Tag: horror

Wynonna Earp: season one

  By

★★★
“Wynonna the Demon Slayer”

After a long absence, Wynonna Earp (Scrofano) returns to her home town of Purgatory, near the Rockies. There, we discover the truth about the death of her father and disappearance of her sister, events which precipitated Wynonna’s departure. Turns out the great-great-granddaughter of the legendary Wyatt Earp has a supernatural duty to fulfill, using her ancestor’s equally legendary 16-inch barrel “Peacemaker” revolver. Wyatt kept demons known as “revenants” in check, and the mission has been passed down the family line since, with Wynonna the current incumbent. Fortunately, mystical borders keep the revenants within the “Ghost River Triangle,” and she has the help of Deputy Marshal Xavier Dolls (Anderson), an agent in the “Black Badge” division of the US Marshals Service; Doc Holliday (Rozon), the now-immortal former friend of Wyatt; and Wynonna’s kid sister, Waverly (Provost-Chalkley).

Yeah, as the tag-line above suggest, there’s more than an echo of Buffy here, from Wynonna being the unwilling “chosen one”, through Purgatory being a hot-bed of supernatural activity (or “Hell Mouth”?), and the associated “Scooby Gang” who help out the heroine. Doc is a parallel for Angel, being a somewhat ambivalent immortal who has an on-again, off-again relationship with Wynonna. Dolls is Giles, the sensible adult of the group. And Waverly is a lumpy combination of Giles (research skills), Dawn (bratty little sister) and Willow (gratuitous lesbian tendencies). I’m not sure how many of these similarities come from Beau Smith’s comic which is the source here. It first appeared in 1996, when Buffy was still a failed movie, and not yet the successful TV series it would become. But the showrunner admits, when pitching Wynonna, she would describe it as “Buffy meets Justified.”

So, if you’re looking for originality, you are far better off elsewhere, certainly. That said, the horror-Western is some way from being an over-familiar genre, and the obvious influences certainly do not mean it is without merit or appeal. There has been a real shortage of action heroine shows on American television – which leaves me happy to see, even one as derivative as this. I particularly liked Scofrano, who brings a cynical world-weariness to her mid-twenties character.The show also does a good job of disseminating information, striking a nice balance between revealing its secrets, and keeping the audience guessing. The middle episodes do degenerate a bit into ‘Occult Monster of the Week’ territory, yet the writers redeem themselves with a strong final arc that sets the stage nicely, and not too obviously, for the second season.

Wynonna [a spelling which looks plain weird, with at least one N too many] takes to her destiny with gleeful abandon, dispatching revenants with enthusiasm. It’s refreshing to see a heroine who doesn’t agonize endlessly about dispatching the enemy – even if in this case, it’s probably because they are already dead. Overall, I think the show will likely go as far as Scrofano can take it. If it takes advantage of the chance to improve, and does so to the same extent Buffy did (the cast there didn’t grow into their characters until perhaps the third series), it’ll certainly be worth another look.

Creator: Emily Andras
Star: Melanie Scrofano, Shamier Anderson, Tim Rozon, Dominique Provost-Chalkley

The Creature Below

  By

★★★
“Two tentacles up! Well, one  tentacle, at least.”

The mad scientist has been a staple of horror/SF for almost 200 years, since Victor Frankenstein first cranked up his machine. The worlds of literature and cinema have frequently returned to it since. A survey showed mad scientists or their creations to be the threat in 30% of horror films over a fifty-year period, and examples from one or other, include Dr. Moreau, Dr. Jekyll, Herbert West, and Rotwang in Metropolis. But they have been almost exclusively male: after Frankenstein, it was 75 years before any comparable female character existed, the title character in George Griffith’s Olga Romanoff, from 1893. They have been rare ever since, with only the occasional entry such as Lady Frankenstein to break male domination.

