Review: THE DEVIL’S MOUTH Has a Weak Bite

While it hasn't been an abysmal year for shark cinema, it's a little embarrassing for "Fin Flicks" to be shown up by a hungry, hungry hippo thriller. Could Prime Video's The Devil's Mouth reclaim the throne? Jeff Wadlow hasn't directed a memorable horror picture since his debut, Cry Wolf, and unfortunately, his wade into dangerous waters isn't redemption. The Devil's Mouth is at least more polished and composed than Truth or Dare or Imaginary. Still, it's just another run-of-the-mill refitting of aquatic horror tropes around more unlikable characters stuck in another extreme survival scenario. Shades of 47 Meters Down: Uncaged and The Descent are dragged under by subpar writing, while kill sequences aren't frightening or gruesome enough to overlook poor situational mapping that squanders a cavern-set death maze that should be overflowing with hunt-and-munch excitement.

Writers Aja Gabel and Myung Joh Wesner pen another idiots abroad tale about American tourists getting themselves into trouble. Besties Sara (Kathryn Newton) and Max (Lana Condor) are joined in Thailand by Max's boyfriend, James (Nico Hiraga), redheaded pal Adrienne (Tommi Rose), and her latest fling, the mamma's boy, Greg (Gavin Casalegno). They're irresponsible partiers and shittier friends, which results in Sara being covered in jellyfish stings. But the climax of their vacation could reset the vibe—a supervised tour of "The Devil's Mouth," an underwater cave system. Their guide, Wat (Tayme Thapthimthong), swims them through chambers as the gang goofs off, only for the unthinkable to happen: a bull shark attacks.

A few things stick out about The Devil's Mouth. The shark ain't half-bad lookin' for digital; a lower-rate comparison to The Shallows. Then there's the gorgeous backdrop of caves and coastlines, shot over eight weeks in Krabi, Chiang Mai, and Bangkok. Wadlow favors animation but doesn't disappoint in delivering a ferocious beast, and makes the most of rocky enclosures reflecting iridescent blue, or fitted with jagged "teeth" à la the film's title. Cinematographer James Kniest works well within the confines of tight squeezes and underwater perspectives, accentuating both the claustrophobia of narrow tunnels and the splendor of Mother Earth au naturel.

Disappointingly, the film's characters are primarily detestable in a Turistas-kind of loudmouth outsider way. Sara's so-called friends, putting it lightly, suck. They're visitors to Thailand, and yet defy anything they're told, or make baffling decisions to float the story along. Greg nearly causes a cave-in; everyone argues over Wat; Greg chastises Sara for being rightfully pissed. They should have taken the "green" cozy path, especially with Sara injured and scared, but Max forces Sara down the "red" path because it's more challenging, and therefore more fun (despite Wat's protest). It's one of those aquatic horror flicks where the characters are begging for any harm that comes their way, which poses the question: is it enough for "Fin Flick" casts to be floating buckets of chum?

In the case of The Devil's Mouth, I argue not. Perhaps if kill scenes were extravagant and grotesque enough, I'd feel different. But Wadlow hardly makes the most of an enraged bull shark who not only tears explorers to pieces, but headbutts them into stalagmites, bashing bodies like an NHL defenseman. It's rinse and repeat when the shark appears: poor bastard gets crushed, is dragged around the surface like they're attached to a roller coaster, then pulled underwater, to suffer an off-screen fatality. Don't expect to see any dazzling gore effects. For however decent Mr. Sharkey looks, the production itself relies on the age-old trope of sharks feasting where the camera doesn't follow. Plainly, and simply, action eruptions have a low-hanging ceiling because Wadlow withholds the flesh-tearing goods.

That's not to say Wadlow fumbles tension: The Devil's Mouth strikes fast and embraces chaos. As is often the lead character's arc in such creature features, Sara's third-act push is all about taking control of her life and proving she has the strength to persevere alone. Newton fosters gustiness and brewing rage within Sara, which becomes a storm of emotions that are necessary for her survival. As Sara and the remaining survivors defend against their bull shark villain, there's a delightful batty 90s wtf-ery about how that film ends in an attempt to counterbalance prior doldrums. For how often Gabel and Wesner's storytelling whiffs on pacing and dramatic impact, their lean into nonsense survival entertainment is at least a cherry on top.

However, The Devil's Mouth isn't saved by a last-ditch attempt to go for broke. Films like Deep Blue Sea, Deep Blue Sea 3, or Bait can sustain momentum for entire durations. Wadlow only squeezes such juice for about ten-ish minutes of a much too long 107-minute length. Otherwise, The Devil's Mouth is a frustrating example of detesting doomed characters so vehemently and yet having no fun with their exits, which is a no-no for any creature feature.

Movie Score: 2.5/5