'A cash-grab sequel to a cynical knockoff? Check. One that aims squarely at the lowest common denominator? Check. Visual effects that steamroll what was once known as character development? Check.' Read Variety's full review of Meg2:
, who as Statham’s colleague doesn’t get much in the way of action scenes, though his character does get to show off his talents as a meg whisperer. There’s a supporting cast of human shark meat, as well as a witty actor or two mixed into the B-movie genericism.
If you want to know what a movie would sound like were it written entirely by AI, look no further than “The Meg 2.” The film has three screenwriters , but the problem isn’t just that the dialogue they’ve come up with is leaden, or that the movie is sprinkled with discordant low-camp-meets-inept lines like “Before you start whining about the ecosystem,?” It’s that everything we see or hear is functional, a series of arduous nuts and bolts jammed together.
For a while, “The Meg 2” is a deep-sea-dive-gone-wrong thriller, waterlogged division, as Statham’s Jonas leads a research expedition in a pair of submersibles down to the Mariana Trench, 25,000 feet below the surface. The explorers come upon a secret station that’s been set up by a rogue mining operation.
Meiying , Jonas’s 14-year-old daughter, has snuck onto the submersible, but the affectionate bickering between the two of them never adds up to much. “We do what’s in front of us,” Jonas instructs Meiying, “then we do the next thing.” That sounds like how a computer writes a screenplay. “The Meg 2” plods along until it reaches Fun Island, a tropical resort that provides a pastel background and plenty of extras for the film’s creature-feature climax.
This is why we go to a “Meg” movie: to see Statham ride a yellow speedboat, armed with three chemical harpoons, as the megs chase him in formation, or to see a gigantic tentacle reach out of the sea to battle a helicopter, or to see the villains get chomped with a well-timed out-of-the-blueness. “The Meg 2” was directed by the British indie cult genre filmmaker Ben Wheatley , and in the culminating episode, at least, he scales up effectively. Which isn’t quite the same as making a good film.
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