Daddio

Stumbling upon this 2024 thriller titled "Dead Sea" by random chance, and never having heard about it, I opted to give the movie a chance. I have to admit that the movie's synopsis actually sounded interesting enough.

However, having just sat through the entire 88 minutes that the movie ran for, I was left with an overwhelming sensation of 'was that really it?' when the movie came to an end. The movie starts out quite nicely, with writer and director Phil Volken pushing the movie's momentum forward pretty early on. But there was just something fundamentally important missing from the movie's narrative, and it sort of became bland and irrelevant towards the last quarter of the movie.

The movie has a very small cast ensemble, but leading actress Isabel Gravitt did carry the movie well enough with her performance. I wasn't familiar with the cast ensemble in the movie. The acting performances by the cast were good.

There was a little bit of violence in the movie, but nothing noteworthy. "Dead Sea" was not a movie that relied heavily on special effects, and whatever effects were in the movie were actually fair.

"Dead Sea" is by no means a movie that I will return to watch a second time. Nor is it a movie that I will openly recommend people to rush out and get to watch.

My rating of writer and director Phil Volken's 2024 movie lands on a generous four out of ten stars.

It begins like half a dozen movies. Then it ends like half a million other movies. I will call it "Spitting on your Open Water Grave".

There are dumb kids doing irresponsible things that get them into trouble. Yeah, there is an early twist. Doesn't make the movie's new direction any better though. It just goes from one irritating sub-genre to another. Then it's mostly creepy and drawn-out.

The one okay thing about the whole affair is that Dean Cameron, who so eloquently played Chainsaw in the 80's classic Summer School, has found work - albeit in a role that they clearly offered to Kim Bodnia but had to settle on a lookalike for instead.

You are not missing much if you fast-forward through this or skip it altogether. The one boat's name was Haleh.

Jays and Tessa (played by Isabel Gravitt and Genneya Walton) decide to go on an ocean trip from Florida to the Bahamas (and so, crossing into international waters and then an entirely different country) on a couple of jet skis with a couple of guys they barely know. That's not very smart - so, while of course you don't want to fall into a "blame the victim"" mentality, it's OK to think of the writers: "This is the best you could come up with?" Things don't go well, of course. The boys end up dead and the girls fall into the clutches of some very evil people after a horrific collision between the two jet skis.

There's lots of pointless filler in this - surprising since its run time is only 1:27, but true. But the basic problem here is that it's a "Suspense" movie that lacks much in the way of suspense. It's a time waster that feels like a waste of time. Gravitt and Walton are OK, but no better than that. The movie is dry; It fails to engage on any level.

It feels like a story that's been told a thousand times before, with each time just needing a bit of retweaking. It isn't awful. It just isn't necessary. (4/10)

The vast, cerulean expanse of the open ocean, initially promising sun-drenched adventure for Kaya (Isabel Gravitt) and her friends, soon morphs into a terrifying stage for survival in "Dead Sea." The film masterfully utilizes its maritime setting to cultivate a pervasive atmosphere of dread and isolation. Sweeping aerial shots of their small jet skis against the seemingly endless horizon emphasize their vulnerability, a feeling amplified by the unsettling silence punctuated only by the roar of the engines and the distant cries of seabirds. This initial tranquility is shattered by the fatal accident, the sudden shift in tone underscored by jarring sound design and a frantic, handheld camera style that throws the viewer into the chaos.

The claustrophobic confines of the rescuing fishing trawler then become the primary setting for the film's suspense. The creaking hull, the dim, flickering lights, and the ever-present rocking of the boat create a sense of unease long before the sinister intentions of Captain Rey and Doctor Hunt are revealed. The plot unfolds with a deliberate build-up of tension. The initial relief of rescue slowly curdles into suspicion as Xander's condition worsens and the behavior of the crew becomes increasingly unsettling. The reveal of the organ trafficking operation is a gut punch, shifting the film from a survival narrative into a desperate escape thriller. Kaya's frantic flight through the narrow corridors of the boat and the ensuing cat-and-mouse chase with Rey are expertly paced, maximizing suspense in the confined space.

Isabel Gravitt's portrayal of Kaya is a standout, anchoring the film's emotional core. In the initial moments of panic after the accident, her wide, tear-filled eyes and trembling voice vividly convey her fear and desperation. As the situation escalates, Gravitt subtly shifts Kaya's demeanor, her initial vulnerability hardening into a steely resolve. A particularly impactful scene shows Kaya's silent determination as she tends to Tessa's injuries, her focused gaze and tight jaw communicating a fierce protectiveness. Even in moments of extreme duress, such as her desperate escape from Hunt, Gravitt imbues Kaya with a raw physicality and unwavering will to survive.

The slow-burning dread is palpable throughout the first half of the film. The idyllic jet ski trip is subtly undercut by a sense of foreboding, perhaps in the vast emptiness of the ocean itself. The unsettlingly calm demeanor of Captain Rey initially masks his true nature, creating a sense of unease that gradually intensifies. This slow build allows the audience to invest in the characters' initial plight before the true horror of their situation is unveiled. The moments of brutality, such as the implied harvesting of Xander's organs and Kaya's violent confrontation with Hunt, are stark and impactful, serving to underscore the ruthlessness of the antagonists and the high stakes of Kaya's survival.

"Dead Sea" grapples with themes of the fragility of life, the darkness that can lurk beneath a veneer of normalcy, and the indomitable nature of the human spirit in the face of unimaginable adversity. Kaya's journey is a testament to resilience, her will to survive fueled by the desire to protect herself and her friend. In the context of maritime horror, the film shares similarities with the isolated and perilous scenarios of "Open Water," but introduces the added dimension of human predation, reminiscent of the tense cat-and-mouse dynamics of "Dead Calm," albeit within a more confined setting.

Ultimately, "Dead Sea" offers a gripping and unsettling cinematic experience. It leverages its atmospheric maritime setting, a suspenseful plot filled with shocking twists, and a compelling lead performance to deliver a recommendable thriller that lingers long after the credits roll.

No pun intended - death is only the beginning could be a subtitle of the movie too by the way. But weird stuff aside, this starts off quite nicely ... and then sort of devolves and falls short later on. The lost at sea routine is one thing ... the cliches that come up when the inciting incident happens ... well I don't know what to say and call them, but they do not help or improve the movie.

I reckon this is not for sensitive people - then again the title might suggest that too. Acting is alright if you consider this being a low budget horror thriller - with some social commentary I guess ... but that is not the main point. It is about the female main characters and their ... struggle ... dare I say trying to swim out of a crazy situation ... is that a pun? Well it is for this movie.