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Andrew Traucki
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They will always be compared to Jaws .
There’s a Jaws -lite theme tune, more urgent and louder for modern audiences, naturally, that does the job nicely and the characters seem to be in genuine peril throughout, likely due to the demonstrably physically demanding shoot.
Ever since Jaws in 1975, sharks have been a perennial on screen.
If films like Waterworld , Titanic , Jaws and so on have long served as lessons on how difficult it is to shoot movies on location on water, then Australian director Andrew Traucki has been gleefully ignoring them.
While we’re on the topic of Jaws , surely the season would be incomplete without at least one shark thriller.
Why was Jaws made nearly fifty years ago with a shark that looks more believable than one made in an era with elaborate films shot on cell phones?
The setup is a little like Neil Marshall’s The Descent : a group of girlfriends goes scuba diving in the ocean instead of spelunking in a cave system before a family tragedy changes everything.
It also seems to steal a page from director Neil Marshall, using a plot very similar to that of “The Descent”, only changing the caves for the ocean and the misshapen creatures for sharks.
Then there was Open Water , which was sharks + real life, taking the true story of two American tourists left behind by their tour boat off the coast of Australia.
After Open Water but before 47 Meters Down, there was the 2010 Australian import The Reef.
I’d recommend watching Shark Bait or Deep Blue Sea 3 first for a more entertaining ride.
So far in 2022, I’ve already steered clear of Alicia Silverstone in The Requin and avoided Shark Bait , but The Reef: Stalked was too intriguing to pass up.
Instead of a Final Destination -style car accident, Nic (Teressa Liane) ends up finding her sister, Cath (Saskia Hampele), dead in the bathtub, having been drowned by Cath’s abusive husband.
Similar to The Shallows (easily the best shark movie of the last decade), it also makes good use out of characters being close but not close enough to land to make a swim for it.
– of The Shallows, but it’s nowhere near as cynically superfluous as The Requin.
You don’t have to be Mandy Moore in “47 Meters Down” or Blake Lively in “The Shallows” to be good at mimicking that normal human terror and panic.