A covert Russian submarine is trying to drill into the Southern Pacific communications system to benefit from United States secrets, but when the gung-ho captain decides to push the drill team to maximum velocity, the submarine inadvertently release a pre-historic, though to be extinct Megalodon. A nearby U.S. military vessel intercepts the heavily damaged Russian sub with a submersible and saves three uncooperative, Kremlin patriotic survivors from Davy Jones locker while barely escaping jaws of the powerful Giant shark. The aging U.S. sea captain, Streeper, and accompanying admiral, King, rely heavily on Commander Lynch to maintain constant attention on the circling predator, while Streeper attempts extracting vital information from the Russian operatives to further establish the hostile tense and disruptive Russian-U.S. relations. When the shark turns its ravenous attention to the vessel, the crew must use their smarts and what’s on board to go head-to-head against a ferocious, battle ready Megalodon!
You really have to hate-to-love The Asylum for producing and capitalizing on highly lucrative films. This past summer’s “The Meg” was a major blockbuster success for not only director John Turteltaub but also for Warner Bros and as if the Carcharocles megalodon wasn’t exploited enough, The Asylum’s “Megalodon” aimed to reap from Jason Statham face-off with “The Meg.” Director James Thomas, who delivered another knock off with “Tomb Invader,” a cash in on last year’s “Tomb Raider” reboot adaptation to the popular video game, submerses himself into the SyFy movie. The SyFy channel is no stranger in shelling out monstrous shark movies; let’s just name a few to paint a picture of what’s being described here: “Sharktopus,” “2-Headed Shark Attack,” “Ghost Shark,” “Jersey Short Shark Attack,” “Malibu Shark Attack,” and let’s not forget to mention the channel’s most prolific and preposterously entertaining “Sharknado” franchise. Unfortunately, sharks an easy target for villainy that viewers can easily digest and be enthralled by their mysterious nature, but to buffoon them with genetic mutations unnatural superpowers stiffens not only their actual gentle prowess, but also attenuates legitimate shark films. That’s not to say that Thomas’ over-saturated titled “Megalodon,” penned by “6-Headed Shark Attack’s” Koichi Petetsky, is a mega hit, but at least the shark isn’t radioactive, isn’t a spliced abomination, and can’t dorsal slice through sand, ice, and earth. The back to simplicity for the man-eating shark is a breath a fresh air in my book.
“Reservoir Dogs’” star Michael Madsen headlines with his name splayed right about the titular creature about to swallow a submersible. Madness, sporting a military non-regulation curly hairstyle, portrays an naval officer, Admiral King, at the end of his lustrous career. King’s lame duck presence is a formulaic means to an end that will decide the fate of more prominent characters so Madsen, as an unconvincing and unconventional U.S. admiral, has screen time that’s limited mostly to the first and third acts and scarcely peppered in between the dynamics of Captain Streeper and Commander Lynch. While Streeper and Lynch essentially share the lead and neither have the star-studded power to be an influencing purchase-me-now headliner, the two onscreen officers are structured as a one-two punch against two opposing forces. “The Demonic Dead’s” Dominic Pace, as Captain Streeper, has promising capabilities as a military ship commander as Pace maintains his usual type casted tough guy role from prior credits while his counterpart, Caroline Harris, plays passively strong in Streeper’s shadow that’s supposed to display edge-bordering defiance but never comes to fruition. As Pace and Harris jockey for lead, Russian submariners, Captain Ivanov and Yana Popov, sheathed a more interestingly perspective on duty versus mortality. Ego Mikitas (“Nazi Overlord”) and “Fear Pharm’s” Amiee Stolte lined “Megalodon” with a sub-story, no pun intended on the sub, as bullheaded survivors aiming to complete their clandestine mission without lifting a finger to assist the opposition. To be fair, the James Thomas script didn’t exactly put the U.S. in good light, scribing Streeper, Lynch, and others as pushy information extractors and the Russian are stereotypical misers of information. If I was being intensely interrogated while a massive shark circled our boat, I would also question the intentions of my captors and not give them squat. Other shipmate actors include Scott Roe (“Transformers: Dark of the Moon”), Sebastien Charmant (“Halloween Hell”), Elizabeth Cron (“SuperHot Apocalypse”), Paulina Laurant (“Triassic World”), and Luke Fattorusso.
“Megalodon” provides a laugh track of production inadequacies and a cinematography from Paul Thomas could be said to be straight out of the Michael Bay school of filmmaking, but as far as SyFy premiered movies and The Asylum Home Entertainment films go, “Megalodon” is a Giant Shark sized leap of success. The CGI shark has surprised me being an object of crude, but of commending detail that exhibits an ancient beast marked with battle scars and also exhibiting realism with the donning of an acceptable gray-blue hue. Plus, the shark doesn’t have atomic level laser vision, can’t breathe fire underwater, and has the normal shark fins instead of octopus tentacles. Thank the shark Gods! While the megalodon passes plausibility of natural facts, it’s swimming motion and trajectory checks the box of clunky territory with a rudimentary, two-dimension view of the shark swimming at an unnatural diagonal angle away and toward the ship, like something out of the NES “Jaws the Revenge” video game. The CGI ship and submersible is more of an immediate concern than the CGI shark as Roger Rabbit has more realism. Suffering succotash! Actual location of the ship is a the USS Lane Victory, a defunct military vessel from WWII turned museum that’s docked off California and the museum aspects tactlessly are not veiled from view and, if a modern day military ship is supposed to go toe-to-toe with a megalodon, a ship with brass communication tubes. The obvious museum décor ships “Megalodon” into a strange and bewildering backwards alternate universe that causes confusing and complexities with a quarry full of questions.
MVDVisual and The Asylum Productions presents the SyFy original film, “Megalodon,” onto DVD home video. Original being the suspiciously key word here as original never really goes hand-in-hand with The Asylum produced films. Presented in the original widescreen format, “Megalodon,” for what it’s worth, has distinction despite the questionable special effects. No blotchy or aliasing detected and the coloring renders consistently. The 5.1 surround sound audio tracks has clear verbal dialogue, ample gunfire and explosion range and depth, and no distortions to note. The painfully generic stock score is an ear sore, but has balance and isn’t an overly commanding and obtrusive presence. The trailer is the only special feature available, but to broaden upon the lack of bonus material, the Asylum DVD releases always have kitschy graphic cover art and “Megalodon” is front and back gold standard that exaggerate the film’s action-packed appeal. Director James Thomas’ dual story batters the pre-history shark narrative to nearly null, but “Megalodon’s” unwavering action chums the water that begins with a large shark taking a bite out of a foreign reconnaissance submarine and ends with Michael Madsen extinguishing a cigar on the said shark’s large snout in pure Michael Madsen fashion.