Editorials
[Editorial] The Beach Scene in ‘The Meg’ Is the Film’s Biggest Missed Opportunity for Fun
As a mega fan of shark attack horror films, even the ones that aim for big stupid fun and little else, you could say that I was precisely the target audience for a film like The Meg, an adaptation of Steve Alten’s novel that had been begging for a big screen adaptation for over 20 years. Alas, Jon Turteltaub’s film failed me even on that level, as I found it mostly a bore that delivered only fleeting moments of the wild entertainment it should’ve been providing the whole way through; worth noting, our own Scott Weinberg had more fun with it than I did.
In my book, The Meg gets a whole lot wrong in its quest to deliver mindless summer popcorn fun, with its hotly anticipated “beach scene” highlighting many of those issues.
Leading up to the release, the beach scene played a large part in The Meg‘s marketing, featured on the very first poster as well as its most recent IMAX art. Images, trailers and TV spots similarly played up what promised to be one of the most epic scenes in the history of shark horror: in the waters of a crowded beach, the Meg makes lunch of HUNDREDS of swimmers.
In the IMAX art, seen at bottom, the MASSIVE shark leaps out of the water, sending swimmers and their colorful, Fruit Loop-like rafts flying up into the air… many headed for its mouth.
Mind you, attention-grabbing marketing that builds up hype for things that don’t actually happen in the movies themsleves is nothing new in the world of horror, but The Meg‘s beach scene is a particular disappointment because how of how tame and ultimately useless it turns out to be. As it’s been well documented by now, mostly thanks to our interview with Jon Turteltaub wherein the director got admirably honest about the production, The Meg was originally intended to be an “R” rated film, but the studio axed all of the more gruesome bits in favor of a PG-13, decidedly family friendly action-horror experience.
Turteltaub told us, “I am so disappointed the film wasn’t more bloody or disgusting. My wife is glad about it and I’m glad my kids can see the movie, but the number of really horrifying, disgusting and bloody deaths we had lined up that we didn’t get to do is tragic. There was some really good shit that didn’t survive to the final cut.”
We don’t know what exactly didn’t make the final cut at this time, but it seems pretty clear that The Meg‘s beach scene was *probably* neutered for the sake of the PG-13 rating that ultimately may have helped the film do better than expected at the box office. Despite the titular Megalodon swimming into waters occupied by nearly 1,000 swimmers, we only actually see the shark *maybe* kill a couple of them, and only in quick flashes that don’t actually show anything at all. At one point, the Meg appears to swallow a woman underwater. At another, the shark pops a massive inflatable ball that a man had been running around inside of. Like all the carnage in the rest of the film, no blood. Only the suggestion of shark-on-human violence.
The scene comes to an end quickly after being clunkily inserted into the film, with our heroes using whale sounds to lure the shark away from the beach before it does any real damage. I ask, what’s so scary about a shark that barely feeds when presented with 1,000 meals?
It may seem like I’m suggesting that The Meg‘s biggest problem is that it’s not rated R and graphically violent, but the issue (among many others) is more that it just doesn’t ever really *go for it,* even when it gives itself the opportunity to do precisely that. Again, it’s not without its wild moments of over-the-top fun, but the beach scene perfectly highlights that resistance to fully embrace the fun of it all. Hell, even without any blood at all (I sure wasn’t expecting the all-out gory mayhem of Piranha 3D‘s “beach attack” scene), that scene easily could’ve been an all-timer in the shark horror canon. Could’ve been and by all means should’ve been.
Just one day after seeing The Meg, I went to the beach and swam in the ocean without fear. If that’s not proof positive of an ineffective shark movie, well, I’m just not sure what is.
New month, new horror recommendations from Deep Cuts Rising. This installment features one random pick as well as four selections reflecting the month of May 2024.
Regardless of how they came to be here, or what they’re about, these past movies can generally be considered overlooked, forgotten or unknown.
This month’s offerings include a self-loathing serial killer, a violinist’s murderous ghost, and a postmodern vamp flick.
Scream, Pretty Peggy (1973)
Pictured: Ted Bessell and Sian Barbara Allen in Scream, Pretty Peggy.
Directed by Gordon Hessler.
The TV-movie Scream, Pretty Peggy first aired as part of ABC Movie of the Week. Bette Davis plays the mother of a reclusive sculptor (Ted Bessell), and after the previous housekeeper goes missing, a local college student (Sian Barbara Allen) fills the position. Little does she know, though, the young employee’s predecessor was murdered — and the killer is still on the loose.
