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Now the "Meg" (2018) itself could never be called a good film, but it is a great deal better than this muddled and derivative effort. "Jonas" (Jason Statham) is now working as a sort of eco-policeman trying to stop the dumping of toxic waste into the oceans, and after a snappy "007" style opening, he is daringly rescued by "Mac" (Clff Curtis) and "Rigas" (Melissanthu Mahut) and returned to the research centre where he is reunited with "Jess" (Skyler Samuels), "DJ" (Page Kennedy) and the adrenalin seeking "Juiming" (Jing Wu) who are nursing the daughter of the last megalodon! The team now travel to a remote installation where they must investigate some more of the beasties that live below the frozen layer put there by nature to ensure than we don't mix. Thing is, it seems they are not the only folks who've hit on the idea that there might be untapped riches 25,000 feet below the surface, and soon our team are involved in a contretemps with "Montes" (Sergio Peris-Mencheta) that introduces treachery, double-dealing and causes explosions galore that release not just megs, but also an enormous octopus into the ocean where they can merrily terrorise the holidaymakers on the nearby resort of "Fun Island". Can "Jonas" et al manage to take on four of these super-creatures before they've snacked their way through the tourists? This might have been a bit better if they'd just cut all the preamble and gone straight to the rig and to the underwater action, big fish and pyrotechnics. As it is, we spend far too long meandering about on the surface meeting the characters and there's way too much pointless dialogue throughout - though one or two half-hearted witticisms and puns help a little - before an ending that is entirely predictable and really rather processionally so. The acting is just banal, the continuity is all over the place - as is the editing - and the huge chunk of Ali Baba money that's floated this thing ensures that the switches from the English to Chinese languages actually smacks more of keeping everybody happy in the boardroom rather than engaging anyone in the actual cinema. Simply, even the charismatic Statham cannot rescue this from the doldrums of CGI-led mediocrity that churns out an unremarkable hybrid of "Jaws" and "Jurassic Park". It does need a big screen. If you wait til it's on the telly then you will be even more disappointed. Mind you, is that actually possible?
Meg 2 doesn't really feel like a follow up film, to its 2018 counterpart. Indeed, the latest instalment feels more like a platform for various action "stunts". The giant,prehistoric shark's are essentially window dressing, for a variety of frenetic action sequences, where things blow up, are torn apart, shot at, harpooned, people gobbled up Jaws and Jurassic Park style and what I can only describe as acrobatic, aquatic scenes with jet ski's and the like, all take place. They even throw in a giant squid, to spice things up. Or put more simply, this is a messy mash up, of derivative, often dispirit ideas. Unsurprisingly, the results a bit chaotic, with no compass to direct the viewer, in terms of the story, such as it is. Its quite watchable, in its own way but it never really goes anywhere. In summary, watchable on a very visually superficial level. Lots of action but little in the way of an established story, to pull the whole thing together.
Good Movie
Pretty tough sitting through this one, especially the first half where a good portion was so dark, maybe to hide the bad visual effects, I couldn't even tell what was going on. There were a few moments of the camp that made the first one at least entertaining, but not enough to keep me engaged. On the plus side, Jason Statham was alright for what he's given, otherwise this just was a waste of time. **2.0/5**
The Meg 2: The Trench is exactly what I expected, and honestly, what I wanted from a movie about giant sharks: campy fun with over-the-top action, sleek visuals, and just enough chaos. The cinematography stood out, especially the camera transitions and underwater shots, which were beautifully done. The special effects carried their weight too, making the whole experience visually exciting. The pacing worked well. The first act transitioned smoothly into the second, where things started to intensify setting things up well and the intensity ramping up toward the finale. The acting was decent, maybe overacted at times, but it matched the tone of the movie. Sure, the script had its flaws (I mean, swimming normally at 25,000 feet below sea level? Come on), but those issues didn’t ruin the experience unless you’re the type of viewer who’s only there to nitpick. This movie isn’t meant to be serious or realistic, it’s a popcorn flick through and through. If we judged every movie on plausibility, most would fail spectacularly. The Meg 2 is fun for what it is: a one-time watch that lets you escape into its ridiculous world for a couple of hours.
