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Being swallowed by a whale isn’t exactly a new concept (just ask Jonah and Pinocchio) but
chances are you’ve never thought about the logistics of surviving such a worst case scenario.
Adapted from Daniel Kraus’ 2023 novel, Whalefall explores that wild concept through the lens of
a strained relationship between a father and his son.
A Whale of a Tale
After the death of beloved local diver Mitt Gardiner (Josh Brolin), son Jay (Austin Abrams)
returns from college to his California hometown and sets off on a solo diving expedition to find
his father’s remains. The high-concept survival thriller quickly ratchets up into a tense race
against the clock as Jay is inadvertently ingested and finds himself in the belly of a massive
sperm whale with precious little oxygen.
The Devil in the Deep Blue Sea
Echoing other movies like 127 Hours and Buried, what sounds great on paper proves a
challenging translation to the screen. Without the benefit of reading Jay’s inner thoughts, the
story relies heavily on Jay talking out loud to himself as he traverses the biological escape
room. A little ludicrous and very claustrophobic, nearly the entire running time is spent inside the
belly of the beast. Body horror elements eventually burgeon on torture porn, yielding something
of an uncomfortable watch.
A Sea of Regrets
Though a father/son story at heart, that narrative backbone could have used a lot more nuance.
Gruff is Brolin’s middle name, but it’s hard to buy into their one-note ‘mean dad’ dynamic seen
across the film in heavy-handed flashbacks. Fans of the novel will find the story beats largely
intact; however, one major change ages Jay up and recenters the main conflict on his desire to
go to college in a different state. That’s inherently less dramatic than the novel, which sees Jay
run away from home at the age of 15.
Caught in the Undertow
Austin Abrams is on a hot streak as of late, having made a major impression last year in
Weapons. Abrams followed filmmaker Zach Cregger to unexpected leading man status as the
haphazard medical courier in the recent Resident Evil. He doesn’t fare quite as well here,
occasionally coming across more actor than character in an uphill role refitted to accommodate
him. As Jay’s mother, Elizabeth Shue adds a warm presence but feels underutilised in
flashbacks condensed for running time.
Beneath the Surface
Theatrically speaking, Whalefall sounds and looks great in a Dolby auditorium. The underwater
photography is stunning, but it’s a shame there’s so little of it before Jay is gulped down by
Monstro. Impressive practical effects contrast with much less believable CGI, especially when
director Duffield breaks from Jay in order to highlight an external echolocation battle.
Going Off the Deep End
Whalefall aims to dive deep but stays fairly surface level. At times overwrought and emotionally
murky, the parallel father/son journey never quite finds its flow. Whalefall delivers on its basic
premise, leaving audiences holding their breath, but it doesn’t quite live up to the heights of its
own high concept. You’d be better off in The Shallows with Blake Lively or out at sea aboard a
bigger boat like Spielberg’s Orca.
★★★☆☆
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