, but it was the first sea-themed movie I watched because it was specifically supposed to be about the secret true story behind Moby Dick. Although it could probably have been more accurately described as the sort of true story that was quite well known at the time Moby Dick was written and is explicitly referenced in Chapter 45 (The Affidavit). The content of this story, essentially being “there was a whale and it hit a ship and the survivors had to do cannibalism (spoiler)”.

Basically, my problem with this film was “not enough whale and too much cannibalism”. It’s a perfectly decent, well-constructed, well-acted movie but I think the desire to play up the Moby Dick connection really harms it. There’s this whole framing device where Ben Whishaw, playing Herman Melville, is being told the whole story by Mad Eye Moody (who is married to Catelyn Stark) and Mad Eye is reluctant to tell him everything that happened because he’s so deeply ashamed of the cannibalism thing and it ends with Melville promising to tell the story but it’ll be a fictionalised version where the cannibalism is left out. Whereas the character Mad Eye Moody is playing in real life wrote his own memoir of the events, with the cannibalism stuff  definitely left in, which was published long before Melville wrote Moby Dick.

And an awful lot of the film feels like it suffers because of this desire to fit a Hollywood framework with twists, emotional beats, a tie to a literary classic, and an evil whaling conspiracy into a historical context that had none of these things. Even the bit where they eat each other wasn’t as much of a big deal as the film makes it out to be. Don’t get me wrong, I’m sure it wasn’t considered nice, but part of the reason the crew were so up for drawing lots to see who gets eaten is that it was kind of an established naval convention.

Then there’s the, well, the whale thing? As far as I understand it, it is true that the wreck of the Essex was one of the stories that inspired Moby Dick (again, it’s literally mentioned in the book) but the film seems to want to make it a more direct inspiration than it actually was. From my limited, and largely Wikipedia-based research, the Essex was stove by a whale (which sometimes happens because whales are big and strong and don’t massively like having spikes stuck in them) and sunk, but the whale didn’t spookily follow anyone around and no-one developed a lifelong obsession with hunting it, so it’s really a story about a shipwreck in which a whale happens to feature. Which means having the whale constantly show up and do this weird nemesis thing with one of the Hemsworths is … just very odd. Especially since in the movie it’s entirely his fault that the whale sinks in the ship in the first place.

The thing is, it’s probably … an okay movie? It’s just I really wanted more whale and less sad men with beards eating crabs and/or each other.

I give this film three out of five suspiciously gnawed bones.

Deep Blue Sea

Okay, so you know how I started the first two of these saying “I unironically like this film”. Well, we’ve come to the end of that. Deep Blue Sea is famously so bad it’s good. And … mostly I agree. Although it sometimes dips into so bad it’s okay.

The whole premise of genetically engineering super-intelligent sharks to cure Alzheimer’s is the kind of crap I’m usually really into, and the film sort of owns its nonsense in a way that is sometimes fabulous. I think my favourite sequence is the bit where they’ve tranquilised the super-shark and successfully extracted protein from its brain, and Obviously Doomed Scientist Guy is leaning down next to it in exactly the kind of way that I was really pleased that people in The Meg didn’t, and then it bites his arm off, and then they have to take him to, like, the hospital deck but he gets … like … grabbed by the shark in transit, and then later on, they’re on an observation platform underwater and the shark throws him at their glass viewing window and he’s kind of just there, with a shark behind him, and the grass cracking. And it’s like, fair play, shark, fair play. Also there’s a really famous bit where Samuel L Jackson gets nommed halfway through making a really inspirational speech which is kind of great.

But I think, weirdly, I’d have liked this film more if I hadn’t Googled it and discovered that they made a lot of changes following test screenings, some of which were probably good (like not killing off LL Cool J) but which also includes randomly having the lady scientist pointlessly feed herself to the shark for no reason in the final scene, just because test audiences wanted her to die. And, oh my God, so much to unpack here.

To go off on a tangent, because I love going on off on tangents, I was recently listening to a podcast about The Phantom of the Opera, in which the podcasters were talking about a production they went to recently which had a black Carlotta and how that massively changes the optics of the show. Because, suddenly, your secondary antagonist is a black lady who you need to make shut up so you can replace her with a skinny white woman. And I think the audience reaction to scientist lady in Deep Blue Sea has a similar issue because what you have is a fairly well-established trope that is usually applied to non-marginalised Group A that gets incredibly problematic when you apply it to marginalised Group B.

Because, the thing is, I do see that being destroyed by your own creation is very much the deal in this kind of monster movie. John Hammond gets away with it in Jurassic Park but a) not in the book and b) I don’t think you could kill Richard Attenborough and c) pretty much everybody else who is directly involved in creating the park does get killed. But the scientist lady in Deep Blue Sea just comes across, to me at least, as profoundly sympathetic. And maybe it’s just because I find Alzheimer’s profoundly terrifying, but I think “wants to cure Alzheimer’s” is such an understandable motivation that I don’t feel “accidentally breeding hyper-intelligent super sharks” is the kind of hubristic act that deserves a karmic punishment. It’s not like she’s doing it for money, or the lulz, or (like in about 90% of monster movies) for a very poorly defined military application. And, obviously, when you’re applying karmic hubris punishment to female characters it’s really hard to look at that without seeing it through the lens of a society that just kind of likes to punish successful women in general.

