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The Meg: Movie Review

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Directed by – Jon Turteltaub

Produced by – Lorenzo di Bonaventura, Colin Wilson, Belle Avery

Starring – Jason Statham, Li Bingbing, Rainn Wilson, Ruby Rose, Winston Chao, Cliff Curtis, Page Kennedy, Jessica McNamee, Olafur Darri Olafsson, Robert Taylor, Shuya Sophia Cai, Masi Oka, Rob Kipa-William, Tawanda Manyimo


Statham plays Jonas Taylor, the world’s best remote ocean protect jumper. All things considered, he was the world’s best until the point that a protect endeavor in the Philippines turned sour, and his claims that the ship was assaulted by a strange concealed animal are rejected as weight prompted psychosis and cause him to lose everything.

After five years, he is on an unending drinking spree in Thailand when he is visited by an old associate, definitely named Mac (Cliff Curtis) and, Mac’s new manager, Zhang (Winston Chao), who is the leader of a submerged research office outside of Shanghai that is investigating the likelihood of a formerly undetected undersea domain underneath the floor of the Marianas Trench. While investigating this new world, the sub containing three individuals from the exploration group, one of whom simply happens to be Jonas’ ex (Jessica McNamee) is hit by something and abandons them disabled and with a protect window of around 18 hours.

In a stunning unforeseen development, Jonas concurs and is taken out to the office, where he is acquainted with the very chosen gathering of strolling buzzwords that incorporate Rainn Wilson as the egomaniacal extremely rich person who is financing the entire thing, Ruby Rose as the restless tech virtuoso who may be, maybe unavoidably, named Jaxx, Page Kennedy as the wacky African-American who doesn’t know how to swim and didn’t agree to accept this, and Bingbing Li as Suyin, who is Zhang’s little girl and who supplies the film with an intelligent eight-year-old girl (Shuya Sophia Cai), a potential sentimental enthusiasm for Jonas and, maybe in particular, film industry enthusiasm from the inexorably imperative Chinese group of onlookers.

“The Meg” is no magnum opus using any and all means—the inescapable assault on swarms of guiltless swimmers feels strangely truncated and the climactic fight isn’t so energizing as a portion of the prior activity beats. In any case, it figures out how to hit upon a sensibly powerful mix of activity and diversion that never sinks to the stressed profundities of the “Sharknado” adventure and comparable movies that have risen since the innovation was created to convey ineffectively rendered CGI sharks to the majority.

Also, when “The Meg” at long last touches base at its most clear “Jaws” reference, the film ends up being more cunning and entertaining than one may conventionally expect the situation being what it is. Who could request much else—with the exception of all the more sharkpunching, obviously.

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