When a once-successful director finds himself stranded in a wilderness of misguided projects and indifferent audience response, he may try to reignite inspiration by going back to the ingredients of an iconic hit. If he can replicate the perfect storm of elements that made the earlier film work, maybe the new movie will put him back on top.

This kind of thing happens often enough — examples range from William Friedkin shooting for a West Coast “French Connection” with “To Live and Die in L.A.” to John McTiernan making “Die Hard with a Vengeance.” But we’re in a far more degraded realm of return-to-glory-days syndrome when it’s Renny Harlin out to recapture the low-trash spark of “Deep Blue Sea,” his well-liked exploitation action thriller. Talk about a 1999 movie that wasn’t about the brave new movie future!

It was about killer sharks (with enhanced intelligence!) eating people, and about a scientific experiment — something to do with curing Alzheimer’s — that was there to fill up the space between chompings. But “Deep Blue Sea,” whose big star was Thomas Jane, went down as a summer sleeper (it bit its way to $73 million domestic), and the nostalgic fondness that a lot of people have for it surely fed into why we’re now getting “Deep Water” (opening May 1), Harlin’s most lavishly scaled production in quite some time.

In the 1970s, disaster films had titles that described exactly what they were. “The Towering Inferno” was about a towering inferno, “Earthquake” was about an earthquake, and then there were films like “Meteor” and “Avalanche” and “The Swarm” and “The Hindenburg” and “City on Fire.” In that spirit, “Deep Water,” which is very much a neo-’70s disaster film. should have been called “Airplane Crash into a Sea of Jaws.” As it stands, the word in the film’s generic title that echoes that earlier Harlin movie is more than a bit ironic, since “deep” is just the word to describe what Renny Harlin’s movies are not. They are shallow. They are dramatically flat. They do not have interesting characters even on a schlock B-movie level. As a director, he has a sixth sense for how to reduce actors to walking slabs of pulp.

Yet there’s no denying that Renny Harlin, in his utilitarian action-hack way, has some chops. “Deep Water” starts out by introducing the main players on an intercontinental flight from Los Angeles to Shanghai. Aaron Eckhart, with his likable downcast valor, is the First Officer, a stalwart fellow who’s a bit of a ne’er-do-well (that’s why he’s never become a captain); he’s suffering from an oblique family trauma we can kind of suss out. Ben Kingsley is the captain, a jaded overseer on the verge of retirement who is introduced singing “Fly Me to the Moon” in a karaoke bar, where he somehow imagines that his crooning is going to have a seductive effect on the flight attendants seated at a table. (The truth is that he looks rather frighting in his sand-brown goatee.)

We’re also introduced to the passengers, who are real Jane and Johnny one-notes, though we do take special notice of Dan (Angus Sampson), a long-haired slovenly bellicose chain smoker whose bulky red plastic suitcase the camera tracks onto the plane. For a while, we think it must have a bomb in it. It doesn’t, but it does contain something that randomly ignites, setting a fire in the cargo pod, which becomes an explosion, which ricochets into the cabin, at which point a hole gets blown in the side, one of the engines catches fire, and this thing is going down.

It doesn’t take excessive skill to make a plane crash scary, but Harlin executes this one with stylish flamboyance, as bodies get sucked out of the plane and flying wine bottles turn into shrapnel. Our heroes want to try landing at an airport in Guam, but that plan goes out the window, as they barely manage to ground the plane in the middle of the ocean.

There were 257 passengers aboard, all but about 30 of whom are now dead. The plane is in pieces, the main two chunks being the cockpit and the fuselage, both of which have been reduced to floating canisters with wires popping out of the sides. The plane’s pieces are now, in effect, life rafts (though there are some actual oversize yellow inflatable rafts aboard that will come into play). If the proper distress signal was set off (there’s some question about whether that happened), they should be rescued in a matter of hours. But until then…sharks!

They are mako sharks, which to my movie-trained eyes don’t look all that different from the great white shark in “Jaws,” as they flop their giant razor-toothed mouths aboard the rafts. “Jaws” was scary because it was about anticipation and sudden fear and the power of suggestion. “Deep Water,” on the other hand, has little in the way of suggestion, which is why it’s more gory than scary. Harlin stages the shark attacks in an overt here-ya-go way, with the one consistent suspense issue being whether the shark will consume a victim whole or bite off his or her limb or simply leave them with a nasty gash (which happens quite often).