It doesn’t help that it’s so obviously crowbarred in. Karmic deaths should ideally be one of two things. Either they are something you pointedly bring upon yourself by demonstrating the kind of personality flaw you’re being punished for (like when the guy who created the monster confidently insists that he’s definitely able to control—argghhh) or else it’s a redemptive self-sacrifice–an “I made this thing, therefore I must take responsibility for dealing with it.” But what happens at the end of Deep Blue Sea is they’re trying to blow up the super shark but it’s too far away so scientist lady cuts herself and jumps into the water to lure the shark back, so that Action Dude can shoot it. Except then Action Dude basically refuses to shoot it because, essentially, he didn’t like her plan and, therefore, won’t follow through with it, even though it’s now kind of irreversible. So you wind with his difficult thing where not only  was this change to made to satisfy test audiences who specifically wanted the smart woman to die horribly, but it’s implemented in a way that makes it even clearer that she’s being arbitrarily punished for trying to do things her own way.

The thing is, I can cope with a story element supporting ideas I think are shitty and I can cope it with being forced. What I cannot cope with is it being forced in order to support ideas I think are shitty.

I give this film two out of five unnecessary fridgings.

Jurassic Shark

Oh dear. So, you probably know what mockbusters are. Just in case you don’t (they’re a popular beat combo, m’lud) there’s this thing when a big blockbuster movie comes out where smaller studios will put out incredibly cheap knock-offs as a way of riding the hype train or, possibly, trying to actively trick people who are looking for the bigger budget and better film.

Jurassic Shark seems to be that for The Meg.

I’m sort of glad I watched it. I’m very glad I didn’t pay for it. I’m not even sure it’s so bad it’s funny. It might just be so bad it’s … nothing?

For what it’s worth, according to its Wikipedia page, it was once the 11th worst rated movie on IMDB. And I think it earned that distinction.

So this is clearly filmed by a lake somewhere in Canada, but everyone keeps loudly insisting it’s a beach in the hope that if they say the word beach enough we’ll somehow forget we’re looking at overgrown mud next to brown water. The basic premise is that illegal drilling unleashes a megalodon into the lake and a journalism student and her friends are going to investigate the illegal drilling and get trapped on the lake by the megalodon. Also some art thieves are hiding out at the lake and they’ve dropped the art they stole in the lake and they want to force the students to get the art back from the lake for them.

It is really noticeable how little of this shark movie involves actually interacting with the shark. The first couple of times it eats people it very clearly exists only in mime. When we finally see it, it’s very clearly stock footage. And when there’s no way to avoid having the actors and the shark on the screen at the same time it has apparently been CGI-ed in with MS Paint.

There is basically nothing good about this movie, yet I will still talk about it at great length. We learn about the illegal drilling thing from exposition between two vaguely scientist-ey characters that takes place on a staircase that looks like it was probably shot in the director’s flat. When the one surviving scientist goes to sacrifice himself to the shark for not reason, he takes off his lab coat to reveal a T-shirt advertising a specific brand of beer. The shark flies at one point. There’s a really long sequence of people just walking. Not talking or doing anything. Just walking. Like the writers had one of those 3am drunken conversations where they were like, hey, isn’t unrealistic how, like, in movies people go a bunch of places but you never see them, like, actually going there. All the dialogue has that thing where there’s a noticeable pause between the end of one character’s line and the start of next character’s line, even if the second character is supposed to be interrupting the first character. Honestly, I’ve seen better production values in FMV games.

Oh, also, the main plot ends with the two supervising students deciding that they have to kill the shark in case it gets out and kills someone else. I will remind you, that it is in. A. Lake.

And, finally, the shit cherry on the poo cake, is that the movie ends with two guys sitting by a fishing hole with one of them giving a long speech about how weird it is that the other guy’s daughter (who is right in front of them) is moderately attractive, given that his wife is, like, really fat and ugly, I mean really fat and ugly, like Oh my God, you wouldn’t believe how fat and ugly this guy’s wife is. And then the guy with the fat ugly wife is like, “Well, you know what they say, even big ugly monsters can have offspring”. At which point an awful CGI shark leaps out the water and swallows them.

And, like, I get that you’re doing the trad monster movie “the end question mark” thing. But you basically had a really jarring, more than slightly misogynistic rant about some guy’s wife just to set up an incredibly forced feed line that doesn’t even quite fit either of the contexts it’s supposed to come in.

And finally, finally finally, in this scene they’re really obviously drinking the same brand of beer that’s on the scientist’s T-shirt.

I give this film zero out of five—you know what, I can’t even be bothered.

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