This is another rare example, and what makes this movie particularly unusual, is the Lovecraftian overtones. While not based specifically on any of the works of H.P. Lovecraft, it is certainly set in the Cthulhu Mythos where his stories took place. Indeed, at one point, heroine Dr. Olive Crown (Dawson) hangs up her credentials from “Miskatonic University”, the fictional establishment often referenced by Lovecraft. Yet Lovecraft wrote almost exclusively about men, to the point where female characters are notable by their absence. Here though, it’s likely necessary, due to the maternal aspect of the storyline.

Dr. Crown is part of a deep-sea expedition, testing out a new underwater suit. A dive goes badly wrong, with Olive barely surviving, and being blamed for the accident, though she remembers very little of what happened. When checking the suit, she discovers an egg-like sac. Having already been fired, she smuggles it off the boat, and back to the basement of the house she shares with her boyfriend (Thrace). It hatches, and the creature begins a growing relationship with Olive, that’s part-psychic, part-mental and almost all creepy. Especially after she discovers that human blood is about the only thing it will consume. Fortunately, there are no shortage of potential snacks to hand, including her former boss and her adulterous sister (Longden).

If you were to describe this as a cross between The Thing and Hellraiser, you’d not be far off. There’s the creepy, tenticular monster of the former, as well as a soundtrack which is so close to John Carpenter’s electronic minimalism as to invite a lawsuit. Meanwhile, you have the lurking horror behind suburban walls from the Clive Barker adaptation, with a seemingly nice young woman luring victims in, to feed her monster pal.  Onto this combination, the film piles common Lovecraftian themes of growing insanity, against a backdrop of the “Old Gods” – once the object of cult devotion, these entities have not been destroyed, and are merely sleeping, waiting for their time to come again.

There are certainly a couple of mis-steps on the way, not least some horrendous CGI which is not needed at all – a painfully artificial shot of a ship sailing could easily have been skipped, and takes the viewer out of the mood entirely. The ending, similarly, goes at least one step (if not several) further than it needs to: this is one of those times when leaving things to the audience to fill in the blanks would have been a better bet. But the monster, in its various stages of growth, is impressively realized, especially given the obvious limitations of resources here. If falling short of the movies which it most closely imitates, those are some large, black boots to fill, and there’s enough here of merit to provide a creepily decent pay-off for the viewer.

Dir: Stewart Sparke
Star: Anna Dawson, Daniel Thrace, Michaela Longden, Johnny Vivash

Here Alone

  By

★★★
“Forest of the Dead”

A viral plague has decimated mankind, turning its victims in mindless, flesh-craving ghouls. One of the few to have survived is Ann (Walters), who has taken up residence in the woods, where she has camped out. Ann uses the survival skills she received from her now-absent husband, Jason (West), only occasionally having to emerge and risk the threat of the infected, in order to gather supplies. Her secluded, yet relatively safe existence is disturbed, when she finds an injured man, Chris (Thompson) and his teenage daughter, Liv (Piersanti) on a road. They are supposed to be on their way north, to where the epidemic is reported to be in check. Yet Chris, in particular, seems curiously unwilling to be on his way.

If there’s nothing particularly new or inventive about this version of the zombie apocalypse, it’s not without its small-scale merits. Ann is far from some kind of survivalist Mary Sue: she’s barely getting by, perhaps having paid less attention to her wilderness lessons than she should have. Probably wisely, for a small budget film, the infected – the term “zombies” is never used – are kept largely out of sight, heard more than they are seen. While their shrieks are unnerving enough, the tension comes more from internal forces: the opaque nature of Chris’s motives, for example, or Ann’s dwindling supply of bullets. The former are particularly troubling: the dynamic between Chris and Liv just seems “off” in a variety of ways, and I was not surprised when this played a part in the film’s climax. However, things do not unfold in the way I expected, so credit for that.

