Synopsis: A blissful tourist trip turns into a nightmare when five seaplane passengers are stranded miles from shore. In a desperate bid for survival, the group try to make it to land before they either run out of supplies or are taken by a menacing terror lurking just beneath the surface.
Stars: Katrina Bowden, Aaron Jakubenko, Kimie Tsukakoshi, Tim Kano, Te Kohe Tuhaka
Director: Martin Wilson
Running Length: 91 minutes
TMMM Score: (4/10)
Review: It’s honestly a miracle, when you think about it. Considering how far technical achievements in film have come since the release of JAWS over 45 years ago, you would think that by now someone would have figured out how to create a decent shark to terrorize nubile women and beefed-up men that dare enter the ocean. Sadly, instead of putting the elbow grease in and attempting to get back to the type of haunting magic that was created from the depths in Steven Spielberg’s summer blockbuster masterpiece, studios and filmmakers seem determined to go cheap and low-tech and the results are resoundingly heinous. If you’re dealing with another cheesy direct to streaming piece that is meant to be silly (House Shark? Ghost Shark? Ouija Shark?) then some allowance must be made for quality, but when you’re settling in with a release clearly aspiring to be taken as serious as the 1975 granddaddy of them all, you expect far more.
Every so often, we’re graced with a well-calibrated entry that understands the game and arrives ready to play. The Shallows, The Reef, and Bait 3D were all superior examples of directors getting it right. I also found The Meg to be a fun, if PG-13 sanitized, take on a scary novel that should have been adapted two decades earlier when studios would have let it be released with all the violence intact. While Deep Blue Sea from 1999 is maybe the shiny diamond of shark movies in recent memory in my book, it’s straight to video sequel in 2018 sits near the bottom of the overall list. Shockingly, Deep Blue Sea 3 from 2020 bounced back nicely and earned a reprieve for the franchise. With a sequel to The Meg about to shoot and the constant threat of a JAWS remake hanging over out heads (I put this into the universe: please do NOT do this, just do a 2018 Halloween-style sequel that picks up 50 years later), audiences that don’t mind sticking to swimming pools are left with the occasional scraps of underwater thrillers.
Scraps is a good way to classify Great White because it’s compiled of a lot of different pieces, never fully finding its own identity. With slack pacing, poor CGI, and a main attraction that remains frustratingly below the surface for much of the trim run time, it definitely doesn’t have the goods to be considered among the better entries in the genre, though it is considerably better made than most. Mostly known as a producer, screenwriter Michael Broughen’s lack of experience shows with a threadbare plot that finds a tour guide/pilot, his medic/girlfriend, a cook, and the couple that hired them all for the day to take them to a secluded island fending off a marauding shark when their sea plane sinks in the middle of the Pacific Ocean.
Director Martin Wilson makes his feature film debut with Great White, and he certainly captures the beauty of the Brisbane coast beautifully, albeit it with characters touting how infested the waters are with man-eating sharks. Yay, tourism! Things actually start off sort of well for Great White, with a young couple finding themselves a bit too far from their boat when confronted with a deadly foe, but then Broughton’s issue-filled script kicks in and we have to wade through a lot of personal business before we can get back to shark business. Most of this involves pilot Charlie (Aaron Jakubenko) and Kaz (Katrina Bowden, Piranha 3DD) who are working through a bump in taking the next step of their relationship. When they are joined by Michelle (Kimie Tsukakoshi) and Joji (Tim Kano) for a brief moment you get the feeling Broughton is going to spice things up by creating a few characters with a darker depth but, small spoiler, it’s shallow wading for all.
Looking at the cast, anyone that’s ever watched one of these movies could likely go through and number off the order in which they’ll become fish food and if the film has anything going for it, it’s that there comes a time when you aren’t quite sure the usual suspects will make it to the end. Wilson manages to get quite a lot of mileage out of the viewer watching Bowden’s legs kicking furiously in the dark blackness and it would wrong of me to lie and say my heart wasn’t beating a little faster when one character enters the water in a totally misguided moment. You’ll be screaming at the screen the entire time at their lunacy…I was.
While all of this is happening, audiences are going to be waiting for a look at what’s hungrily chomping at the cast members and every time the shark appears it looks like stock footage that’s been blown up to look like a far more fearsome creature. The rapid shift to clear nature documentary shots only confirms a severe lack of actual CGI created…or at least until the end which is where the significant amount is used. Still, by then it’s too late to have the same kind of impact that would have been nice to have had all along. At least Spielberg (and subsequent sequel directors) gave us an animatronic scare every now and then that at least looked believable.
Acting their way around an enemy that isn’t there is difficult, and the cast does a fine job in selling what they are supposedly seeing. Bowden was always a bit of a blank spot during her tenure on NBC’s 30 Rock and hasn’t made an impression in the years since, but she’s a believable heroine here and easily outpaces the bland Jakubenko and his character who suffers from PTSD after surviving a shark attack years before (do you think he’ll have to face his fears at some point?). Tsukakoshi is around for the screams and Kano is there to give you someone above the water to loathe when the shark isn’t around. While his character makes a few spectacularly stupid decisions, Te Kohe Tuhaka’s cook is the most agreeable in the bunch.
One of these days we’ll get a director and studio that wants to spend the money and time creating a creature that looks like the real thing and moves like the real thing. Maybe it’s created on a computer, maybe it’s something tangible the actors can react to in the moment. Whatever it is, it has got to be better than the downward slide that is going on now. If we can create free apps for our phones that can make it appear our friends are singing “Chim-Chim-Cher-ee” with Julie Andrews, we simply must be able to get a shark to swim through the water and eat an unfortunate swimmer…right? Until that time, watch Great White and think about what could have been.
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