Credit where it’s due: The 47 Meters Down franchise preaches with regularity and fair consistency that humans land in the mouths of sharks due to their own foolishness, rather than the mindless bloodlust of the creatures. A break in anthropocentrism (even a minor one) is a radical notion in any monster movie, but one of importance in these particular monster movies. Because shark movies, starting with the mommy shark of them all, Jaws, have had demonstrably devastating effects on shark populations, an ethical approach to shark pictures has been long overdue. Both 2017's 47 Meters Down and, to a lesser but no less appreciated extent, the new 47 Meters Down Uncaged suggest it’s possible to exploit the innate terror sharks strike in the hearts of humans with something that more or less resembles respect for the animals.
effects on shark populations, an ethical approach to shark pictures has been long overdue. Both 2017'ssuggest it’s possible to exploit the innate terror sharks strike in the hearts of humans with something that more or less resembles respect for the animals.But just because these movies’ hearts are in the right place doesn’t mean their brains are—or that they have brains at all. This is the kind of a movie where a screaming fish is a crucial plot device.
This latest entry in the series, again directed and co-written by British filmmaker Johannes Roberts, doesn’t continue the narrative of the first or revive any of its characters, instead revisiting themes and images like rapidly dropping air-tank gauges and scurrying up the stairs of a boat only to be intercepted by an eagle-eyed shark.
, in which the climactic escape from the cave of monsters was a mere hallucination and the surviving characters in fact were doomed. In this, the debt is even more overt as a group of young women maneuver through the perils of a cave amongst monsters. The sharks mostly act like sharks until they don’t, chasing their potential prey into tight cracks and lunging from the darkness to grab them by the scuba gear.
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