The film does cheat a bit with regard to previous events. At the beginning of the film, Ann is already alone, and information about what happened to Jason and their child, is only doled out in teaspoon-sized flashbacks over the course of subsequent events. It matters, because these flashbacks reveal quite a lot about her character, and the way she interacts with other people: information we otherwise don’t have. By not getting it until later, we end up retro-fitting it into what we’ve already seen, and I’m not certain the additional complexity of structure imposed, serves any real purpose.

In the earlier stages, it reminded me of The Wall, with its tale of a woman thrown back entirely onto her own resources. While that solo adventure would have been difficult to sustain, it is the most interesting and original part of proceedings. I was rather disappointed when Chris + Liv showed up, because the entire dynamic changes at that point, and the film becomes something with which I’m somewhat too familiar. While there are twists down the stretch, this rejects the chance to truly separate itself from the large pack of zombie apocalypse movies in terms of plot. Fortunately, a solid performance from Walters helps the film sustain viewer interest through the weaker second half.

Dir: Rod Blackhurst
Star: Lucy Walters, Adam David Thompson, Gina Piersanti, Shane West

Ataúd Blanco: El Juego Diabólico

  By

★★★½
“Who takes the child by the hand takes the mother by the heart.”

This crisp little Argentinian film clocks in at 70 minutes – not even enough to be considered a feature by the Screen Actors Guild. You’ll understand, therefore, there isn’t much fat on its bones. Virginia (Cardinali) has left her husband, taking daughter, Rebecca (Duranda), with her. But a moment’s inattention at a gas-station proves fatal, as Rebecca is abducted, and Virginia’s car driven off the road during the subsequent pursuit. Brought back (from the dead?) by a mysterious stranger (Ferro), she is told Rebecca has been chosen by a religious cult as a sacrifice. It’s up to Virginia to stop them, and she can let no-one get in her way. Which becomes an issue, for we quickly find out, she is not the only mother looking to recover a child from the cult – and, it appears, only one can succeed.

It’s a blowdart of a movie, picking nastily away at the scab of “How far would a mother go to save her own child?” – and keeping at it. “No, really. How far?” It does require a certain suspension of disbelief, not least in Virginia’s inexplicable failure even to attempt contacting the authorities regarding her missing child, surely the first thing most people would do. If you are able to get past that – and it is likely the plot’s biggest weakness – then you’ve got a steady descent into hell. The unspoken question which informs everything is whether the stranger actually has her best interests at heart, or is simply pulling her strings. Weird sacrificial cults in rural places tend to do that, as anyone who has seen The Wicker Man knows. And if to you, that means only the Nicolas Cage version: my sympathies on your loss.

However, there are elements of another Cage movie here: Drive Angry, in which he played a criminal who came out of the grave, to track down the cult who are preparing to sacrifice his grand-daughter. This is nowhere near as lurid: save for perhaps one sequence involving a chainsaw, this is more about psychological torment than the physical. For example, Virginia’s quest involves tracking down and burning the white coffin referred to in the title (the subtitle translates as “A diabolical game”). Yet as the film goes on, it becomes clear that any success in this is going to come at a hellish cost to her own humanity – and, arguably, that of her daughter as well.

The quote at the top is a German proverb (or maybe Danish, depending which Internet site you believe), and it’s an appropriate summary, though doesn’t capture the thoroughly mean-spirited nature of this, especially in the final reel. That’s no criticism in the genre of horror, which should go the extra mile to push the viewer’s buttons, yet especially in more mainstream works, tends to bail out at the last minute. It’s something of which this isn’t guilty; when it ends, it’s going further into the same bleak darkness, where the movie has been heading all along.

Dir: Daniel de la Vega
Star: Julieta Cardinali, Rafael Ferro, Eleonora Wexler, Fiorela Duranda
a.k.a. White Coffin

Last Girl Standing

  By

★★★
“In the beginning was the end.”

The horror genre has a tangential connection to the action heroine one, most directly through the concept of the “final girl” – when the last person left alive is a woman who confronts and defeats the threat. From Halloween to Alien, this has been a staple of the genre, but whether it qualifies a film for inclusion here, depends largely on what has gone before. For example, 10 minutes of frantic action at the end can’t counterbalance the first 80, if the focus there was not on a female lead.

