Skip to main content

Meg 2: The Trench (2023)

 


Meg 2: The Trench takes the formula for gigantic animal horror and leans into the campiness. 

Directed by Ben Wheatley, who has directed a bunch of British films that you've never heard of. The film suffers in pacing, and perhaps due to Stathom's prestige that he didn't reshoot some scenes that desperately needed it. To be fair this also could have been the editor's fault but they might not have had much to work with.

The screenplay was written by the duo of Jon & Erich Joeber as well as Dean Georgaris. The Joebers wrote the first Meg as well as Battleship and RED 1+2. They don't produce all stinkers as I actually enjoyed the 2009 film Whiteout. Dean helped write the first film as the remake of The Manchurian Candidate. This leads me to believe the dialogue was mainly written by him, or at least the funny parts as there are some great lines by both Stathom and Page Kennedy who returns as DJ.

Shuya Sophia Cai plays the half-white, half-Chinese child who played the character, written for her, great. She plays off of Stathom's serious tone and adds some levity to make the film not too stark. Also when I first saw her I thought that Kristen Schaal had a love child with Simu Liu. She looks so much like Kristen Schaal that it did distract me.

You don't go into a film like Cocaine Bear or Meg 2: The Trench expecting a great film. You expect to be entertained. The first half of the film is pretty boring but it gets better towards the end. Grade: C

Comments

Popular posts from this blog

The Running Man (2025)

The Running Man (2025) is directed by Edgar Wright , known for Baby Driver and Hot Fuzz , but this remake lacks the trademark charm, rhythm, and comedic punch that define his best work. The film feels noticeably muted, almost as if Wright was creatively restrained or intentionally holding back, resulting in a tone that is far more conventional than expected from him. The visual flair is still present, but the energy is dialed down and the humor is sparse, creating an experience that feels competent yet oddly subdued. Glen Powell , known for Top Gun: Maverick and Anyone But You , leads the film well and brings his usual charisma to the role. He emotes effectively and fully commits to the character, but the makeup choices surrounding him occasionally distract and left me wondering what the creative team was trying to convey. Still, Powell carries the emotional beats and remains one of the film's strongest assets. Josh Brolin , from No Country for Old Men and Dune , steps comfor...

Frankenstein (2025)

Frankenstein (2025) is directed by Guillermo del Toro , the visionary filmmaker behind Pan’s Labyrinth and The Shape of Water . His style once again blends gothic beauty with emotional storytelling, and his long-awaited take on Frankenstein is everything you’d expect: tragic, poetic, and visually stunning. Del Toro’s passion for monsters and misunderstood souls shines through every frame, making this adaptation both faithful and deeply personal. Oscar Isaac , known for Ex Machina and Dune , gives a grounded and believable performance as the tormented Dr. Frankenstein. He captures the obsession and guilt of a man who has gone too far, balancing intellect with a quiet madness that feels earned rather than exaggerated. Mia Goth , who has proven herself in Pearl and Infinity Pool , continues her run as one of the most mesmerizing modern actors. Her ethereal presence fits perfectly within Del Toro’s world, and she brings depth and vulnerability to a role that could have easily been o...

Christy (2025)

Christy (2025) is directed by David Michôd , known for The King and Animal Kingdom , and written by Mirrah Foulkes , who penned Judy & Punch . While both bring a grounded and deliberate tone to the film, there’s something missing in the pacing and camera. The direction is competent but occasionally flat, leaving certain moments feeling less impactful than they should. Still, the story holds strong thanks to the performances. Sydney Sweeney , known for Euphoria, Anyone But You,  and Madame Web , delivers one of her most mature and layered performances to date. She brings intensity, fragility, and conviction to the title role, proving she’s more than capable of carrying a serious dramatic film. Her emotional control and subtlety make the story believable, even when the writing wavers. Ben Foster , whose work in Hell or High Water and Pandorum  has always stood out, once again shows why he’s one of the most underrated actors working today. His character is despicable, ye...