47 Meters Down: Uncaged is the bet of Tripictures for this summer in terms of terror with wild animals. This time, again, sharks become the insatiable murderers, eaters of human flesh, who return to terrorize movie theaters.
Johannes Roberts, director of the first 47 Meters Down movie, returns for this new film that was released internationally on August 15 and, in addition, is the debut on the big screen of the daughter of Sylvester Stallone, the model, and actress Sistine Rose Stallone.
47 Meters Down: Uncaged starts from a premise similar to that of the first film, a group of trapped bathers, chased by one or several blood-hungry sharks. On this occasion, the action takes place again in Mexico, but in a very different environment. This time we are not in the open sea, but in some submerged Mayan ruins.
A couple of adoptive sisters take advantage of the fact that their father is an archaeologist working on these ruins, to take a dip in them. The girls go in the company of some friends, who insist on using the diving equipment to delve deeper into the underwater excavation, oblivious to the fact that the Mayan temple has served as a home to a subspecies of white shark that has lived inside for centuries. Soon, the weekend getaway will become the most terrifying experience of their lives.
If you're going to have a bad time at the movies, this is going to be your movie. Claustrophobia, stress, anxiety, fear ... all these emotions are those that director Johannes Roberts manages to wake up with great success in this manual tape of the shark subgenre of horror starring. Hence, absolutely no one to whom this type of movie is going to be let down from the cinema. If the soaking terror is your thing, you will find in this tape what you are looking for.
In many ways, 47 Meters Down: Uncaged is, as we say, a manual movie. Roberts builds a horror story, based on the concept of murderous animals in a hostile environment, inheriting precepts of this type of cinema. In essence, it does not reinvent or revolutionize anything of the genre. What it does, however, is to reuse various bases of horror movies and mix them to build a story of its own.
That is, it poses a suffocating and closed scenario such as waterlogged ruins and poses several threats: the sharks themselves, the sea currents, the detachments, the lack of oxygen, the pressure, etc ... In fact, those who have played In Shadow of Tomb Raider, some sequences will remind you of certain aquatic scenarios of the last Croft game.
The result is a functional construct, which fulfills the objective for which it was designed. And it does, in addition, startling us from the armchair and giving us the bad body that was intended to create us. Much of the merit is due to an adequate sequence construction, with rhythms and times conveniently measured and used, making the tape run in well-differentiated acts, with a novel structure.
In other words, it has a structure made with superb care and almost manic attention to detail. Although, yes, it lengthens unnecessarily at certain times, the final sequences are almost auto-parodic or excessively disproportionate and certain topics make certain genres somewhat predictable. But we knew what we were coming to watch, didn't we?
In the end, and more having the kind of movie of its kind, it is also necessary to make some concessions. Above all, at the plot level. As with the first installment, this 47 Meters Down: Uncaged has problems of scientific and plot coherence. That is, it pretends to be scientifically successful in some things up to scruple, but for the sake of narrative fluency, some licenses are taken. Not to mention that, in addition, it makes historical and cultural errors, insignificant and invaluable except for the one who is familiar with the matter that scratches the surface to justify the premise of the film.
On the other hand, it is also appreciated that it is not a great blockbuster. Roberts sets a tight budget to make his horror movie functional and viable. However, sometimes certain very conservative resolutions are detected to take advantage of the few resources available.
That is, outdoor shooting sometimes accuses a very burned photograph, while the special effects of the sharks make the animals look fake. An effect that, meanwhile, manages to make the appearance of antagonistic beasts even more unpleasant.
Concluding. Fans of the genre of scares and irascible animals, dangerous and murderers will be satisfied. Like everything, it has its lacks, but it is a perpetuation quite worthy of the genre and will satisfy lovers of this type of cinema.