Here, we instead jump right to the “final girl” section, with Camryn (A. Villalobos) pursued by a masked psycho known as “The Hunter” (Vines), who has already killed everyone else. She survives, and he is apparently the victim of one of his own traps. Fast forward five years, and understandably, Camryn is still damaged by the events. Shunning the media circus which followed, she now works in a dry-cleaners, all but avoiding human contact and unable to find closure. New colleague, Nick (B. Villalobos) tries to bring Camryn out of her shell, with the help of Danielle (Ploeger), who understands what trauma feels like. But a series of unsettling incidents leave Camryn increasingly convinced she is being stalked again. Is the Hunter really dead, and if not, can she save her friends from him this time?

The key factor here is largely whether what Camryn – and only Camryn – sees can be trusted, or if her sanity has finally cracked. Unlike some, the film does firmly and definitively answer that, and the final 15 minutes have a nicely cyclical nature, with Camryn’s new friends doing a great deal of running and screaming. While I can’t say much more there without spoilerage, until then, the script does a decent job of keeping the two alternate possibilities plausible, helped by the supporting characters. Most amusing there is likely Maelyn, who is firmly convinced Camryn is a loonie – and, to be honest, given a fondness for acts such as smashing bottles on people’s heads, you can see Maelyn’s point.

This does make the growing relationship between Brian and Camryn fairly  implausible, since the latter’s instability seems like a huge red flag – especially without, say, raging hotness which could cause us men to overlook it [Been there, done that, deeply regretted it!] However, it’s an interesting touch to have a husband and wife playing the two leads, perhaps giving things here a needed dash of authenticity. But this is most fun at the blood-soaked end, when Camryn is in full-on “final girl” mode, and the film gets to wallow in some gorey – and non-CGI, I’m pleased to report – mayhem. An earlier commitment to this direction might have been preferred, rather than the over-familiar “is she or isn’t she?” uncertainty. The lead performance was good enough to keep me interested though, and the structure offers some fresh takes, in a genre not exactly noted for them.

Dir: Benjamin R. Moody
Star: Akasha Villalobos, Brian Villalobos, Danielle Evon Ploeger, Jason Vines

Undead Pool

  By

★★★
“Buffy the Zombie Slayer goes for a dip.”

I strongly prefer the alternative name (as given in the credits below, though in some territories this was also known as Inglorious Zombie Hunters) – it’s one of the finest exploitation titles of all time, both describing exactly what the film is about, while simultaneously reeling in the potential viewer. Certainly beats something which sounds more like an Asylum “mockbuster” version of a certain, snarky Marvel superhero. If the product itself doesn’t quite live up to it’s own name, this mostly a case of, really, how could it?

New transfer student Aki (Handa) has the misfortune to arrive at the school on inoculation day, and ditches class to the stress of her new situation, so doesn’t get her jab. This turns out to be extremely fortunate, as the supposed “vaccine” turns out to be the plot of an evil scientist, and those injected with it – both students and teachers, the latter receiving a particularly strong version – turn into flesh-eating zombies. Despite Aki’s strong aversion to water, she finds some allies in the shape of Sayaka (Hidaka) and her colleagues on the girls’ swimming squad, because it turns out the chlorine in the pool negates the effects of the compound. It’s up to them to defend themselves from the hordes, and also resolve the murky nature of Aki’s previous history, which turns out to be not entirely disconnected from current events. Oh, yeah: there might be some lesbian canoodling as well. Just so you know.

