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What did you expect from The Asylum? You can yell ‘Stop!’ all the way, but rest assured they will never listen. So put your hands together for their latest Shark spectacular Megdlodon Rising. And just like them, you need to be careful because this Is coming from someone who watched it.
With a crew of three, a Chinese warship is conducting a top-secret US espionage device test not too far from American shores. Onboard, are US scientists – Dr. Lee, who is later picked up by USS King’s Captain Lynch along with Dr. Lee’s female sidekick who appears throughout the duration of the movie. The test is considered successful until a giant shark decides to showcase his crashing skills by ramming directly into the ship and sinking it.
Meanwhile, a Chinese destroyer pops up and proceeds to directly threaten the King unless they want to face and prepare an armed standoff. To the three Megalodons who have just broken by attacking the Chinese ship, this truly does seem like a big joke.
Megalodon Rising is the continuation of the 2018 film Megalodon. Captain Lynch is the sister of the film’s Commander Lynch. Tom Sizemore (7 Deadly Sins, Bermuda Island) replaces Michael Madsen (Conjuring: The Book of the Dead, Shark Season) as the guest star. The Chinese that replace the Russians as the human antagonists do make mention of the first film.
Andrea Ruth (American Psychos) and Brian Nowak (Meteor Moon) come back for this film, yet seem to follow the first one a little too much. The US/Chinese standoff, and then the personal agenda of Lieutenant Commander Ahearn (O’Shay Neal), Lynch’s first officer, are too much of a distraction. It is exciting or dazzling in any sense, but given to a different group of people it might be, and that inching feeling at the back of the mind is left wondering what happens in a truly chaotic film.
As with the vast majority of Asylum films, Megalodon Rising possesses plot holes that are so glaring that they greatly impact the films overall credibility. Somehow, the Chinese are shown getting an armada of warships across the Pacific without anyone noticing. And right there is where it should have set red flags and needed a change in the script.
Still, this is not the only problem Megalodon Rising has. The sharks take the fire from the warships’ large cannons without flinching, but a few men with machine guns attempt to battle them when they come to San Diego. They off-screen destroy the naval base, but no one on the beach seems to notice or get out of the water. Our two wannabe Rambos shoot at them on full auto while the crowds of swimmers leave the water, and they seemingly do not hit anyone. And as a final point, there has been some speculation about the sharks having swim bladders. And, as Jaws taught us, sharks do not have swim bladders, which is the reason why they need to keep moving or else they will sink.
In cases like these, a movie has to maintain a specific nail biting pace that will distract the audience from the stupendous amount of illogical scenes within the film. The Asylum seemed to understand that with Jungle Run and Robotapocalypse, but forgot it here. In addition to that, solid effects are always helpful in the retention of viewers’ attention as they can distract from the illogical plot. In Megalodon Rising, the effects are as low as they can get, and they also include parts that are worse than that. Combining the footage with what appears to be a WWII naval film definitely doesn’t help anything.
Megalodon Rising is a throwback to The Asylum’s earlier days, and it is the not-so cherry on top to the films that they have recently tried putting out. Not just as a sequel to one of their older films but in look and overall lack of quality. I am hoping that once this batch of novice writers, directors, and performers gain some experience, they’ll do a better job for the company and its output will become a little more systematic. In the meantime, it would be good if they just paid attention on what their better films have and then have that to work with.
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