'Meg 2: The Trench' is rubbish. It's just the original with added (lousy) human antagonists and, eh, a giant octopus? I was zoned out by that point if I'm honest, it's no Kraken from 'Pirates of the Caribbean', that's for sure. Jason Statham is forgettable in this too. That's a big problem, given he is the glue that ought to hold these films together. In fact, the best person in this flick is Page Kennedy, who is amusing and has one cool fight scene; good (if minimal) character development, that. Sophia Cai and Cliff Curtis remain the best of the rest. It's just all so dull, I was totally uninterested by the end; I felt my eyes roll hard when they revealed Fun Island, which is practically a carbon copy of what happens at the end of 'The Meg'. With all the negatives noted, it still didn't overtly annoy me; so (narrowly) avoids a lower score. I forgot, until now, that Ben Wheatley also directed 'Free Fire' (5/10) and 'Kill List' (3/10)... sheesh. Fingers crossed that one day I'll see one of his movies and enjoy it.
Munich, Germany, 1923. Two years have passed since Edward Elric was dragged from his own world to ours, leaving behind his country, his friends and his younger brother, Alphonse. Stripped of his alchemical powers, he has been all this time researching rocketry together with Alphonse Heiderich, a young man who resembles his own brother, hoping to one day find a way back home. His efforts so far had proven fruitless, but after lending a hand to a troubled gipsy girl, Edward is thrown in a series of events that can wreak havoc in both worlds. Meanwhile, at his own world, Alphonse Elric ventures deeper into the mysteries of alchemy in search for a way to reunite with his older brother.
On guard! Zhou Fei's sword is created by the essence of his parents: the mother is the blade and the scabbard is the father. Many years ago Zhou Fei's grandfather Li Zhengwei was poisoned to save Duan Jiuniang. The forty-eight fortresses were lost during a surprise attack by the False Emperor. Zhou Fei's mother, Li Jinrong - a young girl at the time - was fierce and reckless, and her sword skills were not yet accomplished. Having lost her family and her father, she went to Liang Shao's strategist Zhou Yitang to ask for help. When Liang Shao refused and Zhou Yitang was ambivalent, Li Jinrong went north alone, determined to assassinate the false emperor.
A small Pennsylvania town is plagued by a series of mysterious events that may be caused by a demonic car.
Former Scissor Gang leader Eun-jin, who now suffers from amnesia, nevertheless defends Jae-cheol, a restaurateur who employs her, from a gangster who wants his business.
Naomi Armitage and Ross Sylibus have changed their names and live with their daughter Yoko as a happy and normal family on Mars — until an android riot breaks out at an anti-matter plant on Earth.
In a dusty post-war summer in rural Warwickshire, a doctor is called to a patient at lonely Hundreds Hall. Home to the Ayres family for over two centuries, the Georgian house is now in decline. But are the Ayreses haunted by something more sinister than a dying way of life?
One day, a kite fell in the city and a monster appeared. A hikikomori game with darkness Akari Moroboshi is the only one who challenges a monster, but the monster is actually...! ??
After his release from prison, notorious ex-con and moonshine distiller Gator McKlusky moves in with his father in a cabin in the Okefenokee Swamp. His bootlegging plans are cut short, however, when a federal agent tells McKlusky that he will lose custody of his 9-year-old daughter unless he helps bring down local crime lord Bama McCall. McKlusky enlists the help of reporter Aggie Maybank and a few local eccentrics to bring down McCall's empire.
A nuclear explosion in the far north unleashes Gamera, the legendary flying turtle, from his sleep under the ice. In his search for energy, Gamera wreaks havoc over the entire world, and it's up to the scientists, assisted by a young boy with a strange sympathic link to the monster, to put a stop to Gamera's rampage.
A screen adaptation of the well-known novel by Roger Frison-Roche about the harsh lives of mountain guides and their families in the French Alps, near Chamonix and the French/Swiss/Italian borders... Like his father, Zian Servettaz is a dedicated mountain man. His Italian-born wife Bianca does not adjust well to his mountain village in France, and to the ever life-threatening dangers presented by his mountain guiding and climbing. She briefly returns to Italy and to her family. However, after Zian's insistence and trip to Italy, she returns to mountain life in the French Alps. Once back there, events will unfold, changing their lives as well as those of other mountain people forever.