The zombie aspects in particular are well-executed: energetically messy, with plenty of blood and a sense of self-deprecation that helps to counter-balance negates the obviously low-budget approach, most apparent in the rubbery nature of the severed limbs, flying through the air. It’s as if the film is saying, “Yeah, we know we’re cheap, come along for the ride anyway.” It helps that the zombies retain some of their pre-infection character, rather than being just mindless flesh-eaters. For example, there is the maths professor who continues to mumble about a problem involving apples, while wielding an inexplicably razor-sharp yard-stick around. Mind you, this is a school which leaves chainsaws lying around, and than there’s also Aki’s spiked swim-fins [which looks and acts like the iron fan beloved of martial arts flicks]

There is, as you’d expect, copious fan service – though the title does at least explain the swimsuits, which are likely less gratuitous here than in, say, D.O.A. This is probably the least interesting aspect, and I was reminded of Fred Olen Ray’s comment that nudity is the cheapest special effect. The finale, where Aki reveals one particularly startling special talent, likely doesn’t stand up to scrutiny either: quite how she acquired the skill is never adequately explained. While there was still enough here to keep me entertained, this mild recommendation should come with a caveat that I’m significantly more tolerant of low-budget goofiness than most people.

Dir: Kōji Kawano
Star: Sasa Handa, Yuria Hidaka, Hiromitsu Kiba, Mizuka Arai, More
a.k.a. Attack Girls’ Swim Team vs. the Undead

Goddess of Love

  By

★★★
“My super crazy ex-girlfriend.”

Right from the start, it’s established that Venus (Kendra) is not the most mentally stable of creatures, alternating between emotional fits in the bathtub, drug abuse and her day job as a stripper. That’s pretty much the trifecta of Stay Away for any man. But she ends up dating one of her strip-club customers, Brian (Naismith), a photographer who likes Venus because… she reminds him of his late wife. Which as opening lines go, I’d imagine would rank highly as Stay Away for any woman. While initially working far better than you’d expect, that only makes the eventual crash and burn of their relationship, all the more brutal.

It begins when she sees the name “Christine” (Sandy) pop up on his phone, setting off a downward spiral of insecurity and paranoia. Brian admits it’s an old flame, whom he still uses as a model, but Venus suspects there’s a lot more going on than photography. This doesn’t endear her to Brian, who stops replying to her text messages, and tries to end their relationship. Which works about as well as you’d expect – especially if you ever saw Fatal Attraction. Venus decides that the best way to Brian’s heart apparently lies through… Well, Christine’s rib-cage – though getting there requires some ramping up of their rivalry. And it turns out Christine has a vicious streak of her own, when pushed far enough. But how much of what’s unfolding has any basis in objective reality – as opposed to being merely shrapnel from Venus’s disintegrating psychological state?

It’s a tale as old as time, true as it can be: don’t stick your dick in crazy. But it’s still a topic worth revisiting, albeit likely for entertainment value, more than any educational purposes. The movie benefits by a good performance from Kendra, who also co-wrote the screenplay with director Knautz. That likely helps defuse some criticisms of exploitation – while the stripper angle does appear to exist, largely for titillation, Kendra the writer can hardly be exploiting Kendra the actress. On the other hand, it’s not exactly what anyone would call a sympathetic portrayal of mental illness. The only person who shows even some concern for Venus’s plight is colleague Chanel (Scott), and that doesn’t make it to the end of the movie intact.

Still, it’s not unpleasant as potboilerish entertainment, particularly when Christine and Venus start going at it. I also appreciated the gradual slide into a state where you can never quite be sure of the accuracy of what you’re seeing. Everything is experienced from Venus’s point of view (which is where it differs from Fatal Attraction), and the unreliability of that perspective becomes increasingly called into question as the film proceeds. Technically, it’s reasonably sound, though a few rough edges did stick out, to remind me of its low-budget nature. But it’s perhaps best taken as a modern-day version of a morality play: don’t cheat on your significant other, do drugs, or date strippers. Rules we can all strive to live by.

Dir: Jon Knautz
Star: Alexis Kendra, Woody Naismith, Elizabeth Sandy, Monda Scott

Bleeding Hearts

  By

★★
“Not bleeding awful – but close.”