Meanwhile, two bros (one American, one Chinese) start off as enemies but get over that, the scurrilous Dan continues to assert what a dick he is by smoking and snapping at everyone, and Eckhart’s character bonds with Cora (Molly Belle Wright), the now-orphaned young girl aboard, which triggers a reappraisal of his own domestic situation. Human drama! Not. (Or, at least, not very much.) Yet there’s a way in which it matters not, since even back in the ’70s the “human drama” of disaster films was just the frame on which to hang the sensationalist fantasy of death porn and survival. “Deep Water” isn’t terrible for what it is, but what it is is disaster product.

SPOILER NOTICE:

The following movie review does not contains direct spoilers for the film Michael, however general information in regards to the plot, characters, key climax points, biographical information and themes explored in the film will be heavily discussed. Please read at your own discretion, or after seeing the film in theaters.

There have been, so far, four films that aim to depict some portion of the beautifully tragic life of late pop music pioneer Michael Jackson, otherwise known to the world as The King Of Pop.

You’ve got The Jacksons: An American Dream, the near-perfect 1992 ABC miniseries that gave MJ, his brothers and verbally abusive father Joe Jackson equal screen time in order to make for a proper origin story. Then there’s Man in the Mirror: The Michael Jackson Story, an abysmal 2004 VH1 TV movie that acts as a spiritual sequel yet truly should’ve never been made. Almost a decade ago we got Michael Jackson: Searching for Neverland, the 2017 Lifetime Network attempt to cover his final years of life, told from the perspective of two bodyguards employed by him for merely two-and-a-half years.

Today (April 24), the world finally gets to see Michael. The 2026 true-to-form biopic boasts the biggest budget compared to the previous three projects, distribution handled by the renowned Lionsgate Films, a director’s chair occupied by Antoine Fuqua (Training Day, Brooklyn’s Finest) and MJ’s own nephew, Jaafar Jackson, starring in the titular role alongside a glowing supporting cast that includes Colman Domingo (Rustin), Nia Long (Love Jones), Miles Teller (Divergent) and Larenz Tate (Menace II Society) just to name a few. Not to mention, it’s got full backing from The Jacksons family and 100% musical clearance to assure his biggest hits are heard on the big screen.

With all that said, you might be expecting a masterpiece that borrows the best aspects from the original and rights the wrongs of the last two. Unfortunately, that’s not the case when it comes to Michael. Thankfully though, there’s so much more to love about this film in addition to a very strong potential for more.

Yes folks, we may very well be getting the first-ever sequel to a biopic sometime in the near future.

Forget the “video game movie” curse; The Mortuary Assistant is a bone-chilling triumph that stands entirely on its own two feet. Starring Willa Holland (Arrow) as Rebecca Owens, the film follows a newly certified mortician whose “overtime shift” quickly devolves into a grueling battle for her soul.

What Makes It Work

The film expertly balances the stomach-churning procedural work of embalming with a spiraling demonic nightmare. Alongside a mysterious mentor played by Paul Sparks (Boardwalk Empire), Rebecca is forced to confront both ancient evils and her own buried traumas. And boy, does she have a lot of them.

Thanks to a full-scale, practical River Fields Mortuary set, the film drips with realism, like you can almost smell the rot and bloat of the bodies through the screen.

The skin effects are hauntingly accurate. The way the flesh moves during surgical scenes is so visceral. I’ve seen a lot of flesh wounds in horror films and in real life, and the bodies, skin, and organs. The Mortuary Assistant (especially in the opening scene) looks so real that I skipped supper after watching it. And that’s saying something. Your girl likes to eat.

Co-written by the game’s creator, Brian Clarke, the movie dives deeper into the demonic mythology. Whether you’ve seen every ending or don’t know a scalpel from a trocar, the story is perfectly self-contained. If you’ve never played the game, or played it a hundred times, the film works equally well, which is hard to do when it comes to game adaptations.

Nailed It

This film does a lot of things right, but the isolation of the night shift is suffocating. Between the darkness of the hallways and the “residents” that refuse to stay still, the film delivers a relentlessly immersive experience. And thankfully, although this movie is filled with dark rooms and shadows, it’s easy to see every little thing. Don’t you hate it when a movie is so dark that you can’t see what’s happening? It’s one of my pet peeves.

The oh-so-awesome Jeremiah Kipp directs the film and has made something absolutely nightmare-inducing. Kipp recently joined us for an interview, took us inside the film, discussed its details and the game’s lore, and so much more. I urge you to check out our interview. He’s awesome!

The Verdict

This isn’t just a cash-grab; it’s a high-effort adaptation that respects the source material while elevating the horror genre. With incredible special effects and a powerhouse cast, it’s the kind of movie that will make you rethink working late ever again. Dropping on Friday the 13th, this is a must-watch for horror fans. It’s grisly, intelligent, and genuinely terrifying.