THE STORY – A group of college friends’ Thailand adventure turns deadly when they become trapped in submerged caves with a dangerous predator. As oxygen runs low, past conflicts emerge in their desperate fight for survival.
THE CAST – Kathryn Newton, Lana Condor, Gavin Casalegno & Nico Hiraga
THE TEAM – Jeff Wadlow (Director), Aja Gabel & Myung Joh Wesner (Writers)
THE RUNNING TIME – 106 Minutes
In the fifty years of history that were spawned when “Jaws” first premiered in theaters, many things about the cinematic landscape were changed. For better or worse, a new kind of filmmaking rose, with a heavy emphasis on event releases that fundamentally altered the economics of the industry. That wasn’t the only fundamental alteration within the culture that was spawned. A new appetite was created that saw sharks as a new kind of monster to fear. Suddenly, a predator that had little to no interaction with the human species became an imposing threat. A slew of copycats were quickly rushed out in the years following the release of “Jaws,” but it’s clear that sharks continue to be a compelling antagonist for countless films in the last decades. “The Devil’s Mouth” is yet another addition to this crowded subgenre, and like most of those previous entries, it offers some mildly intriguing set pieces but struggles to create a wholly engaging atmosphere.
This story starts where a great deal of misfortune begins: a group of twentysomethings partying while enjoying an international vacation. A gathering of college friends has arrived in Thailand in an effort to have one last outing before they return to the real world of adulting that awaits them back home. Sara (Kathryn Newton) represents the more mature personality here, feeling isolated from her friends due to simmering tension with Max (Lana Condor), the more assertive individual who tends to guide the direction of thought, regardless of how ill-informed or selfish she may be. It’s a quality that Sara is attempting to push to the side as they all enjoy a trip that includes exploring a noted cave system called The Devil’s Mouth. Once inside, the more adventurous members of the party dare to investigate the more treacherous parts in an effort to satisfy their thrill-seeking. However, they are unaware of a massive shark that awaits them in the dark and murky corners. As people start getting picked off one at a time, so begins the treacherous journey to make it safely out before this dangerous animal consumes everyone.
Schlocky B-movie territory is familiar terrain for director Jeff Wadlow. Helming projects like “Truth or Dare” and “Imaginary” show that he has an ability to work within this grungy drama. Still, those previous efforts also do not suggest the strongest track record of quality. There is a sense that certain sequences deserve more attention, and any moment that involves the giant carnivorous animal does feel more invigorating. The introduction of the shark has it moving in shadows in the murky water, and the attacks at first conceal the creature before it fully makes an appearance. It’s an effective way to build tension before the illusion fully breaks once it visibly emerges. Each attack just shows off an obviously computer-generated creation, made worse by the even less impressive water effects, and the illusion of any peril is completely destroyed. It’s nowhere near as impressive as when a person is seen dragged through the water by an unknown force that lurks beneath the surface. Some moments are more impactful to the ridiculous circumstances, like a victim being pulled away while a rope is dragging another behind. However, these peaks are not enough to sustain the uninspired filmmaking that chooses flat compositions and a banal pace.
Admittedly, it’s the screenplay that creates a less captivating environment for this narrative. Aja Gabel and Myung Joh Wesner establish a recognizable framework as their foundation. The group of friends all have predictable traits that can make them distinguishable enough to at least be recognized when they fall prey to the shark, but also don’t have too much definition so you can enjoy the carnage without any emotional attachment. It’s a setup that’s similar to a film like “The Descent,” which also found its heroes stuck in a claustrophobic cave system while being hunted in the dark by terrifying monsters. This film, however, fails to establish a provocative survival tale on its own, and the audience is merely waiting for the giant set of teeth to appear as we wade through banal exposition that only serves a perfunctory purpose. The script may just be an excuse to create a jumping-off point for this premise, but it also leaves very little to be thrilled by at the same time. The hollow characters would be tolerable if the set pieces were elevating the material, but such a level isn’t quite reached to tolerate this lack of depth.
While not a film meant to showcase stunning performances, credit goes to Newton for still creating an engrossing screen presence that makes her a believably capable protagonist. While her journey from meek ensemble player in this group to headstrong leader isn’t the most novel to witness, there is still a gravitas to her that creates an endearing portrayal. Condor might have a slightly harder task on her own, given that her role is that of a thoroughly unlikable person who is intentionally meant to be conveyed as annoying. It’s a persona she successfully inhabits, though it does mean any concern for her that should be there on a basic level from the perspective of her friends never shows itself. Instead, we wait patiently for a despised person to hopefully meet her end, but given the bland writing, he delivers serviceable work. The same is said for everyone else in the cast. The material is so light and minimal that nobody really has the tools to create a more distinct impression. Not that there were any higher expectations anyway.
There really isn’t any new ground being broken with “The Devil’s Mouth,” and one certainly feels that within the storytelling. Like many basic shark films, there’s a tendency to produce the bare minimum when it comes to setting up the plot and assembling the characters. There isn’t meant to be a deep emotional resonance from the narrative, and the performances are not designed to be an example of fantastic acting. That’s all fine because expectations are properly set for the ambitions that are established here. Still, one hopes for the action sequences to be more enthralling, and it’s difficult to reach that level when the visual effects betray any sort of realistic danger that could be felt. Because of that, despite any mild enjoyment that is derived from a well-placed jump scare or an imaginative set-up, the film barely musters any enthusiasm. It’s a good deal better than many shark movies that aim to trade off the success of one incredibly memorable blockbuster, but it’s still not the most riveting either.
