“The MEG” is a monster movie in perception of what it might be. The book it is based on, by local South Florida writer Steve Alten, works in many structures as a quick read with a pulpy sort of feel. The tricky aspect is finding the tone. Like “Sahara” and its protagonist before, it is taking larger-than-life situations and making them both fun and with stakes. “The MEG” was originally labeled to be an R-rated romp probably playing more to its cousin: “Deep Blue Sea”. Granted it would be a different movie but the ideal is the story is about a huge shark. The tone rings closer to a movie like “The Core” which is superior in many ways simply because the stakes feel higher. The characterizations here are not bad but played way up on the cheesiness factor, specifically with the Chinese characters. Granted the sentimentality is more akin to the tone of Chinese cinema. That is the interesting perception here of the film. Since it was financed heavily by Chinese investment, it needs to reflect that ideal. This is the changing economics of the movie business. The movie is also set on the cusp of Asia and its main female protagonist and center of what is the film’s heart is Chinese. This is not originally how the book was conceived. It was set near San Diego even though the money of the big investor was Chinese (even though the big money here is shown by an American billionaire). While an interesting experiment, the film definitely loses a lot of what edge it could have had but then it would be a different monster.
The interesting business question, just to make the point, is that the film could have been made for less and thereby not have to make as much to break even. This is an interesting quandary. Star Jason Stathan has stated in the press that the script they made was completely different than the movie he originally signed on for. Some of the scenes are really thrilling to be honest but never scary. It almost feels like a lower budget serial of old. Acting is fairly broad but soft in many ways since the dialogue is so matter-of-fact. It tries to be witty but most times falls flat. Granted many in the audience seemed to enjoy this aspect. It is always a tricky thing between criticism of what a movie can be and what an audience actually responds to. The situations in the movie are mostly implausible but that can be suspended from the early scenes. An interesting comparison comes in when looking “The Abyss” (1989, dir. James Cameron) since some of the scene points in “The MEG” have parallels. Even though something similar happens here, nothing can compare to the resuscitation scene in that former movie. Some of the best acting in a would-be summer blockbuster ever was in that scene. Here, in the beginning (post opening credits), there is a sacrifice that works well (but on a smaller scale) but then goes by the wayside. Greater mythology is sacrificed and the movie, while a fun romp at times, feels emptier of a bigger world. Maybe that is an alright resolution and expectation though.
By Tim Wassberg