In the dog days of August, we all need to go see a movie like Jon Turteltaub’s (“The Sorcerer’s Apprentice” & “National Treasure”) “The MEG," a movie that exemplifies the sheer blissfulness of a Hollywood movie, the conflict of man and nature in an extravagant spectacle of a movie. To no one’s surprise, the newest adaptation of Steve Allen’s bestselling novel comes nowhere near the 1975 Spielbergian classic “JAWS,” one of the few truly perfect works of American cinema. Despite making that separation, “The MEG” is what you want out of a movie of it's kind. To confine my sentiments, it's a well-tuned see through thriller at it's best, a film in which action star Jason Statham battles a prehistorically resurrected monster Shark known as the Megalodon.
The science behind the existence of that beast is nonsensical, but the sight of the shark itself is spectacular. The magnitude of this kind of animal, lurking in our unnatural habitat, giving it a natural edge over us as a predator, is striking. How does Statham develop his rivalry with this creature though? Well, his first interaction with the revived dinosaurs cost the lives of three of his friends as well as many others. He’s a rescue diver, one of three whose attempted a dive of more than 1000m or something like that. He’s a formidable hero, for reasons, most of them being his bravery, not saying much considering few of the characters surrounding him are not nearly as courageous.
One of the best parts of all of this is the name of our hero, “Jona,” short for “Jonas,” and yes the tale of “Jona” does play a factor at some point and time. Nonetheless, his tales of an enormous predator intruding on his last mission, are dismissed as pressure-induced psychosis. He leaves the scene of deep rescue diving, resorting to the land of Thailand, spending his time as a damaged hero whose never-ending bender is used to wash away his failures. He’s a broken man, one we’ve seen before, who inevitably finds himself back in the saddle when a research facility which just so happens to employ his ex-wife, the doctor that got him fired, and former teammates suddenly require his assistance.
Coincidental plot points aside, the monster was rediscovered when this $1.3 billion facility spends its opening day exploring the bottom of the Marianas Trench. The theory? A rift of musky cold air has hidden an undiscovered world beneath, one that inhabits new life, new species, and beasts that were thought to be extinct. They soon discover that this new world has locked away a feat of predatory evolution, one that immediately endangers the lives of the divers, who are later saved by our resurrected hero. During this suicidal mission, they accidentally provide a “mega-shark highway,” as Rainn Wilson put it, one that allowed this unevolved beast to slip through into the open sea. A creature that evolution has passed by, and one that mother nature locked away for a reason.
Jonas (Jason Statham) knows that and immediately has the right idea of killing this beast, an opinion not shared by the scientists or the investor. It’s an opportunity for both of them, and “The MEG” takes off from there as the drama kicks in and the forced romance occurs, and the predictable thrills and shrills unfold onto the silver screen, and it’s all so much fun.
It’s not often to hear a critic utter the words “fun,” but here I am. The film is what it's trying to be, recognizing the fandom for the absurdity of “Sharknado” and the box office thirst for the horror of “JAWS,” Dean Georgaris and co-screenwriters Jon Hoeber and Erich Hoeber provide a formulaic blend of those styles, one that is insanely thrilling. It has a lot of redundancy and goofiness and cliches sprinkled throughout its runtime, but it all amounts to something that knows what it is and what audience it's aiming to be accepted by.
The direction is sensically and arguably skillful, Jon Turteltaub finds himself as the perfect choice to helm the directorial reigns of a movie such as this one, relying on the lessons he learned from the “National Treasure” trilogy. Taking something that began so preposterously serious and grew to become sillier than intended, recognizing the bizarreness of the events on screen. Same thing goes with “The MEG,” Turteltaub goes in with the right state of mind, recognizing that the film lacks the potential to surpass something like “JAWS,” not that another film like this ever will, and knows that it won’t be taken seriously if he makes it as tongue and cheek as films like “Sand Sharks.” He’s in the right frame of thinking, knowing when to showcase his abilities as a filmmaker by providing genuinely thrilling shark sequences while reining the film in with the silliness of a Hollywood movie.
The screenwriting has all the tropes and the expectational twists and turns and direct references to "JAWS," but it has a style and sense of wit to it, even giving its characters some believable choices at times. Going as far as to use the audience’s assumptions to manifest a surprise or two, "The MEG" emplores every resource it has, allowing former diver turned movie star, Jason Statham, to depict a character that smiles every once in a while, becoming the essential anchor of this movie. He’s the one that makes this movie work, along with an ensemble that does nothing but provide that extra oomph the movie needs, like that of Ruby Rose and Bingbing Li providing some energetic moments, as well as Rainn Wilson and Page Kennedy who dash a few sprinkles of charisma on top of this donut of a movie.
An adequate analogy of what this movie is, a donut, something delicious and worth trying, but not necessarily good for you. The same goes for "The MEG," it’s not necessarily a good film, but it's honest. Everyone is on the same page; no one has false expectations, no one is aiming for a comparison, it all makes sense. It’s a movie that knows what it is and who it's for, only missing scenes like Statham punching a Megalodon. That would have made this movie the "Citizen Kane" of the modern-era.