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Mike Wilmington

By Mike Wilmington Wilmington@moviecitynews.com

Wilmington on Movies: The Shallows

THE SHALLOWS (Three Stars)

U.S.; Jaime Collet-Serra, 2016

The Shallows is a genuinely scary movie thriller that spooks you because, in a way, it seems so real — this tense, taut movie manages to get by without ghosts, monsters, supernatural maniacs or The Devil, indeed without almost anything that absolutely couldn’t happen (maybe) in the real world. Like Jaws, it’s the white-knuckle, full-throttle story of a battle between human vs. shark: a visually voluptuous thriller, set in a mostly deserted stretch of Australian coast, about a great white shark that traps a young surfer and medical student on an ocean-bound rock and buoy only about 200 yards from shore — a deserted beach near an ocean that is mostly empty except for that trapped girl and that toothy shark and one other creature we‘ll introduce later. (You’ll like him.)

The sheer closeness of the beach to the rock in the ocean, shot on Lord Howe Island in the Australian coastal wilderness 600 nautical miles from Sydney, and the fact that a Great White Shark relentlessly prowls the waters between that are the swimmer’s only escape route, becomes almost maddening. Maybe this couldn’t happen, maybe no Great White Shark would act like this. But while you’re watching the movie (written by Anthony Jaswinski), it seems plausible enough to keep you wondering how to outguess or outswim the damned thing.

The young woman, Nancy Adams (played by Blake Lively of The Sisterhood of the Traveling Pants and “Gossip Girl”) is an almost foolishly brave and self-confident student and surfer who’s gone to the Australian outlands because she’s mourning the recent death of her mother. Nancy, who probably got her spirit of adventure from her mom, doesn’t bother telling anybody exactly where she‘s going (except the curly-heeded local guide who brought her there , played by Oscar Jaenada). And she ignores the warning of the proximity of the sharks nearby feeding ground, a great floating whale corpse with juicy slabs of meat hanging out of his side. Instead, Nancy the prospective medico (her medical acumen will come in handy later) immerses herself in the almost ethereally beautiful landscape (shot by Flavio Labiano), the crashing waves, the hot sun, the high sky.

When the shark appears and starts attacking her, leaving one of her legs a bloody mess, the other surfers have gone away, and as the tide rises, her situation becomes more and more dangerous. She talks to herself, screams with rage and pain, occasionally dives into the perilous waters, desperately searches for an escape or the sight of another human. Then she swims back to her shaky, fragile refuge on the rock. The tide keeps rising; death swims only yards away. She has one friend, one creature sharing her nightmare: a small wounded seagull played by six different gulls, but mostly by a splendid little bird actor named Sully,

The Shallows, directed by the Spanish-both suspense specialist Jaime Collet-Serra is, I think, a more heart-pounding thriller than Collet-Serra‘s three huge Liam Neeson suspense hits, Unknown, Non-Stop and Run All Night (all shot by his fellow countryman Labiano), because it doesn’t push too hard or stretch credulity too far. The music, by Marco Beltrami (Wes Craven’s Bernard Herrmann), pumps everything up. Blake Lively and Sully are a extremely engaging protagonists, and their shark nemesis, primarily a CGI creation, is a shivery antagonist. Because this movie is not a spook fantasy, or a sadistic romp, it becomes scarier than all those cinematic sons and daughters of The Exorcist and The Texas Chain Saw Massacre smashed together.

.Nancy and Sully are quite a pair — or perhaps we should say Nancy, Sully and the shark are quite a threesome. If Oscars were handed out to animals or birds, Sully, who is both photogenic and lovable, would be a shoo-in. And Lively makes us believe that she ‘s got the brains of a medical student, the endurance of Hemingway’s Old Man and the Sea, and the pluck to keep fighting back. As for the shark, we can believe he’s hungry. And persistent. And someone, something, you don’t want to meet in the water at Lord Howe Island or anywhere else. Unless you’ve got a pal like little Sully to share the nightmare.

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Wilmington

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Dear Irene Cho, I will miss your energy and passion; your optimism and joy; your kindness towards friends, colleagues, strangers, struggling filmmakers, or anyone who randomly crossed your path and needed a hand. My brothers and I have long considered you another sibling in our family. Our holiday photos – both western and eastern – have you among all the cousins, in-laws, and kids… in the snow, sun, opening presents, at large dinner gatherings, playing Monopoly, breaking out pomegranate seeds and teaching us all how to dance Gangnam style. Your friendship and loyalty meant a great deal to me: you were the loudest cheerleader when I experienced victories and you were always ready with sushi when I had disappointments. You had endless crazy ideas which always seemed impossible but you would will them into existence. (Like that time you called me and suggested that we host a brunch for newly elected mayor of LA, Eric Garcetti because “he is going to president one day.” We didn’t have enough time or funding, of course, only your desire to do it. So you did, and I followed.) You created The Daily Buzz from nothing and it survived on your steam in spite of many setbacks because you believed in a platform for emerging filmmakers from all nations. Most of all, you were a wonderful mother to your son, Ethan, a devoted wife to your husband, and a wonderful sibling and daughter to your family. We will all miss how your wonderful smile and energy lit up the room and our lives. Rest in peace, Irene.
~ Rose Kuo Remembers Irene Cho on Facebook

“You know, I was never a critic. I never considered myself as a film critic. I started doing short films, writing screenplays and then for awhile, for a few years I wrote some film theory, including some film criticism because I had to, but I was never… I never had the desire to be a film critic. I never envisioned myself as a film critic, but I did that at a period of my life when I thought I kind of needed to understand things about cinema, understand things about film theory, understand the world map of cinema, and writing about movies gave me that, and also the opportunity to meet filmmakers I admired.

“To me, it was the best possible film school. The way it changed my perspective I suppose is that I believe in this connection between theory and practice. I think that you also make movies with ideas and you need to have ideas about filmmaking to achieve whatever you’re trying to achieve through your movies, but then I started making features in 1986 — a while ago — and I left all that behind.

“For the last three decades I’ve been making movies, I’ve been living, I’ve been observing the world. You become a different person, so basically my perspective on the world in general is very different and I hope that with every movie I make a step forward. I kind of hope I’m a better person, and hopefully a better filmmaker and hopefully try to… It’s very hard for me to go back to a different time when I would have different values in my relationship to filmmaking. I had a stiffer notion of cinema.”
~ Olivier Assayas