Meg 2: The Trench
One might ask, “Who benefits from this?” However, it seems Jason Statham, Warner Bros., and the broader Hollywood industry are unfamiliar with “Pelíšky” and don’t engage with MovieZone. Their loss. Nonetheless, I eagerly anticipated “Meg 2”. Occasionally, during the summer season, I indulge in a blockbuster that recognizes its own silliness and unabashedly revels in it. The tenth “Fast and Furious” pleasantly surprised me in this regard, and “Meg 2” trailers hinted at a similar vibe, with Statham facing prehistoric sharks instead of racing cars or brawling with foes. Yet, I didn’t exit the theater with sheer joy.
The first “Meg” was a delightful high-budget B-movie, achieving unexpected box-office success. Despite the absence of an EC rating, it was a visual treat, seamlessly blending a serious storyline with B-grade entertainment, bolstered by an impressive cast. The sequel’s trailers suggested a push towards more action. Scenes of Statham using jet skis, hurling dynamite spears at sharks, and a colossal octopus devouring humans promised summer fun. Despite a change in direction, if the producers believed that a sincere narrative wouldn’t resonate with the audience seeking thrilling sequences, they unfortunately diverged from that path.
Meg 2: The Trench embraces its B-movie essence more than its predecessor. Such films about megalodons shouldn’t be overly serious, as it risks disillusioning the audience. However, this sequel’s direction misses the mark, overwhelming viewers with excessive elements. We don’t just get one megalodon but three, an octopus, exaggerated villains, underwater bases, land-running prehistoric crocodiles, and humor tailored for an Asian audience. The movie also introduces an over-the-top DJ character and a chaotic mix of subplots, often leading nowhere due to time constraints.
The climactic resort scene only unfolds in the final act. Until then, the film bombards the audience with myriad subplots. At points, the primary focus on megalodons is easily forgotten. “Meg 2” feels like a child’s chaotic toy sandbox – an assortment of unrelated elements strewn together without much thought.
That’s not to say “Meg 2” is entirely dull. The finale serves its purpose as a blockbuster spectacle. However, the lead-up is marred by unnecessary diversions and a disjointed narrative. The sequel, while courageously diving into deeper B-movie territory, often flounders due to its overzealousness. Should there be a third installment, I hope the creators reflect on their core audience’s desires and expectations. While I can’t speak for everyone, a streamlined focus in any potential sequel would be much appreciated.
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