Stumbled across this low-budget horror flick almost by accident when I was Googling the similarly-titled but very different, Bleeding Heart. The premise was kinda intriguing: five successful half-sisters (doctor, lawyer, engineer, etc), living in a small town, take a month off each year together and vanish off the grid. What the townfolk don’t know, is they kidnap various obnoxious menfolk under the guidance of leader Leslie (Robbins), subjecting them to unspeakable tortures and eventually killing them, before returning to everyday life. Into this town comes documentary film-maker Oliver Jaffe (Diamond), who starts to investigate the odd situation, after his car breaks down in town.

The same director previously made Scavenger Killers, which was kinda like a sleazy version of Natural Born Killers, also starring Robbins – this is similarly low-brow, apparently attempting to be as offensive as possible. If you’re not prepared to cope with a naked man in a cage on his haunches, being violated with a wire-brush, this is probably not for you. Though you’d be forgiven for wondering if there’d been some kind of mix-up with the DVD at the beginning, which starts as a social satire in which Santa (the late Charles Durning, in his last feature appearance), Jesus and Satan share a house, occasionally being harangued by God (Tony Todd). Turns out, this is a film-within-a-film, being made by one of the sisters’ targets this year.

Even as someone who IS prepared to cope with the extreme content, I found the results were actually kinda tedious: if ever a film is guilty of trying too hard, it’s probably this one. There’s no shortage of nudity from the actresses, to the extent I began to wonder if this was filmed in its entirety at an adult film convention. But it’s curiously uninteresting and ineffectual, since you’re never really given any reason to care much. The structure is weird too: there’s so little connection between the two halves of the story, right until the end, I wondered if Diamond and Robbins would ever meet (just as I strongly suspect Todd’s scenes were filmed separately from everyone else’s, since you don’t see him and anyone else in the same shot).

Instead, Diamond’s half feels almost like complete filler: there’s no real sense of “investigation” since the audience already knows the truth about what’s going on. Or, most of the truth, at least. While there’s a last reel twist or two, these are no more effective than most of the other aspects. You may be left to wonder why they bother having five sisters, when there’s no more than 2.4 personalities between them – Leslie, and perky foot-model Candy (Lorraine) being responsible for the great bulk of that. This is one of those cases where I can see how the various pieces of the jigsaw could have been fitted together into something potentially transgressive and interesting. It never gets there though, and the likes of Todd, Durning and even Robert Loggia, who plays the local sheriff, are not well-served by this at all.

Dir: Dylan Bank
Star: Rachael Robbins, Dustin Diamond, Suzi Lorraine, Melantha Blackthorne

Girl in Woods

  By

★★★½
“Why we don’t camp, #273.”

It’s always interesting when reviews of a film are deeply polarized, and that’s the case here. The first page of Google results run the gamut from “I simply despised the film as a whole” to “The images are frightening within, and the only thing better than the scares are the performances.” While I lean toward the latter, I can see how this could have failed to make a connection with some viewers, and if that happens, then there isn’t much else to prevent the former opinion. It’s the kind of film where there isn’t likey to be a middle ground in reactions.

Following an awful childhood trauma, Grace (Reeves) has grown up into a troubled soul, but has finally found some peace, through her boyfriend (not without his own issues) and pharmaceutical help. However, that’s all shattered on a weekend trip to a cabin in the forest; on the way there, an accident (or was it?) occurs, leaving Grace stranded, alone, in the woods and very poorly equipped to survive. For what follows is a gradual and relentless shattering of her sanity, as the stress builds up and the drugs run out, and she tries to get out of her predicament. Grace’s personality splits into three distinct versions of herself – then there’s the darkly aboriginal creature who appears to be stalking her.