Admittedly, Scream, Pretty Peggy isn’t difficult to figure out; its inspiration is obvious. However, Bette Davis’ overstated performance and the son character’s macabre artwork are enough to stay tuned and learn who’s behind the killings.
Scream, Pretty Peggy is now available on physical media from Kino Lorber. Perhaps watch the movie with your own mother this Mother’s Day (May 12).
Paganini Horror (1989)
Pictured: The ghostly killer in Paganini Horror.
Directed by Luigi Cozzi.
For National Buy a Musical Instrument Day (May 22), check out this absurd Italian entry in the subgenre of cursed music horror. A rock band unleashes hell when they unknowingly use a satanic piece of music composed by Niccolò Paganini, the violinist who was rumored to have made a Faustian deal.
Even though Paganini Horror is hardly deemed a standout of Italian Horror, and the movie indeed drags itself toward the finish line, there are some bright spots worth focusing on. For instance: Donald Pleasence. If that’s not enough, the very ’80s aesthetic helps gloss over the flaws in Daria Nicolodi‘s uneven script.
Paganini Horror is now on physical media from Severin Films and is also streaming on SCREAMBOX.
Nadja (1994)
Pictured: Suzy Amis Cameron and Karl Geary in Nadja.
Directed by Michael Almereyda.
These vampires may or may not cast a reflection, but they sure do love to reflect. David Lynch executive-produced as well as briefly appeared in the film, which Roger Ebert succinctly described as “Deadpan Noir” in his review. This tale of revenge and philosophical pondering begins with the vampiric namesake (Suzy Amis Cameron) seducing the daughter (Galaxy Craze) of Van Helsing after he killed Nadja’s father, Dracula. From there a war erupts between the two sides, all while taking place in modern NYC.
Nadja is quite slow but also just strange, stylish and creative enough to keep your attention. In addition, the trip hop soundtrack is easy on the ears, and Peter Fonda plays a memorable Van Helsing. Overall, this is a unique and artsy approach to vampire horror.
Nadja is now streaming on Freevee.
The Bone Snatcher (2003)
Pictured: Scott Bairstow, Warrick Grier and Rachel Shelley in ‘The Bone Snatcher’.
Directed by Jason Wulfsohn.
For National Sunscreen Day (May 27), dig up the monster movie The Bone Snatcher. It will take more than a high SPF to protect the sunburned characters here; they are stuck in a South African desert with a bizarre monster called the Esikhulu.
The best things about The Bone Snatcher are its setting and the creature. This beast, which is brought to life on screen using a combination of practical and digital effects, sports a ghastly design to go with its unnerving ability to animate skeletons. Something else this movie has going for it is a refusal to show the monster too often; that way there is less chance of becoming desensitized to the Esikhulu. Ultimately, this has nothing on John Carpenter’s The Thing, however, those more forgiving fans of Syfy-ish creature-features should be satisfied.
The Bone Snatcher is currently streaming on Tubi.
#1 Serial Killer (2013)
Pictured: Jason Tobin in #1 Serial Killer.
Directed by Stanley Yung.
May is AAPIM, and the subversive #1 Serial Killer (originally titled Chink) is relevant when discussing the “Invisible Asian” notion. Acknowledging the irony, Stanley Yung’s movie has gone widely unnoticed despite its potent take on race and identity.
Jason Tobin (Warrior) delivers a compelling performance as the vile protagonist here. The self-hating, Ted Bundy-admiring character discriminates against other Asians after years of mistreatment and disregard, and that growing rage finally manifests as cathartic violence.
#1 Serial Killer is currently available at digital retailers like Apple.
No genre is as prolific as horror, so it’s understandable that movies fall through the cracks all the time. That is where this recurring column, Deep Cuts Rising, comes in. Each installment of this series will spotlight several unsung or obscure movies from the past — some from way back when, and others from not so long ago — that could use more attention.
‘Infested’ Review – One of the Best Spiders Attack Horror Movies in Years
‘The King Tide’: An Island Town Rots with Moral Decay in Canadian Folk Horror Fable [Review]
Limited Edition Morticia & Wednesday Addams ‘Monster High’ Dolls Releasing Next Week!
TWO New ‘Evil Dead’ Movies Now in the Works; Sébastien Vaniček & Francis Galluppi Directing
“AHS: Delicate” Review – ‘The Auteur’ Gives Birth to a Lackluster, Laughable Finale
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