A nuclear-powered attack submarine is attacked by a mysterious underwater object which disables it with a powerful electromagnetic pulse. The Hubris, an underwater Arctic research station, witnesses the attack and reports an alarming rise in the temperature of the ice cap in the process. Shortly afterwards, the station is also attacked and so an expedition is sent to find out what happened. Once there the expedition finds that though the station is still intact, the personal have been incinerated. It isn’t long before they find out what attacked the Hubris – giant electric eels – and why.
With the prospect of giant electric eels doing some underwater damage making for a slight change to the usual sharks-crocodiles-snakes-spiders routine, it comes as no surprise to know that Deep Shock plays out like the majority of the Sy Fy TV movies: stock actors picked from the usual Sy Fy roster; a script that fills itself with loads of techno, military and political jargon to sound credible; action scenes which are anything but rousing and exciting; and creatures that sound alright on paper but look like cartoon monsters when rendered in CGI.
Actually I’m being a bit harsh on Deep Shock. Whilst the film does look and feel like the usual cheap-and-nasty drivel from the Sy Fy Channel and every cliché in the book is played out to full effect, the script doesn’t go down the route I expected it to and instead tries to turn itself into a credible, thought-provoking story about humans encountering other intelligence on Earth. Far from being the deadly threats that you’ll expect them to be, electrifying stock characters in underwater facilities in some form of Leviathan / Deep Star Six style sci-fi horror, the eels are supposed to be preparing the planet for its original inhabitants to return (space eels then?) and can be communicated with and made to listen. Whilst the ending to the film hardly gives resolution to the eels’ overriding purposes (after all they still want to wipe humanity from the planet), it at least gives the creatures a bit more function than just generic monsters-on-the-loose.
It’s a shame then that the eels look so poor when they are shown on screen. Blasting bolts of electricity from their foreheads and having big bulging red eyes, the fish could have been so much more had a bit of effort gone into their creation. But this is a film where concern for detail is eschewed in favour of bluster and a desire to make itself exciting, on which it fails. Deep Shock enjoys flashing off its limited budget with lots of copious special effects scenes and overly ‘futuristic-looking’ sets. The underwater research centre, the Hubris, looks like a knock-off set from The Abyss, complete with a pool for the eels to appear from (well they can’t walk around the facility so they’re kind of restricted to the places they can make contact with the humans in). Lots of dimly-lit sets with flashing lights and shaky cameras attempt to make everything look so exciting and cutting edge when in reality it just shows up the film for lacking decent production values. The underwater action scenes involving mini-subs and exterior shots of the Hubris look like cut-scenes from a computer game and a bad one at that. It’s always hard to get into something when every two minutes you’re reminded of how inferior it is to similar big budgeted films.
The sense of international scope that the film tries to convey just don’t work either. According to Deep Shock, the United Nations consists of a bunch of Eastern Europeans sitting around a computer desk in what looks like a school gymnasium with a few flags draped in the background. You never get the sense that this is anything global, especially when the film continually deals with one Eastern European guy (Velizar Binev, who crops up in loads of these films) who apparently speaks on behalf of everyone. I guess with the small cast they were required to recycle.
Low budget schlock flick rent-a-bad-guy Mark Sheppard pops up as the usual dodgy-looking slime ball he plays in all of these TV movies (see New Alcatraz, Xtinction, plus a ton of TV shows like 24 and The X-Files). David Keith gets to act all hard and ‘edgy’ as the squared-jawed action hero whilst Simmone Jade Mackinnon does nothing but smile throughout the film, even though the world is supposed to be facing a crisis, and the two are given a token romantic sub-plot. With Sy Fy re-using these actors time and time again, it gets a little predictable knowing how each character arc is going to pan out. Why not give Sheppard the hero role for a change and turn Keith into the psycho? See that’s lazy writing – Sheppard being cast as the bad guy instantly plays on our preconceptions of the character he is going to play and does a lot of the hard work of building a solid character…….ah I’ll save that rant for another time.
I’m sure that this would have made for a riveting forty-five minute long episode of Voyage to the Bottom of the Sea back in the 60s but as a full blown 2002 TV movie, Deep Shock strings along its limited idea as long as it can without any real pay-off. Apart from the ambitiously novel background to the electric eels, it’s business as usual as far as Sy Fy goes. And business is bad.