Meanwhile, we get flashbacks to Grace’s life with her mother (Carpenter) and father (Perkins), shedding some light on the cause of her mental fragility. It’s not much of a stretch to see Grace’s lost physical state as a metaphor for her psychological one: the title (and yes, that is it – I didn’t miss out a “the”) suggests the same. Since her character is on screen in virtually every scene, it’s a movie which really stands or falls on whether you buy in to Reeves’s performance – or, more accurately, performanceS, since many of these have her interacting only with her other selves. After some shaky moments early on, I found the approach kinda crept up on me, and some of the three-way scenes are near-impeccable, both technically and dramatically.

When your story largely involves watching someone lose their mind, keeping it interesting for the viewer is not an easy task to pull off. Benson succeeds, even if you’ll be reluctant to commit too far, because it’s clear that what Grace remembers, and what actually happened, may be radically different things. There’s a sudden effort at the end to tie everything together into urban legend, which I’m not sure is particularly helpful. It seems to come out of nowhere and feels like pandering toward a sequel. Trim those few minutes off, because you’ll know the “true” ending when you see it, and it would be a tighter overall product. Yet, there’s still enough of merit here to make it worthwhile, if admittedly this could be seen as merely confirming our strong preference against woodland wandering.

Dir: Jeremy Benson
Star: Juliet Reeves, Charisma Carpenter, Lee Perkins, Jeremy London

47 Meters Down

  By

★★★
“Nobody expects the sharkish inquisition!”

Stealing from both Open Water and The Shallows, this takes two sisters on a scuba-diving trip in Mexico. There’s Lisa (Moore) and Kate (Holt): the latter is all gung-ho about the chance to dive with sharks, while the former is considerably less enthusiastic, about life in general, being on the wrong side of a break-up. And, whaddya know, her concerns prove to be entirely valid, as the chain of the observation cage snaps, sending them plunging 150 feet down into the water. Air is limited, the sharks are circling, and they’ve fallen out of radio range with the boat above. How are they going to survive?

I’ve read thoroughly scathing reviews of this from scuba divers, criticizing a number of technical aspects – for instance, their air would be woefully insufficient. As someone who has never even snorkeled, I can only acknowledge these and move on, since they didn’t impact my opinion much. Though I have to say, I did notice how novice diver Lisa becomes remarkably proficient over the course of the film, even swapping out her tank on the fly, something I imagine isn’t a novice task. It is necessary to accept that the entire thing is inevitably going to be highly contrived: the sharks appear only when required, and don’t attack when that’s needed, too. These are creatures, strictly necessary to the plot, and it’s a mechanism which is largely par for the genre course. Who needs motivation? They’re freakin’ sharks!!!

Still, for what it is, this does the job, the director pushing the appropriate buttons with a degree of competence. After a somewhat shaky opening reel, where you wonder how much of the film is going to be emotion-driven, it settles down to what matters. This means a straightforward Problem → Solution → Execution cycle, with the sisters having to come up with strategies for the issues as they arise. Having two leads does help avoid the awkward structure we saw in The Shallows, with the heroine speaking to a conveniently wounded seagull, largely in order to avoid 80 minutes without dialogue. Fortunately for this film, Lisa and Kate are conveniently wearing masks with radios, so they can emote to each other, instead of being limited to enthusiastic hand-signals.

The ending is certainly reminiscent of another movie you’ll find on this site. I’ll avoid explicit spoilers, but it got our seal of approval, and if you’ve seen the film in question, you’ll certainly look askance at the wholesale hijacking carried out here. It’s this general lack of many ideas entirely its own, which prevents this from being as successful as it might be. The performances and direction are good enough for the job, and it laudably avoids any romantic interest worth mentioning at all. This film instead has a single goal, much like sharks are machines with one purpose: killing… Killing and eating. Their two purposes are killing and eating. And making little sharks. Their three purposes are killing, eating, and making little sharks. And an almost fanatical devotion to the Pope. Er, among their purposes are such elements as…

I’ll come in again.

Dir: Johannes Roberts
Star: Mandy Moore, Claire Holt
a.k.a. In the Deep