DEEP WATER (2026)

Studio:   Magenta Light Studios
Director: Renny Harlin
Writer:   Pete Bridges, Shayne Armstrong, S.P. Krause, Damien Power, John Kim
Producer: Bob Yari, Volodymyr Artemenko, Grant Bradley, Dale G. Bradley, Neal Kingston, Robert Van Norden, Ryan Hamilton, Ying Ye, Adrian Guerra, Gene Simmons, Gary Hamilton
Stars:    Aaron Eckhart, Angus Sampson, Ben Kingsley, Lucy Barrett, Molly Belle Wright

Review Score:


Summary:

After a disastrous plane crash, the remaining crew and passengers aboard an international flight must band together to survive being stranded in shark-infested waters.


Synopsis:     

Review:

It’s telling that the theatrical poster for “Deep Water” bills the film’s director, Renny Harlin, as the “director of ‘Deep Blue Sea’ and ‘Die Hard 2’,” movies that played in 1999 and 1990 respectively. Had the poster highlighted Harlin’s more recent releases instead, he would have been billed as the director of 2024-2026’s “The Strangers: Chapter X” trilogy, a trio of films so poorly received that their collective Rotten Tomatoes score totals a number lower than either of the other two titles on their own. No one can fault a PR person for wanting to focus on Harlin’s hits, but it’s hardly encouraging to remind viewers that those hits precede “Deep Water” by three decades.

So, where does “Deep Water” fit into the director’s oeuvre of 40+ films and counting? Is it closer to Harlin’s vintage ‘90s period or his throwaway thrillers of the 21st century? That depends on how much space there is in someone’s stomach for “Deep Water’s” jaw-breaking mouthfuls of predictable plot beats and ABC tropes pulled from the waters of every other shark/disaster movie already in existence.

At the start of “Deep Water,” 257 people board a commercial flight headed to Shanghai out of an LAX terminal that looks nothing like Los Angeles’ actual airport. Less than 30 of them survive a disastrous crash in the ocean. Wouldn’t you know it though, the main dozen or so of those survivors just happen to have an incidental interaction along their path to the plane that conveniently links several stereotyped strangers through a casual conversation, physical altercation, or even simple eye contact upon taking their seats.

Open eyes will instantly clock the requisite jackass whose guaranteed death is meant to be met by cheers. Ignoring repeated requests to stop smoking cigarettes, Dan lets everyone know he’s a dick right off the bat. Anyone who doesn’t already dislike him gets additional opportunities to boil their blood when Dan pushes his way past people minding their own business because he believes he takes priority. It’s also his poorly packed electronic device that starts a cargo hold fire, causing the chain reaction that puts the plane in the ocean where he’ll have no shortage of chances to continue being selfish, dangerous, and a general pain in the ass.

Others met in the meantime include feisty young Cora and her doting dad Declan. Declan recently remarried, and Cora couldn’t be colder toward her seven-year-old stepbrother Finn. Luckily for Finn, after his parents sneak away for sex in the lavatory and Cora pranks him by directing the boy to the back of the plane, Finn befriends Matt, a glasses-wearing computer nerd who brushes off his seatmate Becky when the older woman attempts to show him a picture of her granddaughter. Becky gets petty revenge after Matt notices attractive flight attendant Zoe, prompting Becky to mention she’s way out of Matt’s league.

Matt and Finn aren’t the only game-loving geeks in the aisles. There’s also Sam and Lisa, two Chinese esports teammates who can’t quite confess their mutual crush on each other. Maybe a traumatic event can spark that courage, if alpha male antics from a-hole student athlete Hutch don’t get in the way first.

Four men man the cockpit. Surprise, surprise, only top-billed Aaron Eckhart and Academy Award winner Ben Kingsley make it to the water alive. Sorry, nameless two other guys. Beef up those resumes and perhaps you’ll have better luck next time.

The losing battle the film already fights here is that ever since at least “Alive,” “Lost,” or even the “Airport” movies of the 1970s, viewers have been overexposed to umpteen airplane crashes countless times before. No matter how much a movie upgrades its FX or how a stunt gets staged, audiences are desensitized to turbulent spectacles of exploding engines and screaming passengers sucked into the air. It’s arguable whether that sentiment applies more to scenes of fuselage breaking apart or subsequent scenes where sharks take big bites out of human limbs frantically flailing underwater.

On top of that, by the point of impact in “Deep Water,” there’s no emotional magnet drawing attention toward anyone in particular among the morass of plain faces and forgotten names thrown around throughout the first act. We’ve been introduced to so many people, and they’ve been accompanied by so many alienating actions of dismissive behavior, that no one really rises as a hero worth championing. Any scene involving Aaron Eckhart or either of the young children, and there are plenty of moments when one or more of them are in mortal danger, is automatically absent of tension due to the classic fact that the main character and kids never die in dire situations, and that rule doesn’t get broken here either.

Although it still follows a routine formula, “Deep Water” has mildly more production value than most shark movies in or below its weight class. It ought to, what with the film being produced or financed by 13 different companies, three of which are cited twice in opening titles. There are also 29 different people listed with some kind of producer credit, including the director’s wife Johanna Harlin, who also appears briefly as a TSA agent, and Gene Simmons, yes that Gene Simmons.

Emerging as average fodder for some streaming service’s black hole of common content, it’s generous to score “Deep Water” down the middle at 50/100, though even that number is for shark/disaster flick fanatics only. Speaking of 50, now that it’s been more than that many years since “Jaws,” hopefully cinema will finally hit a breaking point where these movies will be forced to do something novel to keep their heads above increasingly crowded currents. “Deep Water” definitely isn’t that turning point, because it doesn’t do anything outstanding to raise this subgenre’s apparently low standards.

Review Score: 50